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Going to concerts is becoming, for large numbers of Americans, an increasingly frequent pleasure. For those who encounter unfamiliar traditions and terms in the concert hall, here is information and advice which tells all listeners what they need to know to be comfortable at an orchestral concert. Includes background, biographies, and discussions of 200 masterpieces. Drawings.
Lindeman, a musicologist, traces and defines the historical development of the concerto form as it passed from Mozart to succeeding generations. He then assesses Beethoven's contributions, and examines the classical model of the form in the early 19th century by overviewing several early romantic composers' works. Subsequent chapters analyze and assess the responses of five precursers of Schumann, whose work offers a synthesis of radical experiments and traditional tenets. He concludes by suggesting that concertos of Lizst offer a road into further developments of the genre in the second half of the century. Illustrated with bandw portraits of composers and excerpts from musical scores. Annotation copyrighted by Book News, Inc., Portland, OR
Conducting and Rehearsing the Instrumental Music Ensemble is the most comprehensive guide on the rehearsalprocess for conducting instrumental music ensembles. Ideal for the advanced instrumental music conductor seeking to look beyond basic conducting technique, this work breaks the multidimensional activity of working with an ensemble, orchestra, or band into its constituent components. Advanced students of conducting will find within the full range of conducting activities: • Chapters on the infrastructure of the rehearsal, the rehearsal environment, 10 rehearsal essentials, score study, music imagery, inner singing, and rehearsal procedures (with an emphasis on an integrated approach to rehearsing) • The technical priorities of intonation and tuning, rhythm patterns, ensemble sonority (tone, balance, blend, color and texture), and articulation • The musical priorities of tempo and ensemble precision, phrasing and the musical line, style and interpretation, dynamics and musical expression • Emphasizing the expectations of 21st-century conductors, the challenges of conducting and rehearsing contemporary music, preparing conductor profiles and self-evaluations, and moving from the rehearsal process to concert performance Conducting and Rehearsing the Instrumental Music Ensemble is a great resource for teachers and students of conducting, as well as current conductors wishing to further hone their skills.
The volume for the 50th season, 1940/41, includes "Repertoire, 1891-1941" [62] p. and "Solists, 1891-1941" [5] p.
Daniels’ Orchestral Music is the gold standard for all orchestral professionals—from conductors, librarians, programmers, students, administrators, and publishers, to even instructors—seeking to research and plan an orchestral program, whether for a single concert or a full season. This sixth edition, celebrating the fiftieth anniversary of the original edition, has the largest increase in entries for a new edition of Orchestral Music: 65% more works (roughly 14,050 total) and 85% more composers (2,202 total) compared to the fifth edition. Composition details are gleaned from personal inspection of scores by orchestral conductors, making it a reliable one-stop resource for repertoire. Users will find all the familiar and useful features of the fifth edition as well as significant updates and corrections. Works are organized alphabetically by composer and title, containing information on duration, instrumentation, date of composition, publication, movements, and special accommodations if any. Individual appendices make it easy to browse works with chorus, solo voices, or solo instruments. Other appendices list orchestral works by instrumentation and duration, as well as works intended for youth concerts. Also included are significant anniversaries of composers, composer groups for thematic programming, a title index, an introduction to Nieweg charts, essential bibliography, internet sources, institutions and organizations, and a directory of publishers necessary for the orchestra professional. This trusted work used around the globe is a must-have for orchestral professionals, whether conductors or orchestra librarians, administrators involved in artistic planning, music students considering orchestral conducting, authors of program notes, publishers and music dealers, and instructors of conducting.
