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This is a newly edited and engraved edition: this new edition is based on the most authoritative early publications; mistakes and misprints from the old editions are corrected; missing technical markings and other inconsistencies have been resolved; all texts, titles and dates are carefully checked with Grove's Music Dictionary; the new layout offers more comfortable reading; increased staff size will help to make the score more legible on music stands, tablets or other digital media. Now, this new edition finally offers musicians the opportunity to fully enjoy this beautiful piece.
(Faber Piano Adventures ). Consists of carefully selected repertoire from the Baroque, Classical, Romantic, and Modern periods. Contents: KRIEGER: Minuet in A minor * DUNCOMBE: Fanfare in C Major * LULLY: Minuet in D minor * ANNA MAGDALENA BACH NOTEBOOK: Musette in D Major * Minuet in G Major * Minuet in G minor (PETZOLD) * March in D Major (C.P.E. BACH) * J.C. BACH: Solfeggio in D Major * GOSSEC: Tambourin * HASLINGER: Sonatina in C Major * HAYDN: German Dance in D Major * Minuet in G Major * Allegro in F Major * CLEMENTI: Sonatina in C Major, Op. 36, No. 1 * DIABELLI: Sonatina in G Major, 1st Movement, Op. 168, No. 2 * Rondo for Four Hands, Op. 163, No. 6 * BEETHOVEN: Two German Dances * LEOPOLD MOZART: Allegro in A Major * GURLITT: A Little Flower * BURGMULLER: Arabesque, Op. 100, No. 2 * Ballade, Op. 100, No. 15 * Harmony of the Angels, Op. 100, No. 21 * SCHUMANN: Wild Rider, Op. 68, No. 8 * Melody, Op. 68, No. 1 * ELLMENREICH: Spinning Song, Op. 14, No. 4 * HELLER: Avalanche, Op. 45, No. 2 * REINECKE: Gavotte, Op. 183, No. 1 * REBIKOV: Chinese Figurine * Playing Soldiers, OP. 31, No. 4 * FABER: The Moons of Jupiter * MCKAY: Song of the Range Rider * Cowboy Song * JACOBY: Sonatina
Sketch of a New Esthetic of Music by Theodore Baker Ferruccio Busoni, first published in 1911, is a rare manuscript, the original residing in one of the great libraries of the world. This book is a reproduction of that original, which has been scanned and cleaned by state-of-the-art publishing tools for better readability and enhanced appreciation. Restoration Editors' mission is to bring long out of print manuscripts back to life. Some smudges, annotations or unclear text may still exist, due to permanent damage to the original work. We believe the literary significance of the text justifies offering this reproduction, allowing a new generation to appreciate it.
In 1861, a half-century before Arnold Schoenberg's break with tonality, a young composer associated with Liszt saw a threshold to musical modernism as lodged in the "suspension of the main key." As the unified tonal perspective of earlier music yielded increasingly to dualistic key structures often laden with chromaticism, the language of music was transformed. In The Second Practice of Nineteenth-Century Tonality, nine prominent theorists and historians explore aspects of this musical evolution, from Schubert to the end of the nineteenth century. Many works discussed are masterpieces of the performance repertory, ranging from Chopin's piano pieces and Wagner's music dramas to the symphonies of Bruckner. The integration of analytical and historical approaches in the essays seeks to avoid narrow specialization as well as the polemic stance of some recent studies. A critical assessment of issues including inter-textuality, narrative, and dramatic symbolism enriches this investigation of what may be described as the "second practice" of nineteenth-century tonality.
Carl Schachter is the world's leading practitioner of Schenkerian theory and analysis. His articles and books have been broadly influential, and are seen by many as models of musical insight and lucid prose. Yet, perhaps his greatest impact has been felt in the classroom. At the Mannes College of Music, the Juilliard School of Music, Queens College and the Graduate Center of the City University of New York, and at special pedagogical events around the world, he has taught generations of musical performers, composers, historians, and theorists over the course of his long career. In Fall 2012, Schachter taught a doctoral seminar at the CUNY Graduate Center in which he talked about the music and the musical issues that have concerned him most deeply; the course was in essence a summation of his extensive and renowned teaching. In The Art of Tonal Analysis, winner of the Society for Music Theory's 2017 Citation of Special Merit, music theorist Joseph Straus presents edited transcripts of those lectures. Accompanied by abundant music examples, including analytical examples transcribed from the classroom blackboard, Straus's own visualizations of material that Schachter presented aurally at the piano, and Schachter's own extended Schenkerian graphs and sketches, this book offers a vivid account of Schachter's masterful pedagogy and his deep insight into the central works of the tonal canon. In making the lectures of one of the world's most extraordinary musicians and musical thinkers available to a wide audience, The Art of Tonal Analysis is an invaluable resource for students and scholars of music.
Notes for Cellists: A Guide to the Repertoire is a collection of accessible essays about key compositions for the cello from the seventeenth century to the present. Each essay provides historical context and a brief analysis of a composition. This book will be of interest to enthusiasts of the cello and students of all levels seeking to enrich their understanding of cello music, and a much-needed reference guide for teachers and professional players.
The Cambridge Companion to Chopin provides the enquiring music-lover with helpful insights into a musical style which recognises no contradiction between the accessible and the sophisticated, the popular and the significant. Twelve essays by leading Chopin scholars make up three parts. Part 1 discusses the sources of Chopin's style in the music of his predecessors and the social history of the period. Part 2 profiles the mature music, and Part 3 considers the afterlife of the music - its reception, its criticism and its compositional influence in the works of subsequent composers.