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In contrast to today's music industry, whose principal products are recorded songs sold to customers round the world, the music trade in Georgian England was based upon London firms that published and sold printed music and manufactured and sold instruments on which this music could be played. The destruction of business records and other primary sources has hampered investigation of this trade, but recent research into legal proceedings, apprenticeship registers, surviving correspondence and other archived documentation has enabled aspects of its workings to be reconstructed. The first part of the book deals with Longman & Broderip, arguably the foremost English music seller in the late eighteenth century, and the firm's two successors - Broderip & Wilkinson and Muzio Clementi's variously styled partnerships - who carried on after Longman & Broderip's assets were divided in 1798. The next part shows how a rival music seller, John Bland, and his successors, used textual and thematic catalogues to advertise their publications. This is followed by a comprehensive review of the development of musical copyright in this period, a report of efforts by a leading inventor, Charles 3rd Earl Stanhope, to transform the ways in which music was printed and recorded, and a study of Georg Jacob Vollweiler's endeavour to introduce music lithography into England. The book should appeal not only to music historians but also to readers interested in English business history, publishing history and legal history between 1714 and 1830.
This book is a detailed investigation of a lively and innovative period in London's cultural life.
Mozart's enduring popularity, among music lovers as a composer and among music historians as a subject for continued study, lies at the heart of The Cambridge Mozart Encyclopedia. This reference book functions both as a starting point for information on specific works, people, places and concepts as well as a summation of current thinking about Mozart. The extended articles on genres reflect the latest in scholarship and new ways of thinking about the works while the articles on people and places provide historical framework, as well as interpretation.
Charles Edward Horn's memoir of himself covers his activities in England and Ireland to 1818, with an epilogue describing the events of 1827 when he made his first visit to America, with an epilogue describing his transition from a 'serious' musician (he was deputy organist to Dr. Charles Burney and sang in the first London performance of Mozart's Don Giovanni) to the stage where, as a member of the English Opera House, Drury Lane and other theatre companies, he became famous as a singer and composer of popular music.
Pianists all know the benefits of playing the "Two-Part Inventions" of J. S. Bach. Now, world-respected jazz pianist and composer Bill Cunliffe has written his own "inventions" that will benefit every player's understanding and performance of jazz. These great-sounding etudes explore the specific harmonic, melodic, and technical challenges faced by jazz keyboardists, including the ii-V and ii-V-I progressions, outlining changes, chord-tone ornamentation, playing in octaves, tonic patterns, block chords, polytonality, stride piano, and left-hand walking bass. Pieces feature chord symbols, explanatory notes, and preparatory exercises, and each invention is performed on the CD by Bill Cunliffe. 123 pages. " . . . perfect for daily warm-up, explores the harmonic and melodic intricacies of jazz, each etude targets a specific technical skill and includes performance notes, inventions gradually become more challenging and the harmonic progressions are varied and very musical . . . a musical feast." -International Association for Jazz Education (IAJE)
Suitable for all admirers of the piano, this work brings together more than 3,000 works for piano and orchestra. It comes with a supplement containing over 200 new entries.
The family into which Mozart was born has never received a rigorous contextual study which does justice to the complexity of its relationships or to its interactions with colleagues, friends, and neighbours in Mozarts native city, Salzburg. Most biographies of Mozart have undervalued the manypassages in the rich family correspondence which do not bear directly on him. This book draws on the neglected material, most of which has never been translated into English. At the heart of the work is a detailed examination of the letters, supplemented by little-known archival material from thepapers of the Berchtold family, into which Mozarts sister Nannerl married. Additional information concerning Salzburg's local history, especially the working conditions at court and the provision for dependants of court employees, enables the hopes, expectations, and fears of the Mozarts to belocated in the context of the social conditions there. As well as providing a sympathetic account of the other members of the family, all of whom were profoundly affected by the experience of sharing their lives with Mozart, this approach gives new significance to the events of Mozart's life; notonly are they set against the background of his familys expectations of him, but the ways in which the source material has to be used for this purpose necessarily involves fundamental improvements in its interpretation. Ruth Halliwell challenges most previous views of the characters in Mozart's family (especially of his father, Leopold), and of the relationships within it. She also introduces a wealth of characters from the Mozarts's circle in Salzburg, from chambermaids to princes, and demonstrates the relevanceof the gossip stories the Mozarts told about them to the larger outlook of the members of the family. In an important final section, Halliwell traces the roles of Nannerl and Mozart's wife Constanze in using, controlling, and handing on the biographical source material after Mozarts death. She discusses their dealings with publishers such as Breitkopf and Hartel, and with the authors of theearliest biographies of Mozart. This complex topic here receives an account which not only illuminates the characters of both women and the relations between them, but also addresses the question of how myths were able to creep into the Mozartian biography at so early a stage and take tenacioushold.
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