Kenneth A. Christensens THE TOSCANINI MYSTIQUE, is the first full length biography about the legendary Italian conductors life and career in almost thirty-five years. Maestro Toscanini had a frigid and extremely unhappy childhood, along with a severe musical education at the Parma Conservatory. This unglamorized account of a gifted teenagers professional conducting debut at Rio de Janerios Teatro Imperial, is told as it really happened. Toscanini was married to a ballerina, Carla De Martini, who bore him four children, but also had an illegitimate son with a gifted soprano, who was born retarded. Toscaninis vulgar mistreatment of nearly all the singers and musicians who performed under his direction was legendary, and is examined with unusual insight about his uncanny memory and talent for musical recreation. The recollection of many famous artists including Caruso, Debussy, Kreisler, Puccini, Stravinsky, Verdi, and Wagners descendants are quoted alongside his confrontations with Hitler, Mussolini and the Sicilian mafia. But the Maestro also was the most generous of all musicians, donating both his time and talents to many worthwhile charities, for which he received no financial compensation. The life of this great conductor is presented as the struggles of a musical and theatrical reformer, who was a major historical figure that just happened to be one of the greatest musicians who ever lived. Mr. Christensen has painstakingly wrote his narrative, using all the previous biographies and magazine articles on his life, the scripts of two video documentaries and the liner notes for the most widely available re-releases of his recordings. He rewrote and clarified the awkward original Italian translations for non-specialist readers and has supplied new English translations for the numerous operatic titles and other musical works as well as all the foreign language newspapers, magazines and theatres mentioned in the text. In addition, he has provided professional critiques on the most widely available Toscanini recordings from RCA Victors Arturo Toscanini Collection, and historic reissues of Toscaninis NBC radio broadcast concerts. Here was a man, who had the nerve to stand up to world dictators and fought hard to prevent the Western worlds supreme musical masterpieces from being abused and mistreated, but without taking any credit for laboriously recreating all these composers inspiration. He enjoyed to play practical jokes on his family and friends, but this humorous side is known only through letters, because Toscanini never published any autobiography or memoirs about his art. Toscanini gave the world premieres of 14 operas, including Leoncavallos Pagliacci, and three by Puccini, including La Boheme, La Fanciulla del West and Turandot. Toscanini served as musical director: the Teatro Regio in Turino (1895-98), La Scala in Milano (1898-1908), New Yorks Metropolitan Opera (1908-1915), barely missed dying upon the Lusitania, becoming musical director of La Scala again (1920-1929), the New York Philharmonic (1926-1936), and the NBC Symphony Orchestra (1937-1954). In between, he also guest conducted at the Bayreuth, Salzburg and Lucerne Festivals and conducted the inaugural concerts of the Palestine Symphony. Toscanini then recorded his most important repertory with the BBC Symphony and the Philadelphia Orchestra, the New York Philharmonic and NBC Symphony Orchestras, alongside the Robert Shaw Chorale and such esteemed soloists as Jascha Heifetz, Rudolf Serkin, plus, his own son-in-law Vladimir Horowitz. His seven operatic recordings featured Jan Peerce, Helen Traubel, Richard Tucker, Giuseppe di Stefano, Rose Bampton, Cesare Siepi, Herva Nelli, Licia Albanese, Robert Merrill, Jussi Bjoerling, Lauritz Melchior, and many other gifted singers and musicians of the past, whose names alone are too much to mention.
Also Available: Orchestral Music Online This fourth edition of the highly acclaimed, classic sourcebook for planning orchestral programs and organizing rehearsals has been expanded and revised to feature 42% more compositions over the third edition, with clearer entries and a more useful system of appendixes. Compositions cover the standard repertoire for American orchestra. Features from the previous edition that have changed and new additions include: · Larger physical format (8.5 x 11 vs. 5.5 x 8.5) · Expanded to 6400 entries and almost 900 composers (only 4200 in 3rd Ed.) · Merged with the American Symphony Orchestra League's OLIS (Orchestra Library Information Service) · Enhanced specific information on woodwind & brass doublings · Lists of required percussion equipment for many works · New, more intuitive format for instrumentation · More contents notes and durations of individual movements · Composers' citizenship, birth and death dates and places, integrated into the listings · Listings of useful websites for orchestra professionals