Crying Out Loud for Large Ensemble - Study Score
(Boosey & Hawkes Scores/Books). This work was commissioned by Ensemble Modern. It was composed in 2003 and first performed on 26 March 2004 at Alte Oper, Frankfurt, Germany by Ensemble Modern, conducted by Oliver Knussen. The UK edition of The Guardian wrote "Crying Out Loud is a 15-minute musical tantrum based on hiccupping rhythmic figures that seemingly pay homage to Louis Andriessen, before developing into a more familiar argument in which Bartok and Miles Davis tussle forsupremacy." This work may also be performed with a larger string section. Suitable for advanced standard performers
Lindberg: Piano Concerto No. 3, Hps 1801 Study Score
(Boosey & Hawkes Scores/Books). Commissioned by China National Centre for The Performing Arts, San Francisco Symphony, Toronto Symphony Orchestra, Philharmonie de Paris Orchestre de Paris, NDR Elbphilharmonie Orchester, and the New York Philharmonic, this work was composed in 2022 and first performed that year at Davies Symphony Hall, San Francisco, CA, by Yuja Wang (piano) and the San Francisco Symphony, conducted by Esa-Pekka Salonen. The Wall Street Journal commented, "Mr Lindberg's work, in three distinct movements, teases music lovers with homages to Ravel and Debussy, Prokofiev and Rachmaninoff, Liszt and, in the finale, Gershwin. But in doing so, the composer achieves that rarest of admixtures, a work that recalls the greatness of others while creating a sound world entirely his own."
Lindberg: Quintet for Oboe, Clarinet (B-Flat), F Horn, Bassoon, Piano Score and Parts
(Boosey & Hawkes Chamber Music). Commissioned by The Santa Fe Chamber Music Festival in celebration of its 50th Anniversary in 2023. The composer remarks that "this new quintet has no less than Mozart and his K452 as its starting point. To have an oboe, clarinet, horn, and bassoon with an accompanying piano is by no means a usual setup for chamber music. Beethoven wrote his own work inspired by Mozart's unusual ensemble, and now here I come to follow in their footsteps! The dialogue between the winds and the piano is one feature of this quintet, but what we have here is also like a miniature orchestra. And, on top of that, there are these four instruments in the wind section that act like a choir with soprano, alto, tenor, and bass." Lindberg adds one more name from the canon of classical music as an influence: "I've been curious to explore why just two chords of Purcell are enough to immediately identify a piece of music by this master. So, by studying his use of harmony for many years now, I've come to solutions and key elements that can somehow work the same way they did in Purcell's music 400 years ago. One can say that I've spent my time composing chamber music in good company!"
Prokofieff: Le Pas d'Acier Op. 41a - Symphonic Suite for Orchestra Study Score
(Boosey & Hawkes Scores/Books). This suite was made by Prokofieff from the score of his third ballet for Diaghilev. Gerard McBurney comments that the ballet was "a highly entertaining product of that 1920s fashion for making art about the brave new world of machines and heavy industry and strong-muscled men engaged in hard labour. For good measure Prokofieff and his collaborators threw in a light-hearted sub-plot as well, about a sailor and his girl. The result is one of his most poster-paint scores, filled with bright and brittle imagery, breezy optimism and pulsing motor-rhythms." When Prokofieff extracted the symphonic suite he cut and reordered the material and altered quite a few passages, to give the piece more of a symphonic feel and make it more effective in the concert hall. He ends the suite with the most exciting and original music in the score, an apotheosis of the life and sounds of an early 20th-century factory. He makes marvellous use of the orchestra to describe the humming and whirring of machinery, complete with spinning cogs and flywheels and the thunder of hammers and chains.
Lindberg: Serenades Hps 1803 for Orchestra Study Score
(Boosey & Hawkes Scores/Books). Commissioned by the Chicago Symphony Orchestra Association and co-commissioned by Radio France and Norddeutscher Rundfunk, this work was composed in 2020. It was first performed the following year at Symphony Center, Chicago, by the Chicago Symphony Orchestra, conducted by Hannu Lintu. The Chicago Classical Review commented, "There is a lurking elemental power in this turbulent work, echoing Lindberg's compatriot Jean Sibelius, but transmuted through a 21st-century lens. Cast in a single movement of 15 minutes, the music also fitfully evokes the middle movements of Mahler's Seventh Symphony in its sense of nocturnal unease." The Times added, "With a shimmer of strings, ominous brass and the moth-wing flurries of woodwinds, Serenades drew us into the depths of the night ... the chameleon Finnish composer has written a visceral, turbulent nightscape."
