Jan Dismas Zelenka, the brilliant but elusive contemporary of Bach, musically served the Catholic chapel of the dazzling Dresden court during the first half of the eighteenth century. Research has uncovered biographical information, and reveals the remarkable music of a major figure of the Baroque era.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
"Choral Repertoire is the definitive and comprehensive one-volume presentation of the most significant composers and compositions of choral music from the Western Hemisphere throughout recorded history. The book is designed for multiple uses-as a programming guide for practicing conductors, instructional resource for students and teachers of choral music, historic and stylistic reference for choral singers, and source of information about composers and compositions for choral enthusiasts-and as such, the book intends to further and make accessible important information relevant to the vast scope of choral music. Organized by era (Medieval, Renaissance, Baroque, Classical, and Modern), Choral Repertoire covers general characteristics of each historical era, trends and styles unique to various countries, biographical sketches of more than six hundred composers, and performance annotations of more than five thousand individual works. Of the composers, there is substantive coverage of women and composers of color, and of the repertoire, there is inclusion of lesser-known works as well as those works that are considered standard"--
Now available in paperback, this landmark biography was first published in 2000 to mark the 250th anniversary of J. S. Bach's death. Written by a leading Bach scholar, this book presents a new picture of the composer. Christoph Wolff demonstrates the intimate connection between Bach's life and his music, showing how the composer's superb inventiveness pervaded his career as a musician, composer, performer, scholar, and teacher.
A complete music appreciation course in one, 120-page, reproducible book/CD package. For each of the 22 featured composers there is a bio (focusing on his or her personal life), a portrait, a listing of the types of music he or she composed, composer factoids, and a timeline. The CD contains a listening example for each composer. The reproducible listening guide includes information about each listening example and a second by second what to listen for in the music." Also included are reviews (assessments) for each composer, plus more than two dozen pages of supplementary material. And it's all reproducible! Composers: Bach, Beethoven, Brahms, Copland, Debussy, Dvorák, Elgar, Handel, Haydn, Hensel, Hildegard, Ives, Joplin, Felix and Fanny Mendelssohn, Mozart, Schubert, Sousa, Stravinsky, Tchaikovsky, Verdi, Vivaldi, and Wagner. Reproducible PDFs included on the Enhanced CD, or purchase the Digital Download option to get a full PDF immediately. Great activities for remote teaching or distance learning!"
Detailed survey of Vivaldi's unjustly neglected chamber cantatas, showing them to stand comparison with his more famous works. Vivaldi's chamber cantatas for solo voice, some forty in total, are steadily gaining in popularity: but because of their relatively small place in the oeuvre of a composer famed for his productivity, and also on account of the general scholarly neglect of their genre, they are little discussed in the literature. This book comprehensively explores their literary and musical background, their relation to the composer's biography, the chronology of their composition, and their musical qualities. Each cantata is discussed individually, but there is also a broader consideration of aspects concerning them collectively, such as performance practice, topical allusion, and the conventions of Italian verse. The author argues that while Vivalid's cantatas are not as innovative as his concertos and operas, he produced several masterpieces in the genre that rank with his best music. MICHAEL TALBOT is Emeritus Professor of Music at the University of Liverpool.
Why are Americans being forced to consider homosexual acts as morally acceptable? Why has the US Supreme Court accepted the validity of same-sex "marriage", which, until a decade ago, was unheard of in the history of Western or any other civilization? Where has the "gay rights" movement come from, and how has it so easily conquered America? The answers are in the dynamics of the rationalization of sexual misbehavior. The power of rationalization-the means by which one mentally transforms wrong into right-drives the gay rights movement, gives it its revolutionary character, and makes its advocates indefatigable. The homosexual cause moved naturally from a plea for tolerance to cultural conquest because the security of its rationalization requires universal acceptance. In other words, we all must say that the bad is good. At stake in the rationalization of homosexual behavior is the notion that human beings are ordered to a purpose that is given by their Nature. The understanding that things have an in-built purpose is being replaced by the idea that everything is subject to man's will and power, which is considered to be without limits. This is what the debate over homosexuality is really about-the Nature of reality itself. The outcome of this dispute will have consequences that reach far beyond the issue at hand. Already America's major institutions have been transformed-its courts, its schools, its military, its civic institutions, and even its diplomacy. The further institutionalization of homosexuality will mean the triumph of force over reason, thus undermining the very foundations of the American Republic.
The first edition of Albert R. Rice's The Baroque Clarinet is widely considered the authoritative text on the European clarinet during the first half of the eighteenth century. Since its publication in 1992, its conclusions have influenced the approaches of musicologists, instrument historians, and clarinet performers. Twenty-eight years later, Rice has updated his renowned study in a second edition, with new chapters on chalumeau and clarinet music, insights on newly found instruments and additional material on the Baroque clarinet in society. Expanding the volume to include the chalumeau, close cousin and predecessor to the clarinet, Rice draws on nearly three decades of new research on the instrument's origins and music. Discoveries include two recently found chalumeaux in a private collection, one by Johann Heinrich Eichentopf of Leipzig, and attributions based on historical evidence for three more chalumeaux. Rice furthers the discussion to recently uncovered early instruments and historical scores, which shed light on the clarinet's evolution. Most essentially, Rice highlights the chalumeau's substantial late-seventeenth and early-eighteenth century repertory, comprising over 330 works by 66 composers, and includes a more expansive list of surviving Baroque clarinet works, organized by date, composer, and tonality/range. The Baroque Clarinet and Chalumeau provides a long-awaited follow-up to Rice's groundbreaking volume, drawing from a variety of sources-including German, Italian, Dutch, Swedish, Norwegian, Danish, Finnish, Flemish, Czech, and Catalan research-to bring this new information to an English-speaking audience. With his dedication to scholarly accuracy, Rice brings the Baroque clarinet into sharper focus than ever before.