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English keyboard art from Robertsbridge Codex (c. 1325) to John Field. Illuminating coverage of organ, harpsichord, pianoforte, other instruments; works of Tallis, Byrd, Gibbons, Tomkins, many others. Bibliography.
A smaller version of the harpsichord, the virginal enjoyed wide popularity during the 16th and 17th centuries. Based upon a 1591 manuscript, this collection features 42 pieces in modern notation.
Excerpt from Early Keyboard Music, Vol. 2: A Collection of Pieces Written for the Virginal, Spinet, Harpsichord, and Clavichord Besides dances, composers of this period occupied themselves with Fantasias, Preludes, Toccatas, and Variations. The Toccata was one of the earliest specifically instrumental forms. It had no well-defined requirements; but one of its obvious features was a flowing movement, often regularly recurring figures, frequently of rapid running passages, with little decided melodic character; thus, like the Fantasia and Prelude, it was in the nature of a brilliant improvisation. In the Variation was soon found a medium for the development and display of the composer's ingenuity and the executant's technical facility; and it was considered appropriate to many of the dances just described. When composers came to perceive the value of the artistic balance and contrast to be obtained by grouping together dances of different tempos, rhythms and character, grave and gay, the Suite came into being. There was no definite rule, even in the latest and lightest development of the Suite, establishing the kind and order of the movements to be used; and in the earliest examples we find an infinite variety. However, the Suite was always in the same key throughout. By the beginning of the seventeenth century some general principles of choice and arrangement were cur rently accepted; with or without a Prelude, the Suite was often constituted of an Allemande, a Courante, a Sarabande and a Gigue, in the above order; but sometimes other movements were employed. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
A History of the Harpsichord brings together for the first time more than 200 photographs, illustrations, and drawings of harpsichords in public museums and private collections throughout Europe the United States. Edward L. Kottick draws on his extensive technical knowledge and experience as a harpsichord builder to detail the changing design, structure, and acoustics of the instrument over seven centuries.Based on painstaking research, the book considers the place of the instrument in society and vividly describes the market forces that brought about changes in its form, decoration, and cultural importance. An accompanying CDincludes performances on several of the historical instruments described and illustrated in the volume, including a 1580 spinett virginal by Martin van der Biest and instruments built by Ruckers and Pleyel. The volume devotes attention to American harpsichord design as well as to present and future uses of the instrument.Also of interestThe History of the PianoforteA Documentary in SoundEva Badura-Skoda0-253-33582-5 HB £37.95
Remarkable treasury includes nearly all of early Dutch composer's difficult-to-find organ and keyboard works, reproduced from a clearly-printed, reliable 1943 edition. Includes chorale variations; toccatas and fantasias; variations on secular, dance tunes. Also 3 incomplete and/or modified works, and an authentic fantasia by John Bull, based on a now-lost Sweelinck fugue. New Publisher's Note. Contents with incipits.
This is the first in-depth study in any language exploring the vast cultural range of instrumental music during the Renaissance.
"You have the luck of Croesus on stilts (as my Auntie Vi would have said) if you’ve had the sort of career, ups and downs, warts and all that I have in that wondrous little corner of show business called musical theatre." One of the most successful and distinguished artists of our time, Andrew Lloyd Webber has reigned over the musical theatre world for nearly five decades. The winner of numerous awards, including multiple Tonys and an Oscar, Lloyd Webber has enchanted millions worldwide with his music and numerous hit shows, including Jesus Christ Superstar, Evita, Cats, The Phantom of the Opera—Broadway’s longest running show—and most recently, School of Rock. In Unmasked, written in his own inimitable, quirky voice, the revered, award-winning composer takes stock of his achievements, the twists of fate and circumstance which brought him both success and disappointment, and the passions that inspire and sustain him. The son of a music professor and a piano teacher, Lloyd Webber reveals his artistic influences, from his idols Rodgers and Hammerstein and the perfection of South Pacific’s “Some Enchanted Evening,” to the pop and rock music of the 1960s and Puccini’s Tosca, to P. G. Wodehouse and T. S. Eliot. Lloyd Webber recalls his bohemian London youth, reminiscing about the happiest place of his childhood, his homemade Harrington Pavilion—a make-believe world of musical theatre in which he created his earliest entertainments. A record of several exciting and turbulent decades of British and American musical theatre and the transformation of popular music itself, Unmasked is ultimately a chronicle of artistic creation. Lloyd Webber looks back at the development of some of his most famous works and illuminates his collaborations with luminaries such as Tim Rice, Robert Stigwood, Harold Prince, Cameron Mackintosh, and Trevor Nunn. Taking us behind the scenes of his productions, Lloyd Webber reveals fascinating details about each show, including the rich cast of characters involved with making them, and the creative and logistical challenges and artistic political battles that ensued. Lloyd Webber shares his recollections of the works that have become cultural touchstones for generations of fans: writings songs for a school production that would become his first hit, Joseph and the Amazing Technicolor Dreamcoat; finding the coterie of performers for his classic rock opera Jesus Christ Superstar; developing his first megahit, Evita, which would win seven Tonys Awards, including Best Musical; staking his reputation and fortune on the groundbreaking Cats; and making history with the dazzling The Phantom of the Opera. Reflecting a life that included many passions (from architecture to Turkish Swimming Cats), full of witty and revealing anecdotes, and featuring cameo appearances by numerous celebrities—Elaine Paige, Sarah Brightman, David Frost, Julie Covington, Judi Dench, Richard Branson, A.R. Rahman, Mandy Patinkin, Patti LuPone, Richard Rodgers, Norman Jewison, Milos Forman, Plácido Domingo, Barbra Streisand, Michael Crawford, Gillian Lynne, Betty Buckley, and more—Unmasked at last reveals the true face of the extraordinary man beneath the storied legend.
Authorship is a pertinent issue for historical musicology and musicians more widely, and some controversies concerned with major figures have even reached wider consciousness. Scholars have clarified some of the issues at stake in recent decades, such as the places of borrowing and arranging in the creative process and the wider cultural significance of these practices. The discovery of new sources and methodologies has also opened up opportunities for reassessing specific authorship problems. Drawing upon this wider musicological literature as well as insights from other disciplines, such as intellectual history and book history, this book aims to build on what has already been achieved by focussing on keyboard music. The nine chapters cover case studies of authorship problems, the socioeconomic conditions of music publishing, the contributions of composers, arrangers, copyists and music publishers in creating notated keyboard compositions, the functions of attribution and ascription, and how the contexts in which notated pieces were used affected concepts of authorship at different times and places.