Lindberg: Piano Concerto No. 3 for 2 Pianos
(BH Piano). Commissioned by China National Centre for The Performing Arts, San Francisco Symphony, Toronto Symphony Orchestra, Philharmonie de Paris Orchestre de Paris, NDR Elbphilharmonie Orchester, and the New York Philharmonic, this work was composed in 2022 and first performed that year at Davies Symphony Hall, San Francisco, CA, by Yuja Wang (piano) and the San Francisco Symphony, conducted by Esa-Pekka Salonen. The Wall Street Journal commented, "Mr Lindberg's work, in three distinct movements, teases music lovers with homages to Ravel and Debussy, Prokofiev and Rachmaninoff, Liszt and, in the finale, Gershwin. But in doing so, the composer achievesthat rarest of admixtures, a work that recalls the greatness of others while creating a sound world entirely his own."
Stravinsky: Pulcinella Suite Arranged for Piano Trio by Richard Birchall
(BH Piano). Igor Stravinsky himself helped to arrange music from his ballet Pulcinella for both violin/piano and cello/piano duos, giving each the title Suite italienne, so it seemed quite logical, albeit almost a century later, to bring these forces together and create a new Pulcinella Suite for piano trio. It is striking that no piano trio music by Stravinsky has existed up to this point. Given the extent to which Stravinsky takes material directly from earlier Italian music (Gallo, Pergolesi and others) it provided an interesting challenge to the arranger: to reduce a full orchestral score to three instruments while retaining the essential Stravinsky elements, preserving his respect for the Italian originals while always being true to his later miraculous creativity.
Kats-Chernin: Wild Swan Suite in 10 Movements for Violin and Piano
(Boosey & Hawkes Chamber Music). "Being Russian born I have a strong connection to the ballet scores of Tchaikovsky, Prokofiev and Stravinsky, and as a result in theWild Swans, more than in any other work of mine, I allowed myself the freedom to roam through 200 years of musical genres, ranging from Hungarian Operetta through folk music and even including the influences of jazz and popular music," says Elena Kats-Chernin. The full-length work, which premiered in Sydney in 2003, was written for choreographer Meryl Tankard after the two artists had already worked together for the opening ceremony of the 2000 Olympic Games, and became one of the composer's greatest successes. Many excerpts in various arrangements have a concert life of their own today - including the world-renowned Eliza Aria. Arranged by the composer in 2004 for violin and piano after the original orchestral version, the half-hour suite comprises ten characteristic movements: Green Leaf Prelude, Eliza Aria, Brothers, Wicked Witch (piano solo), Magic Spell Tango, Glow Worms, Darkness of the Forest, Eliza and the Prince, Mute Princess, Transformation.
Offenbach: Orpheus in the Underworld - Opera-Bouffon in 2 Acts and 4 Scenes, 1848 Version Vocal Score
(Boosey & Hawkes Scores/Books). The expanded new edition includes the parts of Offenbach's probably most popular work that have become accessible since 1999. The quartet La Barque a Caron (Charon's Boat), the entr'acte for scene 3 as well as two versions of the finale of scene 3 and finally the couplets of Amphitrite have been rescued from oblivion - numbers of both musical and scenic relevance which complete the widely performed, award-winning edition of Orphee aux Enfers as part of the Offenbach Edition Keck. Access to the critical report and further text and material is facilitated by replacing the previously separate CD-ROM supplement with online links. Indispensable for study and performance! Text is in French and German.
Hoeller: Assonanzen-Quintett for Clarinet and String Quartet Set of Parts
(Boosey & Hawkes Chamber Music). The work was commissioned by the Schwetzingen Mozart Festival at the suggestion of clarinetist Nikolaus Friedrich who wished to enrich the rather meagre repertoire for basset clarinet. This edition contains the part of this instrument, much appreciated by Mozart, arranged for modern B-flat clarinet. As the title suggests, audible tonal and motivic analogies have a formative effect in this cycle, the parts of which the composer regards as five "sound poems, interconnected in some ways," and which also refers motivically to other works by Holler. At the centre is a slow and expressive movement in the character of a lament, which is linked by the seven-tone motto A-B flat-E flat-C-B-E-D (German: a-b-es-c-h-e-d (= "Abschied", meaning "farewell")) to the surrounding lively movements, some of which seem deliberately improvisatory. The strings, although accompanying, are hardly less virtuoso than the solo wind instrument, especially in the rapid finale.
