Charles-Marie Widor (1844-1937), the greatest French organist of his day, called the ten solo compositions in this two-volume edition "organ symphonies" to reflect both their secular spirit and the orchestral wealth of the timbres of the new French organs. Cast in the distinctive new form he developed, the symphonies usually consist of six or seven short movements of widely varying moods and textures, filled with lively and elegant marches and scherzos, lush pastorals and other musical forms not usually associated with organ music. Most were written specifically to exploit the capacities of the modern Cavaill -Coll organ, especially the rich-toned five-keyboard instrument at St-Sulpice in Paris.
Widely regarded as the culmination of French romanticism on the organ, Widor's symphonies include some of the most frequently performed and recorded works in the modern organ repertoire. Presented here in two inexpensive, well-made volumes, they offer a splendid resource for organists and all music lovers.
From the turn of the century to the 1960s, the songwriters of Tin Pan Alley dominated American music. Irving Berlin, Cole Porter, George and Ira Gershwin, Rodgers and Hart--even today these giants remain household names, their musicals regularly revived, their methods and styles analyzed and imitated, and their songs the bedrock of jazz and cabaret. In The Poets of Tin Pan Alley Philip Furia offers a unique new perspective on these great songwriters, showing how their poetic lyrics were as important as their brilliant music in shaping a golden age of American popular song.
Furia writes with great perception and understanding as he explores the deft rhymes, inventive imagery, and witty solutions these songwriters used to breathe new life into rigidly established genres. He devotes full chapters to all the greats, including Irving Berlin, Lorenz Hart, Ira Gershwin, Cole Porter, Oscar Hammerstain II, Howard Dietz nd E.Y. Harburg, Dorothy Fields and Leo Robin, and Johnny Mercer. Furia also offers a comprehensive survey of other lyricists who wrote for the sheet-music industry, Broadway, Hollywood, and Harlem nightclub revues. This was the era that produced The New Yorker, Don Marquis, Dorothy Parker, and E.B. White--and Furia places the lyrics firmly in this fascinating historical context. In these pages, the lyrics emerge as an imporant element of American modernism, as the lyricists, like the great modernist poets, took the American vernacular and made it sing.
Based on extensive interviews, this illustrated text recounts the lives and music of ragtime pianist-composer Eubie Blake and his partner for 57 years, singer, lyricist and bandleader Noble Sissle.
What little-known son of a famous genius has been called:"A musical blight" "A one-man plague" "History's most justifiably neglected composer" "The worst musician ever to trod organ pedals" "A pimple on the face of music" In this long-awaited hoax, possibly the most unimportant piece of scholarship in over two thousand years, Professor Peter Schickele has finally succeeded in ripping the veil of obscurity from the most unusual -- to put it kindly -- composer in the history of music: P.D.Q. Bach, the last and unquestionably the least of the great Johann Sebastian Bach's many children.
An excellent source of supplemental piano solos that may be used as recital and concert pieces by beginning through intermediate piano students. Fun to play and enjoyable to hear, this collection is sure to capture student interest.
In this extensively researched ode to scandal, Peter Blecha recounts the travails of musicians who have dared to air "unacceptable" topics. Filled with several centuries' worth of raunchy sex ditties, morbid murder ballads, satanic songs, paeans to intoxication and radical political anthems, this book lays the censors' stories bare, and casts a much-needed spotlight on civil liberties and artistic freedom in our post-9/11 world. Highlights the work of hundreds of controversial musicians, including: the Beatles, Ray Charles, the Dixie Chicks, Dylan, Eminem, Billie Holiday, Nirvana, Elvis, Public Enemy, Sex Pistols, Springsteen, Zappa and others. "Blecha tells a story of how free we aren't. It's a story every music fan needs to know." - Dave Marsh
In this rousing book that salutes the passion, the joy, and the pleasures of singing, music, and practice (Spirituality and Health), Joan Oliver Goldsmith celebrates America's over 20 million singers and teaches us that...to pursue a creative passion is a true act of love (New Age). She guides us not only behind the scenes of choirs and ensembles but inside the making and hearing of harmonious sound. Her words soar, growl, cry and whisper. And they inspire (Publishers Weekly, starred review). As Goldsmith shares wisdom about finding one's voice, making mistakes, teaching, friendship, and the essential elements of creativity, you'll learn [that] much of what she's learned from music is applicable to almost any life (Minneapolis Star Tribune). 'Singing for your life' is what Goldsmith's book is all about. Read it and sing!--Bobby McFerrin
A da is one of Verdi's greatest gifts to grand opera. It magnificently combines high drama, stage spectacle, and a musical score that is one of the glories of operatic writing. A great success from its first performance over a century ago, it continues to dominate the repertory of opera houses around the world, among them the Metropolitan Opera in New York, which has staged A da more than any other opera in its long history.
In 1869, Verdi, at the peak of his career, initially declined offers from Egypt to create an opera for the new Cairo opera house, built to mark the opening of the Suez Canal. Then, in 1870, opera officials sent Verdi a short synopsis of a tragic love story that unfolds amid the pomp and pageantry of ancient Egypt. Verdi pronounced it "well-made" and "splendid from a scenic point of view." And when a handsome commission arrived from the Khedive as well, he set to work with his librettists on what would become his most famous opera. After many revisions, A da premiered in Cairo on Christmas Eve in 1871 and was an instantaneous success. Subsequent performances in Milan, Parma, Naples, and Paris confirmed its enormous popular appeal, which has never flagged.
Verdi endowed A da with arias, vocal ensembles, and orchestral scoring of thrilling power. Some of its passages, among them the celebrated third-act "Nile scene," are ranked by critics as among the finest in opera. This authoritative full-score edition will afford music lovers the opportunity to study intimately this grand opera that so richly displays Verdi's genius at its most inspired.