Mozart's well-known F major Sonata is nicely presented in this Masterworks Edition complete with performance helps, instructions on ornamentation, and notes within the score that show differences between the "Autograph Edition" and the "First Edition," with an especially lengthy portion of the 2nd movement showing the notation from both versions on separate staves.
These Opera Guides are ideal com-panions to the opera. They provide stimulating introductory articles together with the complete text of each opera in English and the original.This famous opera ends, after the hero is dragged down to hell, with a warning that evil shall not go unpunished. 'Hardly', as Michael F. Robinson notes, 'one's usual idea of a "e;comic"e; subject!' So this guide opens with a brief look at what is actually comic about it. David Wyn Jones gives an overall view of the score: he shows how the musical keys are arranged so that the dramatic momentum over two long acts is maintained and discusses orchestration and dramatic pacing in the most important scenes. Christopher Raeburn contributes a lively portrait of the 'libertine librettist' who, after his Vienna triumphs, was hounded out of London for his debts and eventually died in New York - 'revered as the father of Italian studies in America'. The full original text is given, with a pointed modern translation.
Collection of essays in a single volume for nonspecialists with information about each of Mozart's compositions, where, when, and why it was written, what it is like, and what special significance it may have within the composer's oeuvre.
The Low Brass Player's Guide to Doubling is a guide for low brass players who wish to learn a different low brass instrument. By performing well on several instruments, doublers become more complete musicians, regardless of the instrument being played at any given moment. Taking up a secondary instrument will introduce you to new composers, repertoire, and ideas that will enhance your musicianship. Doubling necessitates more thoughtful playing and leads to more thoughtful teaching; your resulting instruction becomes more effective on every instrument you teach. Playing more instruments will also increase your earning potential!The Low Brass Player's Guide to Doubling includes chapters devoted to: tenor trombonists doubling on bass trombone; bass trombonists doubling on tenor trombone; trombonists doubling on euphonium; trombonists doubling on tuba; tuba players doubling on euphonium; euphonium and tuba players doubling on trombone; alto trombone; contrabass trombone; bass trumpet; and cimbasso. Also included are fingering charts, overtone series charts and targeted fundamentals for each instrument. The targeted fundamentals are designed to help players learn the new instrument efficiently by extracting fundamental skills unique to the new instrument.
This definitive volume, the second, largest, and most central in Newman's History of the Sonata Idea, covers the period from the first sample Italian sonatas using the new techniques of the Alberti bass about 1735 to the succession of masterpieces by Haydn, Mozart, and Beethoven which extended until about 1820. It is one of the few books to deal exclusively with the classical era in music. Originally published in 1963. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
Central to the repertoire of Western art music since the 18th century, the symphony has come to be regarded as one of the ultimate compositional challenges. In his five-volume series The Symphonic Repertoire, the late A. Peter Brown explores the symphony from its 18th-century beginnings to the end of the 20th century. In Volume 1, The Eighteenth-Century Symphony, 22 of Brown's former students and colleagues collaborate to complete the work that he began on this critical period of development in symphonic history. The work follows Brown's outline, is organized by country, and focuses on major composers. It includes a four-chapter overview and concludes with a reframing of the symphonic narrative. Contributors address issues of historiography, the status of research, and questions of attribution and stylistic traits, and provide background material on the musical context of composition and early performances. The volume features a CD of recordings from the Bloomington Early Music Festival Orchestra, highlighting the largely unavailable repertoire discussed in the book.
The Piano in Chamber Ensemble describes more than 3,200 compositions, from duos to octets, by more than 1,600 composers. It is divided into sections according to the number of instruments involved, then subdivided according to the actual scoring. Keyboard, string, woodwind, brass, and percussion players and their teachers will find a wealth of chamber works from all periods.