Winterberg: Sonate for Violin and Piano
(Boosey & Hawkes Chamber Music). Hans Winterberg has only recently been rediscovered as one of the most important representatives of the Czech avant-garde of the first half of the 20th century. Performed but not published during his lifetime, his works were locked away after his death due to tragic circumstances and are now being published for the first time in a collaboration between the Exilarte Centre of the Vienna University of Music and Boosey & Hawkes. In contrast to his colleagues and friends Ullmann, Haas, Krasa and Klein, Winterberg survived the Shoah through a series of miracles. As a student of Alexander Zemlinsky and Alois Haba, he is both a successor to Janacek and a member of the wider circle of the Second Viennese School. The Sonata for Violin and Piano, written and premiered in Prague in 1936, is one of the most important chamber music works of the pre-war period. It exhibits all the characteristics of Winterberg's personal style: a sensuality of sound grounded in French Impressionism with a simultaneous expressionist rigour of harmony, a small-scale motivic structure, a sophisticated play with polyrhythmic patterns and, especially in the last movement, a musical impetus borrowed from Czech folklore.
Winterberg: 1. String Quartet: Symphony for String Quartet Score and Parts
(Boosey & Hawkes Chamber Music). 1936 was Hans Winterberg's most fruitful creative year before the catastrophe that befell Czechoslovakia with the annexation of the Sudeten territories in 1938 and the "rest of Czechoslovakia" in 1939 by Nazi Germany. Winterberg lived as a freelance composer in Prague, had found his own style after studying with Alexander von Zemlinsky, among others, and ventured into the great forms of the tradition for the first time: piano sonata, symphony and string quartet. Winterberg's First String Quartet, whose manuscript survived the turmoil of the war and was not premiered until 2024, "a masterpiece not only of Czech music but of the entire string quartet repertoire of the 20th century" (Michael Haas), is perhaps his most complex, most demanding work from the pre-war period. Interms of the interpretational challenges and the peculiarities of its stylistic approach, it lies at the interface between the quartets of Janacek and his pupil Pavel Haas and the quartet compositions of the protagonists of the Second Viennese School.
Winterberg: Quintett for Violin, 2 Clainets, Horn, Piano Score and Parts
(Boosey & Hawkes Chamber Music). The period around the mid-1930s was a particularly fruitful and eventful time in Hans Winterberg's life. He wrote his first important orchestral compositions and chamber music works as well as his first piano sonata. Winterberg, born in Prague in 1901, a child prodigy as a pianist and a cautious composer, finally ventured into the great forms and genres of tradition, but also experimented with unusual combinations of instruments, as in his first chamber music work, the Quintet for Violin, 2 Clarinets, Violoncello and Piano. The eccentric instrumentation may come as a surprise, but Winterberg chose it deliberately because the clearly delineated color spectra of the instruments suited him in his experiments with the overlapping of independent rhythmic levels. With the Quintet, Winterberg succeeded completely in amalgamating the influence of Schonberg and Berg, passed on by his teacher Zemlinsky, with the characteristics of the Bohemian-Moorish tradition passed on by Janacek. The result is music of enormous inner tension and rhythmic drive.
Winterberg: Trio 1950for Clarinet, Cello, Piano Score and Parts
(Boosey & Hawkes Chamber Music). In Hans Winterberg's turbulent first half of his life, there were two periods of calm, phases in which he must have had the feeling of having "arrived", of making his way and enjoying the recognition that his extraordinary talent deserved. In the mid-1930s, when he had started a family in Prague and created his first masterpieces as a freelance composer. Then again around 1950, when, as a Holocaust survivor, he gained a foothold in Munich after fleeing Czechoslovakia and was able to celebrate his first significant successes with performances by the Munich Philharmonic Orchestra and the city's top musicians. Hardly any other work by Winterberg radiates such self-assurance and confidence as the Trio for clarinet (or violin), cello and piano, composed in 1950, the year of the first successful performance of his 1st Piano Concerto by the Munich Philharmonic. With its four movements and a playing time of over 15 minutes, it is one of his more extensive chamber music works, bringing together all the characteristics of his oeuvre in a successful symbiosis: Impressionist sensuality of sound, neoclassical charm and folkloristic high spirits Winterberg's Trio 1950, published for the first time in its two versions now, is a substantial enrichment of the 20th century trio repertoire.
