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Novello presents a choral setting of Edward Elgar's 'Nimrod' from the Enigma Variations for SSAATTBB Choir, as arranged by John Cameron. This single pieces includes, as well as eight vocal lines, a piano score accompaniment for use in rehearsals.
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The first ever book-length study of the a cappella masses which appeared in France in choirbook layout during the baroque era. After tracing the publishing history of this distinctive but little-known repertoire, the author places the works in their social, liturgical and musical context.
A smaller version of the harpsichord, the virginal enjoyed wide popularity during the 16th and 17th centuries. Based upon a 1591 manuscript, this collection features 42 pieces in modern notation.
This is the first comprehensive study of William Byrds life (1540-1623) and works to appear for sixty years, and fully takes into consideration recent scholarship. The biographical section includes many newly discovered facts about Byrd and his family, while in the chapters dealing with his music an attempt is made for the first time to outline the chronology of all his compositions. The book begins with a detailed account of Byrd's life, based on a completely fresh examination of original documents, which are quoted extensively. Several previously known documents have now been identified as being in Byrds hand, and some fresh holographs have been discovered. A number of questions such as his parentage and date of birth have been conclusively settled. The book continues with a survey of Byrds music which pays particular attention to its chronological development, and links it where possible to the events and background of his life. A series of appendices includes additional texts of important documents, and a summary catalogue of works. A bibliography and index complete the book. Besides musical illustrations there is a series of plates illustrating documents and places associated with Byrd.
This engaging study introduces Renaissance polyphony to a modern audience. It helps readers of all ages and levels of experience make sense of what they are hearing. How does Renaissance music work? How is a piece typical of its style and type; or, if it is exceptional, what makes it so? The makers of polyphony were keenly aware of the specialized nature of their craft. How is this reflected in the music they wrote, and how were they regarded by their patrons and audiences? Through a combination of detailed, nuanced appreciation of musical style and a lucid overview of current debates, this book offers a glimpse of meanings behind and beyond the notes, be they playful or profound. It will enhance the listening experience of students, performers and music lovers alike.
"Professor William Mahrt of Santford Univeristy and the Church Music Association of America has written a sweeping book--one that it is at once scholarly and practical--on that most controversial topic of music and the liturgy. He provides an over-whelming argument that every parish must have high standrads for liturgical music and he makes the full case for Gregorian chant as the model and the ideal of that liturgical music." - back cover
Music moves through time; it is not static. In order to appreciate music wemust remember what sounds happened, and anticipate what sounds might comenext. This book takes you on a journey of music from past to present, from the Middle Ages to the Baroque Period to the 20th century and beyond!
In this, the first of a three-volume study of Byrd's complete output, under the general title The Music of William Byrd, the author essays a first full-scale historical and critical assessment of Byrd's sacred music to Latin words - one of the great glories of the Elizabethan Age. Each of the approximately 175 compositions is considered, at least briefly, with fuller appreciation accorded to such masterpieces as Emendemus in Melius, Tristitia et anxietas, Iusorum animae, Ave verum corpus, the lamentations and the three famous masses. There are more than sixty musical examples, some of considerable length. In critical prose that slights neither technicalities nor the intense emotional qualities of his subject matter, the author sheds fresh and often unexpected illumination on Byrd's musical rhetoric and on his powerful, endlessly inventive musical structures. Re-examining the known facts of Byrd's life in relation to the patronage and politics of the time, the author boldly argues that while the impetus behind Byrd's early motets was primarily traditionalist and technical, that behind his Cantiones sacrae motets of the 1580s was essentially political: they were covert laments and protests on behalf of the embattled recusant community.