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Provides advice for libraries on acquiring printed and recorded music; including information on preordering, the ordering process, secondhand and out of print materials, and more.
Issues for include section: The Organ world.
Conductors John Yaffé and David Daniels have created a one-stop sourcebook for orchestras, opera companies, conductors, and librarians who research and/or prepare programs of vocal excerpts—such as solos, ensembles, and choruses—for concert performance. In this book, readers will find detailed information on a vast repertoire of vocal pieces commonly extracted from operas, operettas, musicals, and oratorios—more than 1,750 excerpts from 450 parent works. Modeled on Daniels’ Orchestral Music, Arias, Ensembles, & Choruses includes basic historical details about each parent work as well as extract titles, subtitles, voice types, keys, durations, locations in the original work (with page numbers in both full scores and piano-vocal scores), and exact instrumentation. It also lists the publishers that make available the orchestral materials for just the excerpt being programmed, independent of the full parent work. Until now, conductors and orchestra librarians commonly had to first leaf through full scores, searching for one elusive three-minute aria after another, only to then consult multiple publishers' catalogues to compile crucial information on all the excerpts proposed for a concert or recording. This book constitutes a single source for finding that information. In many cases, the individual entries include valuable insider information on common performance practice, including start- and stop-points, transpositions, and conventional cuts. Searching for repertoire is made easy with the detailed title index and appendixes devoted to ensemble excerpts, all categorized by personnel (e.g., duets, trios, quartets, quintets, sextets, choruses) and language (Czech, English, French, German, Italian, Latin, Russian). This book is the ideal tool for the working conductor and orchestral librarian, as well as music program directors at colleges and conservatories, opera companies, and symphony orchestras. As of October 2015, a new printing of this book has occurred to correct errors in the index. A PDF version of the new index is available to previous purchasers of the volume. Please contact Rowman & Littlefield's music editor for assistance.
Ever since Peter Pan flew in through Wendy Darling's nursery window and took her off to Never Land, Barrie's classic adventure story has thrilled and delighted generations of theatre-goers. J M Barrie wrote Peter Pan first as a work of prose and then adapted it for the stage. John Caird and Trevor Nunn first adapted Barrie's book and play in the 1980s for the Royal Shakespeare Company and then in 1997 for the Royal National Theatre. "A feast of nursery nostalgia, wizard effects, Edwardian lingo and tinselled adventure" Observer
This is a new reference handbook for conductors and orchestral librarians searching for available repertoire for orchestral 'pops' concerts. Various appendixes allow for easy cross-referencing for efficient searches.
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
Today Vincent Novello (1781-1861) is remembered as the father of the music-publishing firm. Fiona Palmer's evaluation of Novello the man and the musician in the marketplace draws on rich primary sources. It is the first to provide a rounded view of his life and work, and the nature of his importance both in his own time and to posterity. Novello's early musical training, particularly his experience of music-making in London's embassy chapels, influenced him profoundly. His practical experience as director of music at the Portuguese Embassy Chapel in Mayfair informed his approach to editing and arranging. Fundamental moral and social attitudes underpinned Novello's progress. Ideas on religion, education and the function of family and friendship within society shaped his life choices. The Novello family lived in turbulent times and was widely-read, discussing politics and religion and not only the arts at its social gatherings. Within Vincent and Mary Novello's close circle were radical thinkers with republican views - such as Leigh Hunt and Charles Cowden Clarke - who saw sociability as a means of reorganizing society. Thematic studies focus on Novello as practical musician and educator, as editor, and as composer. His connections with institutions such as the Covent Garden and Pantheon Theatres, the Philharmonic Society and Moorfields Chapel, together with his adjudicating and teaching activities, are examined. In his wide-ranging editorial work Novello found his true vocation positioning himself as preservationist, pioneer and philanthropist. His work as composer, though unremarkable in quality, mirrored the demands and expectations of his consumers. Novello emerges from this study as a visionary who single-mindedly pursued greater musical knowledge for the benefit of everyone.
“The indelible imprint of sacred music drama throughout history is undeniable . . . and its resurgence in the twentieth and twentieth-first centuries stirs the curiosity.” Carl Gerbrandt, in pursuing these issues, has brought to our fingertips a stimulating historical perspective on sacred music drama as well as an extensively annotated list of repertoire. Years of research have gone into providing information on centuries of sacred music dramas/operas which for the most part have been known to very few. Included in these pages of his Second Edition are over 330 sacred music dramas/operas, each with scholarly and practical information that will be of interest and great value to the opera director, the performer, the scholar, the conductor and the church musician. Gerbrandt's SETTING THE STAGE section is an enlightening overview of sacred music history. The repertoire selected includes works from the Middle Ages to works being written today. Each work is reviewed with regard to the source of libretto, the style and difficulty of its musical content, the date and location of the first performance, the number of acts and scenes, and the performance length of the work. Additionally, each role is listed by name and voicing, and in most cases, the vocal range is indicated. The choral demands, orchestrations and dance requirements are identified. A thorough plot synopsis as well as the location of scores and parts is given. Ten appendices cross-reference textual sources and topical content while assisting in the selection of works for worship services or theatrical performances. Select contact information of publishers and composers in also included. Sacred Music Drama: The Producer’s Guide fills a long standing void by acquainting directors, students, performers and interested readers with the numerous sacred music dramas which are available.