Winterberg: Trio 1950 for Violin, Cello, Piano Score and Parts
(Boosey & Hawkes Chamber Music). In Hans Winterberg's turbulent first half of his life, there were two periods of calm, phases in which he must have had the feeling of having "arrived", of making his way and enjoying the recognition that his extraordinary talent deserved. In the mid-1930s, when he had started a family in Prague and created his first masterpieces as a freelance composer. Then again around 1950, when, as a Holocaust survivor, he gained a foothold in Munich after fleeing Czechoslovakia and was able to celebrate his first significant successes with performances by the Munich Philharmonic Orchestra and the city's top musicians. Hardly any other work by Winterberg radiates such self-assurance and confidence as the Trio for clarinet (or violin), cello and piano, composed in 1950, the year of the first successful performance of his 1st Piano Concerto by the Munich Philharmonic. With its four movements and a playing time of over 15 minutes, it is one of his more extensive chamber music works, bringing together all the characteristics of his oeuvre in a successful symbiosis: Impressionist sensuality of sound, neoclassical charm and folkloristic high spirits Winterberg's Trio 1950, published for the first time in its two versions now, is a substantial enrichment of the 20th century trio repertoire.
Il Faramondo Facsimile Edition Full Score, Hardbound with Critical Commentary
Viola Concerto, Op. Posth.
(Boosey & Hawkes Chamber Music). Prepared from the composer's original manuscript
We Will Sing!
(Boosey & Hawkes Scores/Books). Includes Book, 2 CDs and Masters
String Quartet No. 1
(Boosey & Hawkes Chamber Music). For Isang Yun, String Quartet No. 3 from 1959 marked the beginning of his European creative phase and of his official canon of works. Now it is possible to encounter Yun's early works from his Korean period in the form of his String Quartet No. 1 (1955). Three important 10-minute movements containing references not only to Asia but also to Ravel, Bartok and Eastern European folk musicand having an idiosyncratic structure: "Yun lines up forms and figures, makes them emerge from each other in a contrasting manner and assembles them into a mosaic-like whole, seeking for integration, laying down his material in layer upon layer and ending the movements with a rhythmic unison. Even then, he probably regarded a work of art as an energetic stream of sounds and as a reflection of a world whose diverging parts weave into a harmonic whole." (Walter-Wolfgang Sparrer)
Concerto for Orchestra Study Score
(Boosey & Hawkes Scores/Books). This 28-minute, single-movement work for large orchestra was commissioned by the BBC for the BBC Symphony Orchestra, who first performed the work in 2003 in the Barbican Hall, London, under Jukka-Pekka Saraste. At the time, the London Independent commented, Lindberg, in his mid-forties, has come of age: this is a piece on another level with extraordinary confidence, boldness of gesture and an architectural logic that makes it immediately familiar. Palpable was the enjoyment of the players (and the audience).
Sonata for Violin and Piano
(Boosey & Hawkes Chamber Music). Subtitled Before the Tryst, this sonata is in one sense a 'prequel' to the similarly scored miniature, After the Tryst (1988). The composer explains that these and other works with 'Tryst' in the title were inspired by a poem of the same name by the Scottish writer William Soutar (1898-1943). "I set it initially as a song for my folk group and then 'classicised' it as Scots Song. It is a love poem in the Scots language, and I set it to sound like an old Scots folk song." The Sonata for Violin and Piano was commissioned by Carnegie Hall, New York, and first performed by its dedicatee, Simone Lamsma, with Robert Kulek. The work is composed in a single, 15-minute span with contrasting sections. Once again, the music refers to some of the Scots Song materials, and the ghost of folk song can be detected at various points throughout.
Trumpet Sonata After Richard Strauss
(Boosey & Hawkes Chamber Music). If there was ever a composer in the modern era from whom instrumentalists would hanker for a sonata or concerto, Richard Strauss must be right up there. His wide-ranging orchestral and operatic creations bleed with gloriously idiomatic writing for every instrument, and yet only the piano, violin, clarinet (in tandem with the bassoon), oboe and horn can really claim to have bespoke solo works from the composer's seamlessly productive pen, and collectively they form only a small proportion of the composer's output. No mere transcription, this three-movement Sonata after Richard Strauss extends well beyond a redeployment of the composer's music to fit a new idiom, filling the gaping chasm of 'serious' late-Romantic recital material for trumpet players, to be performed in toto or as Drei Konzertstucke. Thomas Oehler and Jonathan Freeman-Attwood have drawn on a wide range of Strauss's works to create the new offering, including the Violin Sonata, Von den Hinterweltlern ( Also sprach Zarathustra ), the Serenade for Winds ('From an invalid's workshop') and Zerbinetta's Aria ( Ariadne auf Naxos ).
