Prologue. The Big Problem -- The Welcome Arrival -- The Symphonic Premiere -- The Aesthetic Conflict -- The National Question -- The Brewing Storm -- The Fiery Debate -- The Racial Challenge -- The Spiritual Aftermath -- Epilogue. The New World -- Appendix. The Musical Tornado.
"Volinworks, in two volumes, is a comprehensive method for the adult beginner, taking students carefully from the very first steps to around Grade 3 standard. The approach suits self-taught beginners as well as those who have teachers, and emphasizes the importance of good habits from day one, of using your ear, and of always aiming for the best sound. Each volume contains a wide selection of repertoire, plus detailed descriptions and photos to demonstrate correct playing positions. The accompanying CD includes play-along tracks for all pieces, with piano, string quartet, or band backings, plus aural exercises and downloadable PDFs of piano accompaniments. There are supporting video clips and additional resources on a dedicated website, making Violinworks a complete resource for all new learners."--Publisher's description.
A Kirkus Reviews Best Nonfiction Book of 2021 A provocative interpretation of why classical music in America "stayed white"—how it got to be that way and what can be done about it. In 1893 the composer Antonín Dvorák prophesied a “great and noble school” of American classical music based on the “negro melodies” he had excitedly discovered since arriving in the United States a year before. But while Black music would foster popular genres known the world over, it never gained a foothold in the concert hall. Black composers found few opportunities to have their works performed, and white composers mainly rejected Dvorák’s lead. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to George Gershwin’s Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Aaron Copland and Leonard Bernstein, he looks back to literary figures—Emerson, Melville, and Twain—to ponder how American music can connect with a “usable past.” The result is a new paradigm that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Levi Dawson, and Florence Price, while giving increased prominence to Charles Ives and George Gershwin. Dvorák’s Prophecy arrives in the midst of an important conversation about race in America—a conversation that is taking place in music schools and concert halls as well as capitols and boardrooms. As George Shirley writes in his foreword to the book, “We have been left unprepared for the current cultural moment. [Joseph Horowitz] explains how we got there [and] proposes a bigger world of American classical music than what we have known before. It is more diverse and more equitable. And it is more truthful.”
Lynn Kleiner presents her creative ideas and stories for movement and percussion-playing as she delights preschool through primary-age children with orchestral favorites. There are selections for marching, dancing, trotting, skipping, jumping, hiding, sleeping, playing instruments, entering class, and saying goodbye. Lots of fun, this book will allow teachers to capture children's interest in orchestral music for a lifetime. The CD contains 25 tracks including selections from Bizet's Carmen, Saint-Saëns' Carnival of the Animals, Dvorák's New World Symphony, Haydn's Surprise Symphony, and many more.
(Faber Piano Adventures ). Piano arrangements of some of the great symphonic and operatic masterworks of Western music. Contents include: Aria (from the Peasant Cantata) by J.S. Bach * La Donna e Mobile (from the opera Rigoletto ) by Verdi * Largo (from the opera Die Fliedermaus ) by J. Strauss, Jr. * The Little Man in the Woods (from the opera Hansel and Gretel ) by Humperdinck * March Militaire by Shubert * Overture (from the opera William Tell ) by Rossini * Pizzicato Polka by J. Strauss, Jr. & J. Strauss * Polvetzian Dance No. 17 (from the opera Prince Igor ) by Borodin * Roses from the South by J. Strauss, Jr. * The Rage Over the Lost Penny by Beethoven * Theme from "The Surprise" Symphony by Haydn * Theme from Trumpet Concerto in Eb by Haydn * Trepak (from the ballet The Nutcracker ) by Tchaikovsky.
(Amadeus). With style, wit, and expertise, Leonard Bernstein shares his love and appreciation for music in all its varied forms in The Infinite Variety of Music , illuminating the deep pleasure and sometimes subtle beauty it offers. He begins with an "imaginary conversation" with George Washington entitled "The Muzak Muse," in which he argues the values of actively listening to music by learning how to read notes, as opposed to simply hearing music in a concert hall. The book also features the reproduction of five television scripts from Bernstein on the influence of jazz, the timeless appeal of Mozart, musical romanticism, and the complexities of rhythmic innovation. Also included are Bernstein's analyses of symphonies by Dvorak, Tchaikovsky, Beethoven, and Brahms, a rare reproduction of a 1957 lecture on the nature of composing, and a report on the musical scene written for the New York Times after his sabbatical leave from directorship of the New York Philharmonic during the 1964-65 season.
Theme from "New World Symphony" (Largo) by Antonín Dvořák. Easy sheet music for soprano recorder and piano, included backing track. Key : C - time 4/4.
The principal theme from the second movement is equal in fame and popularity to Pachelbel's Canon and Albinoni's Adagio. This incredibly simple and beautiful theme was set to words by one of Dvorak's pupils, William Arms Fisher. The resulting song Goin' Home is now as famous as the original symphonic writing. This incredibly beautiful melody can now be performed by a high school level ensemble. The horn and flugelhorn share in the principal theme and the first trumpet and trombone have a great duet passage in the middle section. A must on every brass program!