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The first two volumes of Heinrich Schenker's masterwork Neue musikalische Theorien und Phantasien, Harmonielehren (1906), and Kontrapunkt (1910 and 1922), laid the foundations for the harmonic aspect of his theory. The specific voice-leading component was a later development, progressing with brilliance over the last 15 years of his life. It is in Schenker's third volume Free Composition: Vol. III of New Musical Theories and Fantasies Part 2: Musical Examples (Freie Satz, 1935) that the idea of voice-leading receives its most detailed and precise formulation. Pendragon Press is honored to make this distinguished reprint of Schenker's musical examples available once again, with a new preface by Carl Schacter.
This book approaches Schenkerian analysis in a practical and accessible manner fit for the classroom, guiding readers through a step-by-step process. It is suitable for advanced undergraduates and graduate students of musicology, music theory, composition, and performance, and it is replete with a wide variety of musical examples.
Joseph Haydn, known as the father of the string quartet, significantly influenced the sonata and the symphony, helping to create the modern symphony orchestra as we know it. Haydn lived during a time of many changes, beginning his career in the late Austrian baroque period, experiencing the Enlightenment, and ending as romanticism began. This title highlights Haydn’s impressive, long, and productive career.
Central to the repertoire of Western art music since the 18th century, the symphony has come to be regarded as one of the ultimate compositional challenges. In his five-volume series The Symphonic Repertoire, the late A. Peter Brown explores the symphony from its 18th-century beginnings to the end of the 20th century. In Volume 1, The Eighteenth-Century Symphony, 22 of Brown's former students and colleagues collaborate to complete the work that he began on this critical period of development in symphonic history. The work follows Brown's outline, is organized by country, and focuses on major composers. It includes a four-chapter overview and concludes with a reframing of the symphonic narrative. Contributors address issues of historiography, the status of research, and questions of attribution and stylistic traits, and provide background material on the musical context of composition and early performances. The volume features a CD of recordings from the Bloomington Early Music Festival Orchestra, highlighting the largely unavailable repertoire discussed in the book.
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.
The Philadelphia Orchestra is the most-recorded orchestra in the United States, and its recordings have contributed much to its reputation as “The World’s Greatest Orchestra.” In The Philadelphia Orchestra: An Annotated Discography, Richard A. Kaplan documents more than 2,000 commercial recordings made by the Philadelphia Orchestra over almost a century. The discography contains a chronological list of recordings, detailing works performed, conductors, soloists, dates, venues, producers, and matrix information for 78-rpm recordings. Each entry lists all issues of the recordings, including 78- and 45-rpm discs, long-playing records, and compact discs. The discography documents for the first time the recordings made by Columbia on sixteen-inch lacquer discs during the 1940s and ‘50s. Opening with an overview of the Orchestra's relationships with recording companies and the search for suitable recording venues, chapters cover anonymously and pseudonymously-published recordings, including those of the Robin Hood Dell Orchestra of Philadelphia, the experimental 1931-32 Bell Labs recordings, videos and movies in which the Philadelphia Orchestra performed, live recordings, and recordings of ensembles of the Philadelphia Orchestra. A separate chapter lists live-concert downloads made available directly through the Philadelphia Orchestra Association. Appendixes cross-reference the recordings by composer, conductor, and soloists; a final appendix lists the many Philadelphia Orchestra LP collections published by Columbia and RCA. This book is a valuable resource for collectors, scholars, and anyone interested in recording history and the history of the Philadelphia Orchestra.

Cadence

Distinguished James McGill Professor Emeritus of Music Theory William E Caplin

Published: 2024-10-04

Total Pages: 649


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Cadence explores the many ways in which the component parts of a classical composition achieve a sense of ending. The book examines cadential practice in a wide variety of musical styles in the eighteenth and nineteenth centuries, including works by well-known composers such as Bach, Mozart, Beethoven, Schubert, Chopin, and Brahms.
Cadence is a comprehensive examination of how formal units in European art music of the tonal era achieve closure. The book brings together the author's decades-long investigations into cadence, a compositional device that is readily experienced both by musicians and non-musicians, but one that has proven intractable to clear and precise theoretical formulation. Rooted in Caplin's broader theory of formal functions, the book first develops concepts of cadence for music of the high classical style and then extends these ideas to gauge cadential practice in earlier and later style periods. Throughout the study, various manifestations of cadence are defined in terms of their morphology (their harmonic and melodic profiles) as well as their function (the specific formal contexts in which they are deployed). Cadence introduces a host of theoretical concepts illustrated by copious musical examples, all of which contain extensive analytical annotations of harmony, melody and form. Though the book is addressed primarily to music theorists, the many issues of compositional practice raised in this study will resonate with the interests of composers, historians, and performers alike.