Chin: Cosmigimmicks: A Musical Pantomime for Seven Instrumentalists Study Score
(Boosey & Hawkes Scores/Books). In response to a commission from the Nieuw Ensemble Amsterdam, the composer immediately thought of writing a work related to pantomime. In the imaginary theatre of cosmigimmicks, plucked instruments (guitar, mandolin and harp) play the main roles, while the other instruments (prepared piano, violin, trumpet and percussion) disguise themselves in order to join in a play of masques and mimicry. Pantomime stems from a time in which humans did not yet speak, and ever since it has appeared in a great variety of forms. Asian traditions of mime tend to be extremely formalised and highly complex, but in Europe, the art of pantomime, which was often frowned upon by church and ruling bodies, maintained a strong undercurrent in the history of theatre since the Ancient Greeks. Chin remarks that, in cosmigimmicks, she was reluctant to map the history of the pantomime, and instead chose to concentrate on three scenes that are important for her: Shadow Play, which is related to shadow puppetry; Quad, inspired by Samuel Beckett's two homonymous TV plays (which are, in fact, "geometrical pantomimes"); and Thall, a homage to Gyorgy Ligeti. This title is the Korean for "masque"; the overall character of Thall is both slightly sentimental and macabre, describing the psyche of a torn person. cosmigimmicks is a major addition to 21st-century ensemble repertoire, from one the leading composers of her generation. Instrumentation: trumpet, percussion, mandoline, guitar, harp, prepared piano, violin. HPS 1600.
St John Passion
(Boosey & Hawkes Scores/Books). Scored for baritone solo, small 'narrator' chorus, large chorus and orchestra, MacMillan s first Passion setting was composed in 2007. Lasting 87 minutes the work is divided into two parts, with 10 movements overall. As Paul Spicer has commented, "The originality of the St John Passion lies in MacMillan's ability to mix old with new, rather in the manner of Bach in his day. There are passages of sumptuous polyphony and there is a fresh look at the text where passages of Latin are interspersed with the Gospel story in English. In movement seven ('Jesus and his Mother'), MacMillan introduces not only part of the Stabat Mater but also his own words ('Lully, lulla, my dear darling'). The final movement, which is purely orchestral, is a kind of via doloroso march with a Scots lament over quite brass chords. The string writing here, with its elegiac cello lines, is deeply reminiscent of the early 20th-century English school. This should be the War Requiem of the 21st century."
Cello Concerto in E Minor Op. 58 Study Score Cello & Orchestra
(Boosey & Hawkes Chamber Music). New edition, with preface by Gerard McBurney. The work was composed in 1933-38 for one of the greatest cellists of the 20th century, Gregor Piatigorsky. McBurney explains that, "somehow this concerto had come to seem jinxed to the composer. And when, in 1947, he heard it in Moscow once again, this time played by the young Mstislav Rostropovich, he decided to recast it (albeit using much of the same material) as an entirely new piece, the Sinfonia Concertante, op 125. The earlier version never entirely disappeared, however, with a scattering of cellists always preferring it to the later one. And in recent years, it has found new favor and new champions, its spectacularly difficult cello writing and virtuosic orchestral effects offering a brilliance, pungency and fascination all of their own."
Macmillan: String Quartet No 3 Set of Parts
(Boosey & Hawkes Chamber Music). Composed in 2007, this 25-minute work was commissioned by Southbank Centre for its Associate Artists, the Takacs Quartet. A major addition to the contemporary string quartet repertory, the San Francisco Chronical has commented that the work "operates at the boundary between the physical and the ethereal, between sounds and silence."
Macmillan: Visions of a November Spring for String Quartet Set of Parts
(Boosey & Hawkes Chamber Music). Composed in 1988 and revised in 1991, this 28-minute work was commissioned by the University of Glasgow s McEwen Bequest. The composer stated in 1991, "My first string quartet, Visions of a November Spring, is the peculiar 'odd man out' in my work since it is the nearest thing to an autobiographical statement. The title is an indication that the piece is a celebration of (or comment on) a newly emerging fecundity of expression which seemed to absorb me in the latter part of 1987, and which extended itself through more recent pieces, Busqueda (1988), Into the Ferment (1988) and Tryst (1989). As well as marking the beginning of a particularly prolific time for me, it also marked a fusion of earlier influences and a departure in a style of writing which is both naturally and deliberately more direct and explicit."
Simpson: Israfel Hps 1628 for Orchestra Study Score
(Boosey & Hawkes Scores/Books). Inspired by Edgar Allan Poe's take on the Koranic angel Israfel, "whose heart-strings are a lute, and who has the sweetest voice of all God's creatures", Mark Simpson was motivated to write a piece that sang, floated, morphed, moved, moved us, lifted us, had power, had fragility, had hope, uncertainty, beauty something otherworldly, something transcendental something to shake us. Poe's poem perfectly conjures up the myriad emotions Simpson wanted to take the listener through. In terms of structure the piece is divided into two parts. The first part has an ever-shifting, singing quality, and the second a faster more determined drive towards a dramatic climax. The coda however is bittersweet, as in the poem, which concludes with the author wondering whether if their places were switched, he could make a better melody from his lyre.
