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A collection of organ solos by George Frideric Handel.
Twelve-tone and serial music were dominant forms of composition following World War II and remained so at least through the mid-1970s. In 1961, Ann Phillips Basart published the pioneering bibliographic work in the field.
A rare volume dedicated entirely to scholarship on the genre of the concerto.
The composition of the solo concerto studied as an evolving debate (rather than a static technique), and for its stylistic features.
A papal conspiracy is revealed in the midst of a plague in this Italian historical thriller that sparked controversy with the Vatican. Rome, 1683. The citizens anxiously await new of the battle for Vienna as Ottoman forces lay siege to the defenders of Catholic Europe. Meanwhile, a suspected outbreak of plague causes a famous Roman tavern to be placed under quarantine. One of its detainees, Atto Melani, a spy in the service of France, discovers a secret passage leading deep into the Roman underworld. But what he uncovers there is even more astonishing: a plot to assassinate Pope Innocent XI and plans to use the plague as a weapon of mass destruction against the Islamic world. Meticulously researched and brilliantly conceived, Imprimatur is based on startling historical revelations that have been concealed for centuries, drawing on original papers discovered in the Vatican archives. A thriller in the vein of Umberto Eco's The Name of the Rose, this novel sheds new light on the power struggles of 17th-century Europe. First published to great controversy in Italy in 2002, Imprimatur was boycotted by the Italian press before being translated into 20 languages with editions published in 45 countries.
Companion CD contains 13 recordings from 1942-1952.
Evidence indicates that the concertos of Vivaldi, Bach, Haydn etc were performed as chamber music, not the full orchestral works commonly assumed. The concertos of Vivaldi, Bach, Handel and their contemporaries are some of the most popular, and the most frequently performed, pieces of classical music; and the assumption has always been they were full orchestral works. This book takes issue with this orthodox opinion to argue quite the reverse: that contemporaries regarded the concerto as chamber music. The author surveys the evidence, from surviving printed and manuscript performance material, from concerts throughout Europe between 1685 and 1750 (the heyday of the concerto), demonstrating that concertos were nearly always played one-to-a-part at that time. He makes a particularly close study of the scoring of the bass line, discussing the question of what instruments were most appropriate and what was used when. The late Dr RICHARD MAUNDER was Fellow of Christ's College, Cambridge.