" . . . a generous treatment of some of Brahms's most endearing and imaginative creations." —Choice " . . . an excellent addition to the literature on vocal chamber music . . . " —Notes In this sequel to A Guide to the Solo Songs of Johannes Brahms, Lucien Stark opens up a beautiful and largely neglected repertoire, providing the full German text for each song, along with a new English translation, notes on vocal ranges, and a wealth of engaging commentary of technical, aesthetic, and historical interest.
" . . . a generous treatment of some of Brahms's most endearing and imaginative creations." —Choice " . . . an excellent addition to the literature on vocal chamber music . . . " —Notes In this sequel to A Guide to the Solo Songs of Johannes Brahms, Lucien Stark opens up a beautiful and largely neglected repertoire, providing the full German text for each song, along with a new English translation, notes on vocal ranges, and a wealth of engaging commentary of technical, aesthetic, and historical interest.
This new volume incorporates all entries from the previous editions by Arthur Wenk, expanding to cover writings drawn from periodicals, theses, dissertations, books, and Festschriften from 1940 to 2000. Over 9,000 references to analyses of works by over 1,000 composers of the nineteenth and twentieth centuries are included.
First published in 2011. Johannes Brahms: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a composer and performer. The second edition will include research published since the publication of the first edition and provide electronic resources.
Vocal chamber music encompasses a wide range of music composed for anything from a solo to twelve voices and instruments. Performing chamber music offers the singer a unique opportunity to increase collaboration with instrumentalists and improve technique, musicianship, artistry, and communication. So You Want to Sing Chamber Music offers a comprehensive guide to learning, rehearsing, and performing in this genre. The book explores such critical skills as choosing repertoire that is appropriate for one’s voice type, communicating with wind players and string players, preparing for a successful rehearsal, performance style, staging considerations, and recital programming. Also included are suggestions on using vocal chamber music as a pedagogical tool in the voice studio, alongside recommendations for listening and further reading. Additional chapters by Scott McCoy and Wendy LeBorgne address universal questions of voice science, pedagogy, and vocal health. The So You Want to Sing seriesis produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Chamber Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources
The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology).
Nineteenth-Century Choral Music is a collection of essays studying choral music making as a cultural phenomenon, one that had an impact on multiple parts of society. Rather than merely offering a collection of raw descriptions of works, the contributors focus their discussions on what these pieces reveal about their composers as craftsmen/women. Major works as well as other equally rich parts of the repertoire are discussed, including smaller choral works and contributions by composers such as Fanny Mendelssohn, Amy Beach, Charles Stanford,
Brahms Among Friends identifies patterns of listening, performance, and composition among close friends of Johannes Brahms and explores how those patterns informed the creation and reception of his music in the intimate genres of song, sonata, trio, and piano miniature. Among the tangled threads of counterpoint and circumstance that bound Brahms to his acquaintances was the technique of allusive musical borrowing, whereby a brief passage from a familiar work was drawn into the fabric of a new composition. For the specific listeners whose habits of mind and musicianship he knew best, allusive borrowings could become rhetorically charged gestures, persuasively revising the meanings his music conveyed and the interpretive strategies it invited. Primary documents, original manuscripts, music-analytic comparison, and kinesthetic parameters experienced in the act of performance all work in tandem to support ten case studies in the interplay between Brahms's small-scale works and the women and men who encountered them before publication. Central characters include violinist Joseph Joachim, singers Amalie Joachim, Julius Stockhausen, and Agathe von Siebold, composers Heinrich and Elisabeth von Herzogenberg, and pianists Emma Engelmann and Clara Schumann. For these musicians and for the composer himself, Brahms's allusive music served a broad variety of emotional needs and interpersonal ends. Yet across diverse repertoire and interdisciplinary correlates ranging from ethnography to psychoanalysis, each case study furthers a single, underlying aim: to reconstruct the mutually dependent perspectives of historically situated agents and restore forgotten features of their communicative landscapes as bases for both musical and historical scrutiny.