Macmillan: Etwas Zuruckhaltend for String Quartet Set of Parts
(Boosey & Hawkes Chamber Music). Etwas zuruckhaltend was written in 1982 when the composer was a student at the University of Durham. The piece was forgotten until 2009, when MacMillan realised that much within its ideas seemed current and relevant to his recent work. The title comes from Wagner's indication for the final pages of Gotterdammerung, and the work reflects an ongoing interest in this composer which has been reflected at various points since in MacMillan's work. Allusions to motifs from The Ring are never far away. The work ends with a tentative and tense coda, with nods still being made in the direction of The Ring's final Immolation Scene.
Trombone Concerto
(Boosey & Hawkes Chamber Music). A major addition to the concertante trombone repertory, this single-movement work lasting 30 minutes was premiered in 2017 by Jorgenvan Rijen and the Royal Concertgebouw Orchestra, conducted by Ivan Fischer. Press reviews were ecstatic: "...this magnificent concerto enriches the repertoire...The trombone sang, sang, sang...then suddenly a spectacular mating dance of four trombones a la Stockhausen. At the very end van Rijen and MacMillan struck me down completely: between the serene harmonies which came to a moment of rest, the trombone once more entered with a heart-breaking eruption...the wonderful beauty of despair...It is a concerto for eternity, and trombone players could use one." - De Trouw.
Piano Concerto in a Minor, Op. 2 for Piano and Orchestra Score
(Boosey & Hawkes Scores/Books). Leokadiya Kashperova (1872 1940), hitherto consigned to a footnote in musical history as Stravinsky's piano teacher, is undergoing rediscovery. A double graduate of the St Petersburg Conservatoire, she emerged as a virtuoso pianist and composer in the romantic tradition. She was associated with some of the great musicians of her day, including Balakirev and Auer. She performed in both Germany and the UK in the 1900s, but her career petered out after 1920. The Piano Concerto (1900) is Kashperova's earliest surviving orchestral work, and it was premiered by the composer the following year in Moscow and St Petersburg, bringing her much wider recognition and paving the way for an international career. Cast in three movements and in a Romantic idiom, pianistic virtuosity is often channelled into the pianist's left hand, which is required to negotiate widely-spaced 'extreme' arpeggios awkwardly angular when adagio, fiendishly technical when molto allegro. Kashperova's orchestral colours are achieved by felicitous solos for the woodwind, horns and brass. Noteworthy, too, are unexpected glimpses of chamber music when, in the last movement for example, the piano combines fleetingly with solo violin and solo cello in passages. The concerto's quick music (Molto allegro and Allegro con anima) admirably portrays the vivacious personality of their composer, described in 1906 as offering those around her 'an abundance of joy, excitement and fun'. The central movement, by contrast, is a tender Adagio which offers the listener a gem of musical poetry.
Strength and Tenderness
Strength and Tenderness, Doug Constable's first collection consisting of a hundred hymns and some poems, was warmly received. This further collection ranges more widely and contains four sections: recent poems (a sequence of twenty-seven sonnets responding to George Herbert's Prayer, plus other pieces inserted throughout the book), thirty-two hymns, eight songs for voice and keyboard, seven choral works, and two short pieces for piano. All the music - for hymns, songs and choral settings - range in style from simple and easily-learned to pieces for which some musical background would be helpful.Doug is an Anglican priest living in south-west Wales. While still at school, he was a church organist and choir director, and and played piano in dance bands. As a minister, he served in housing estates, university chaplaincy, holiday conference-retreat chaplaincy, and inner-city parishes in Bristol, North Devon, Derby and Southampton.Married with three children and three adult grandchildren, he is a progressive traditionalist and radical ecumenist, resolutely opposed to all forms of violence.
Dio: The Unholy Scriptures
In Dio: The Unholy Scriptures, embark on an electrifying journey through the tumultuous yet triumphant saga of one of heavy metal's most legendary bands: Dio. Told through gripping anecdotes and candid interviews conducted with the author over the decades, Dio: The Unholy Scriptures unveils the untold stories behind the Dio band's timeless anthems, revealing the passion, perseverance, and sheer audacity that defined the band's unparalleled sound and style. Formed in 1982 by iconic vocalist Ronnie James Dio after departing from Black Sabbath, Dio emerged as a pioneering force in the heavy-metal scene. From epic stage performances to backstage dramas, experience the full spectrum of Dio's rollercoaster ride through the annals of rock history, from the formation of the band through to Ronnie's death in 2010. A must-read for metal heads and music enthusiasts alike, Dio: The Unholy Scriptures celebrates the enduring legacy of Ronnie James Dio's namesake band, ensuring that their thunderous legacy reverberates through the ages.
