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In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
Encompassing more than five hundred classical composers past and present, this listener's guide to classical music discusses the best recordings of symphonies, operas, choral pieces, chamber music, and more by the world's leading composers as performed by a variety of outstanding musicians and conductors, and includes essays on the classical repertory, composers, instruments, and more. Original.
In this wide-ranging set of original essays, musicologist and organist Russell Stinson investigates Johann Sebastian Bach's compositions for the organ, opening up a wealth of perspectives on the stylistic orientation and historical context of these timeless masterpieces. With a sweeping hand, Stinson sheds light on the entire corpus of Bach's organ chorales, and considers the reception of particular pieces not only by various luminaries in the classical music world, but also those within such disparate contexts as film, literature, politics, and rock music. Stinson's investigations include a revealing focus on a previously unpublished fugue by Bach pupil J. G. Schübler, unexplored techniques found in over twenty of Bach's chorale preludes, and the diverse ways in which Bach's organ works have been received from the composer's own lifetime to the present day. Individual essays are also devoted to Felix Mendelssohn as a performer; to Robert Schumann as an editor and critic; to César Franck as a performer, pedagogue, and composer; and to Edward Elgar as a performer, critic, and transcriber. Rich in archival data and filled with fascinating anecdotes, J. S. Bach at His Royal Instrument is entirely up-to-date, meticulously annotated and indexed, and eminently readable. This book is essential reading for anyone at all interested in Bach and "the king of instruments."
Number of Exhibits: 16 Received document entitled: APPENDIX TO PETITION FOR WRIT
The second edition of William Phemister’s The American Piano Concerto Compendium reveals to professional and amateurs pianists alike a vast collection of available compositions by American composers. Analysis expands outside mainstream concerto styles to include those considered experimental or popular derivatives. The range of music flows from Pulitzer Prize winners like Samuel Barber, Gail Kubik, and John LaMontaine, to lesser-known multi-ethnic composers such as Tania León and Samuel Zyman, to old standards like Edward MacDowell and the first piano concerto written by an American-born composer, Otis B. Boise (1875), to the cutting-edge avant-garde of Milton Babbitt and Elliott Carter, just to name a few. These all contribute to the varied narrative that animates American piano music. With forty percent more works described, documented, and reviewed than were listed in the 1985 first edition from the College Music Society, this second edition is a valuable resource not only for pianists and conductors, but also for orchestras, teachers, students, music historians and critics, collectors, and concert attendees.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
This comprehensive biography of George Gershwin (1898-1937) unravels the myths surrounding one of America's most celebrated composers and establishes the enduring value of his music. Gershwin created some of the most beloved music of the twentieth century and, along with Jerome Kern, Irving Berlin, and Cole Porter, helped make the golden age of Broadway golden. Howard Pollack draws from a wealth of sketches, manuscripts, letters, interviews, books, articles, recordings, films, and other materials—including a large cache of Gershwin scores discovered in a Warner Brothers warehouse in 1982—to create an expansive chronicle of Gershwin’s meteoric rise to fame. He also traces Gershwin’s powerful presence that, even today, extends from Broadway, jazz clubs, and film scores to symphony halls and opera houses. Pollack’s lively narrative describes Gershwin’s family, childhood, and education; his early career as a pianist; his friendships and romantic life; his relation to various musical trends; his writings on music; his working methods; and his tragic death at the age of 38. Unlike Kern, Berlin, and Porter, who mostly worked within the confines of Broadway and Hollywood, Gershwin actively sought to cross the boundaries between high and low, and wrote works that crossed over into a realm where art music, jazz, and Broadway met and merged. The author surveys Gershwin’s entire oeuvre, from his first surviving compositions to the melodies that his brother and principal collaborator, Ira Gershwin, lyricized after his death. Pollack concludes with an exploration of the performances and critical reception of Gershwin's music over the years, from his time to ours.