The violin was first mentioned in a book in the sixteenth century. An abundant and diverse literature on the instrument has grown since then, and a complete general guide to these materials has not been produced in the modern era. The last, Edward Heron-Allen's De Fidiculis Bibliographia , was published in1894. This book fills that void, organizing and annotating information on the violin from a variety of fields and sources. It provides a comprehensive, though selective, guide to all facets of the instrument. The book is divided into 4 main parts: Reference and General Studies; Acoustics and Construction; Violin Playing, Performance Practice, and Music; and Violinists, Composers, and Violin Teachers. It will serve as a ready reference for students and scholars, and is a welcome addition to the esteemed Routledge Music Bibliography series.
Although Francesco Geminiani is a relatively well-known composer whose name is frequently cited in studies of baroque music, his biography and works have been relatively little researched. His music was often analysed without due reference to the biographical and historical background, and his multifarious activities as violinist, composer, theorist, and small-scale entrepreneur were never considered in their full interrelationship. The present study represents a first attempt at providing a comprehensive account of a composer who in the first half of the eighteenth century dominated the English musical scene alongside Handel. The first volume traces Geminiani's life and career from his birth in Lucca in December 1687 to his activities in three centres: London, Paris, and Dublin. After analysing the critical reception to Geminiani, both contemporary and modern, Dr Careri examines his compositions by genre, illustrating his remarks with some 39 music examples, some presented in facsimile. The second volume is a complete thematic catalogue with music incipits, containing details of primary sources, reworkings and transcriptions, and modern editions.
This wonderful book is written for musicians seeking to build or extend a sonata repertoire. Analyses are given of both well-known and many lesser-known pieces of music, with recommendations on performance as well as descriptions of difficulties. Many are suitable for student or amateur musicians. This is mainly a book for violinists, though; many of the keyboard parts of these pieces are little more than continuo accompaniment. The second volume, detailing the music of Beethoven onward, contains descriptions of music that puts the keyboardist on more equal footing with the violinist.
Named a Library Journal Best Reference of 2023 - "Bravo! An invaluable source for scholars and concertgoers.” - Library Journal In the history of the Western musical tradition, the Baroque period traditionally dates from the turn of the 17th century to 1750. The beginning of the period is marked by Italian experiments in composition that attempted to create a new kind of secular musical art based upon principles of Greek drama, quickly leading to the invention of opera. The ending is marked by the death of Johann Sebastian Bach in 1750 and the completion of George Frideric Handel’s last English oratorio, Jephtha, the following year. The Historical Dictionary of Baroque Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 500 cross-referenced entries on composers, instruments, cities, and technical terms. This book is an excellent resource for students, researchers, and anyone wanting to know more about baroque music.
During a century dominated by absolute monarchy and powerful aristocrats, the Mozart family traversed Europe on the quest for artistic consecration and prestigious promise. Was the ambition of his father, Leopold, combined with the genius of his son, Wolfgang, enough to reach their mission?The story of their lives, in order to get to know and understand them, follows the sojourns of the adventurous journeys that they carried out. This book takes a penetrating look at the life and experiences of the Mozart family during the 1700's: beyond the myth of Mozart, an in-depth view of their world. In this new publication, available in an engaging two-volume series by Diego Minoia, we learn about the life and times of the Mozart family. Everything that there is to discover about these extraordinary characters and the epoch in which they lived is illustrated in this interesting and curious story that narrates approximately thirty years of their lives: travels and encounters, triumphs and disappointments, petty deceit and genius, rebellion and defeat. The story of the Mozart family, told through their own eyes, thanks to a rich collection of letters containing a wealth of information, enriched with detailed study that allows us a complete panoramic view of the circles in which they traveled, between journeys and presentations, intrigue and friendship, compliance to the powerful and desire for autonomy. An overview of a family and of a European continent that helps us understand the Eighteenth Century from a protagonist who rendered it one of the most prolific eras for music.“The Mozarts: A Family Portrait” narrates the story of their lives until 1775, following them step by step, getting to know and understand them. Would you like to be their traveling companion? We will begin in Salzburg, where the family was formed and where Wolfgang Amadeus and his sister Maria Anna – known as Nannerl – were born to accompany them in their early travels to Munich and Vienna. We will then follow them in their very long European Grand Tour where the two young Mozarts were to become known as child prodigies, journeying through the principle courts of Germany, the Netherlands, France and England. 5,200 kilometers covered and 80 cities, visited in 1,269 days. No rock or pop star has ever accomplished such a tour!In Volume I, we will follow Mozart to Munich, then on to Vienna, and finally Paris. Volume II will see his return to Salzburg from London, traveling through France and Switzerland. This is the moment when Leopold Mozart's ambitions become more audacious. It was time for Wolfgang Amadeus to begin his formation in becoming a composer, and there was only one place to do this: Italy. And this is how father and son, alone, without the women of the family, confronted their three journeys to Dante's Bel Paese, where they made friends and found recognition, as well as some less complimentary opinions. We will continue to accompany the Mozarts along the various visits on their tour of Italy where they visited many important cities: Verona, Mantua, Milan, Bologna, Florence, Rome, Naples, Turin, Venice. We will discover through their travels the many interesting facts about how life was lived in the country of Bel Canto – beautiful singing. In the meantime, Amadeus the child, was growing into a mature musician, brought up to perfect his craft, having already composed his first operas, as well as being able to navigate his way through the creation of the sacred and profane vocal and instrumental music. The elderly prince-bishop who had supported the Mozarts passed away and was substituted by Hieronymus Colloredo, whose relationship with the family grew constrained over time. The small and provincial Salzburg didn't allow the young Wolfgang to express his full potential, who dreamed of the capital and a prestigious post at the Imperial Court.