Why We Love Music
Discover the profound reasons behind our love for music in "Why We Love Music," a timeless exploration that has finally returned to the shelves after decades. This captivating work delves into the psychology of music, revealing its emotional impact and the benefits of listening to melodies that resonate with our souls. In this remarkable edition, republished by Alpha Editions, readers will find a treasure trove of insights into the influence of music on our emotions, as well as the intricate relationship between music and culture. From music therapy to understanding musical tastes, this book offers a compelling narrative that appeals to both casual readers and classic literature collectors alike. Restored for today s and future generations, this edition is not just a reprint it s a collector s item and a cultural treasure that celebrates the history of music and its role in our everyday lives. Whether you re seeking to deepen your appreciation for music or simply curious about why it moves us so deeply, "Why We Love Music" is an essential read that promises to enrich your understanding of the human connection through sound. Join the journey to uncover why music holds such a special place in our hearts and minds grab your copy today and experience the magic for yourself!
Grand OLE Opry 2026 Wall Calendar
Wish the Grand Ole Opry a happy 100th birthday with this 12-month wall calendar featuring birthdays for each current member of the Opry alongside colorful photographs from the home of country music. Celebrate over 100 years of the Grand Ole Opry with this 12-month wall calendar featuring over 100 birthdays of current Opry members alongside photographs of beloved stars and super stars. From Dolly Parton and Kelsea Ballerini to Luke Combs and Darius Rucker, your year will shine bright with the stars of country music. Features include: 12" x 12" (12" x 24" open) Printed on FSC-certified paper with soy-based ink Plastic-free packaging Planning spread for September-December 2025 Spans January-December 2026 Generous grid space for notes, appointments, and reminders Official major world holidays and observances Moon phases, based on Universal Time Over 100 birthdays of Opry members and colorful photographs
The Sing! Hymnal (Hardcover)
Hymnal from Keith and Kristyn Getty Highlights the Beauty of Christian Theology Through Worship Blending music and poetry, hymns beautifully bring Christian theology to life. With each verse, rich lyrics echo the timeless truths of Scripture and proclaim the unchanging message of salvation. For centuries, Christians have used these treasured resources in private and corporate worship, and The Sing! Hymnal now presents the profound beauty of hymnody to the next generation. Thoughtfully curated by award-winning hymn writers Keith and Kristyn Getty, The Sing! Hymnal hosts a collection of timeless classic and contemporary hymns, created to deepen worship and foster unity among God's people through the power of song. Featuring liturgical readings, psalms paired with popular hymns, useful indexes, and a durable, scuff-resistant cover, this hymnal is perfect for equipping attendees during Sunday morning services. Timeless: 498 classic and contemporary hymns are carefully curated and beautifully presented in a treasured resource you can carry with you through life Designed for Church Use: With a durable, scuff-resistant cover and sewn binding, this hymnal is suitable for frequent use Enhance Worship: Featuring 403 liturgical readings, psalms paired with popular hymns, and stories about each hymn, this resource is perfect for church services and group gatherings, as well as private and family worship Contributions by Keith and Kristyn Getty: Award-winning hymn writers of popular songs including "In Christ Alone" and "Christ Our Hope in Life and Death" Voices from Church History: Liturgical readings include quotations from classical and contemporary writers and theologians, including Augustine of Hippo, Francis of Assisi, Martin Luther, John Calvin, John Bunyan, Charles Spurgeon, C. S. Lewis, Billy Graham, J. I. Packer, John Piper, Joni Eareckson Tada, Dane Ortlund, and H. B. Charles Jr. Part of the Sing! Hymnal Suite of Resources: Includes a lay-flat edition with chords, designed for easier page turning and reading, along with a website for purchasing and downloading hymn sheet music
Some Might Say: The Story of Oasis
Chronicles Oasis's rise, impact, and enduring legacy through exclusive interviews and insider perspectives.The rise of Oasis in the 1990s was stratospheric, yet they remained the people's band. This is the story about how lives were changed forever, told by those who lived through it.All around the world, millions felt a connection to these working-class lads from Manchester. With anthemic songs crafted and sung by the greatest songwriter and singer of their generation, from their first interview they proclaimed themselves the best band in the world, and for a shining moment in the mid-1990s they were.'Live Forever'. Definitely Maybe. (What's The Story) Morning Glory?. 'Wonderwall'. Knebworth. A level of success not seen by a British band for 30 years, ushering in a new cultural zeitgeist: Britpop, Cool Britannia, New Labour, and at the centre of it all, the soap opera antics of the warring Gallagher brothers and their bandmates.Departed members were replaced by fresh faces as the 2000s ushered in their next career phase with Oasis inspiring younger generations. Yet the music and drama continued up to one night in Paris when everything fell apart... until the world stood still in August 2024.Expanded and revised to include over 25 exclusive new interviews from The Oasis Podcast, including contributions from those involved (Alan McGee, Tony McCarroll, Andy Bell, Steve White, Owen Morris), writers with first-hand coverage (Paolo Hewitt, John Robb), celebrity fans (Ricky Hatton) and many more, this book spans their entire career from 1991 to the present day, making it the ultimate story of Oasis.
