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This exciting edition contains 100 early intermediate selections in their original form, spanning the Baroque period to present day. The repertoire, which includes several minuets, folk dances, character pieces and much more, has been carefully graded and selected for student appeal by editor Lynn Freeman Olson.
Over 20 of the composer's best-loved, most often performed compositions, including the Toccata and Fugue in D minor, BWV 565; Passacaglia and Fugue in C minor, BWV 582; the Fugue in B minor on a theme of Corelli, BWV 579, and many more. Reproduced directly from the authoritative Bach-Gesellschaft edition.
The works in this volume, chosen to reflect the breadth of narrative and characteristic piano music, illuminate certain largely forgotten musical histories. The highly popular genre of the descriptive piano fantasia, conceived and produced for the musical tastes and technical capabilities of amateur pianists, grew out of eighteenth-century narrative works such as Johann Kuhnau’s “Biblical Sonatas” (1700) and the anonymous Battle of Rosbach (ca. 1780). Starting with František Kocžwara’s Battle of Prague (ca. 1788) and continuing chronologically through the nineteenth and into the early twentieth centuries, these works help to contextualize nineteenth-century aesthetic debates of descriptive versus idealistic music (and later programmatic versus absolute music), and the partisanship they engendered, by demonstrating the ubiquity of this repertoire throughout Europe and the United States. Such fantasias reflected cultural preoccupations, based as they often were on historical or fictional events, and were particularly important in Poland, where national upheaval and political marginalization provided fertile ground for musical representation and catharsis. The descriptive fantasias cross generic boundaries and interact in unexpected ways with the canonic repertory, offering insights into compositional techniques and strategies used by such composers as Fryderyk Chopin, Franz Liszt, and Johannes Brahms, and illuminating modes of listening familiar to their audiences.
Research in the field of keyboard studies, especially when intimately connected with issues of performance, is often concerned with the immediate working environments and practices of musicians of the past. An important pedagogical tool, the keyboard has served as the ’workbench’ of countless musicians over the centuries. In the process it has shaped the ways in which many historical musicians achieved their aspirations and went about meeting creative challenges. In recent decades interest has turned towards a contextualized understanding of creative processes in music, and keyboard studies appears well placed to contribute to the exploration of this wider concern. The nineteen essays collected here encompass the range of research in the field, bringing together contributions from performers, organologists and music historians. Questions relevant to issues of creative practice in various historical contexts, and of interpretative issues faced today, form a guiding thread. Its scope is wide-ranging, with contributions covering the mid-sixteenth to early twentieth century. It is also inclusive, encompassing the diverse range of approaches to the field of contemporary keyboard studies. Collectively the essays form a survey of the ways in which the study of keyboard performance can enrich our understanding of musical life in a given period.
First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
Telemann composed three dozen Fantasias, published in 1732. He deliberately set out to juxtapose the French and Italian styles. Marks of dynamics and of articulation have been added, and so have harmony notes of inner parts, which would have been improvised by the player in an 18th-century performance.
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 enchanting collection features 11 pieces by the composers who greatly contributed to this musical style, including C.P.E. Bach, Brahms, Haydn, Rachmaninoff and Scriabin. With an informative introduction and performance notes for each piece, intermediate to moderately advanced students will be challenged to produce accurate interpretations and performances.
This classic reference work, the best one-volume music dictionary available, has been brought completely up to date in this new edition. Combining authoritative scholarship and lucid, lively prose, the Fourth Edition of The Harvard Dictionary of Music is the essential guide for musicians, students, and everyone who appreciates music. The Harvard Dictionary of Music has long been admired for its wide range as well as its reliability. This treasure trove includes entries on all the styles and forms in Western music; comprehensive articles on the music of Africa, Asia, Latin America, and the Near East; descriptions of instruments enriched by historical background; and articles that reflect today’s beat, including popular music, jazz, and rock. Throughout this Fourth Edition, existing articles have been fine-tuned and new entries added so that the dictionary fully reflects current music scholarship and recent developments in musical culture. Encyclopedia-length articles by notable experts alternate with short entries for quick reference, including definitions and identifications of works and instruments. More than 220 drawings and 250 musical examples enhance the text. This is an invaluable book that no music lover can afford to be without.