An in depth study of the most superlative violin performers and teachers in history. The result of more than eleven years of deep investigation on the subject, this New History is by far the best available in the 21st century. It studies specifically the vibrato and its evolution. A study of the main violin schools of the world, with special emphasis in their evolution, and the direct conexión teacher-pupil. In the course of this history we will see how the great performers became, often, the great masters of new great violinists, who, in their turn, became the teachers of new superlative performers, and so on, in an uninterrupted chain of teacher-pupil intercommunication, the interrelation of whom is carefully studied, to higlight the evolution of the main violin playing schools. For each violinist we give a list of all the valuable instruments they owned and played, i.e. Stradivarius, Guarneri del Gesu, etc.. Such a complete and interesting information is not available in any other history. Contains a list of cassettes we have gathered for the better understanding of our players. Designed to be easily read by everyone, it has not complicated esoteric terms, but is written in plain words that everybody will understand. There is no need to be a professional musican to enjoy it. All you need to be is a music lover. But the main novelty is the sensational discovery of the real founder of the modern-vibrato violin school, with all kind of evidence, even written authentic letters that attest to it. This violinst is unknown in the present time. Contains very useful graphs of all the main schools, for an easy understanding of their evolution. Contains an encyclopaedia of all terms and names of the book that are not sufficently explained in it. Here the reader will be acquainted with the meaning of many musical terms that, although well know to musicians, are not so much known to others, who not being musicians, are, nevertheless, music lovers. But the encyclopaedia contains much more than that: men of letters, politicians, personalities, singers, pianists, composers, painters, etc. are duly explained in it. Done with loving care it sometimes surpasses its parent the book. Contains five sensational, unpublished, autographed letters by Kreisler, that will make readers tremble, plus the contentent of many other unpublished ones, by the most important musicians of the second half of the XIX century. Contains a series of very captivating collateral disquisitions on Modern abstract art; composer versus interpreter; the use of ornamentation; the easiness to reed music; Ingres and his violi; lisztomania and others. In a word, this "New history" is new because: It studies in depth the vibrato and its evolution. Links teachers to pupils, who become teacher in their turn, in a comprehensive general outlook of schools' evolution. It provides us with the list of all the valuable instruments of all our fiddlers. Contains a list of recommended cassettes, as musical examples. Easy to understand by every one, it avoids esoteric, pedantic terminology, and is written in plain laguage. It discovers, for the first time in history, the true founder of the vibrato, with all sort of evidence. With useful graphs of the main schools. Contains an encyclopaedia, which no other book of the genre has. The autographed unpublished letters of Kreisler will give the creeps to the reader. Contains a series of disquisitions on ornamentations; easiness to read music; composer versus interpreter; abstracat art; Ingres and his violin; Lisztomania and others, plus abundant, moving, anecdotes that distract and relax the attention of the reader.
Also Available: Orchestral Music Online This fourth edition of the highly acclaimed, classic sourcebook for planning orchestral programs and organizing rehearsals has been expanded and revised to feature 42% more compositions over the third edition, with clearer entries and a more useful system of appendixes. Compositions cover the standard repertoire for American orchestra. Features from the previous edition that have changed and new additions include: · Larger physical format (8.5 x 11 vs. 5.5 x 8.5) · Expanded to 6400 entries and almost 900 composers (only 4200 in 3rd Ed.) · Merged with the American Symphony Orchestra League's OLIS (Orchestra Library Information Service) · Enhanced specific information on woodwind & brass doublings · Lists of required percussion equipment for many works · New, more intuitive format for instrumentation · More contents notes and durations of individual movements · Composers' citizenship, birth and death dates and places, integrated into the listings · Listings of useful websites for orchestra professionals
This superbly authoratitive new work provides a comprehensive A-Z guide to some 1000 years of Western music. It explores in detail the lives and achievements of a vast range of composers, as well as looking at such key topics as music history (from medieval plainchant to contemporary minimalism), performers, theory and jargon. Throught Griffiths skilfully blends lightly worn scholarship with personal insight, whether examining the emotional colouring that different musical keys achieve or charting the rise and development of the symphony.