L'Histoire Du Hip-Hop
Faites un voyage ? travers l'histoire percutante de la musique hip-hop. Assistez aux premi癡res block parties de DJ Kool Herc et aux origines de la hip-house et du scratch. D矇couvrez comment des bo簾tes ? rythmes bon march矇 et des platinistes talentueux ont chang矇 la musique pour toujours et rencontrez certaines des plus grandes stars de la sc癡ne hip-hop.
Vintage Country
Vintage Country is the first illustrated book to explore the rural and urban roots of country music, tracing its evolution from early recordings and radio days to its 1940s-1950s rise, before Nashville's dominance. Written by renowned historian Tony Russell, it profiles over 100 key artists and bands, including Jimmie Rodgers, Doc Boggs, Taylor's Kentucky Boys, Red Foley, DeZurik Sisters, Carl T. Sprague, Hackberry Ramblers, Hank Williams, Molly O'Day, Merle Travis, and the Louvin Brothers. The book is organized into six chapters by style and era: pre-Depression "Old Time" music, Radio Years stars (1930s-WWII), cowboy & western music, Western swing, honky-tonk, and bluegrass. Each entry highlights the artist's history, influences, and career, with an "essential recordings" list for quick reference. Richly illustrated with posters, sheet music, and artifacts, Vintage Country brings the genre's origins to life through evocative visuals and expert storytelling, making it a compelling resource for music lovers and historians alike.
Mothership Connected
An oral history with the women of Parliament-Funkadelic, from forming the band to landing the mothership. Parliament-Funkadelic is perhaps the greatest funk band ever assembled. Yet at the time of the group's induction into the Rock & Roll Hall of Fame, none of the women who helped create the sound and performed in P-Funk were invited to the ceremony and their contributions have been largely overlooked. Mothership Connected tells the story of Mallia Franklin, Lynn Mabry, Dawn Silva, Debbie Wright, and Shirley Hayden, all of whom were instrumental in making Parliament-Funkadelic, as well as the spin-off groups Parlet and the Brides of Funkenstein, into the legends they are today. Assembled by Seth Neblett, son of the "Queen of Funk" Mallia Franklin, and filled with the voices of funk icons like George Clinton, Sly Stone, Bootsy Collins, and the women themselves, this oral history makes clear why these "architects" at the "core" of P-Funk were both essential--and erased. From Franklin introducing Bootsy Collins to Clinton, to the Brides' top-10 hit "Disco to Go," to the drugs that helped destroy the group, this book reveals the hidden lives and uncomfortable truths of life in P-Funk. More than sex, drugs, and rock and roll, Mothership Connected is about Black women navigating a tumultuous era and industry to become musical pioneers. Now, after decades in the shadows, these genre-defining women are finally telling their story.
The Inspiring String
This book is a part of a series of Arabic language education books which aims to teach playing on a string instrument (cello, violin, viola, contrabass) in a gradual manner. Starting from the first stage, beginner, through the intermediate, student stage (part three) and ending in stage four, which is the stage of Arabic singing on the instrument. It does not require to study to reach to the stage of professionalism, but it is enough to pass the first stage of the first player. As this book series is considered to be the first series of it's type in the world. The authors of our present method use suggested exercises and tools from some of the Arabic music forms, such as Sama'i, Muwashshah and Dawr. They also use some famous Egyptian and Arabic forms as selected exercises, as they represent the reality and feelings of Arabic people and translate what is inside their hearts and feelings.
Triad Soloing For Modern Guitar
Master Triads Across the Fretboard and Unlock a Powerful New Soloing LanguageWhy do some guitar solos sound effortlessly melodic, harmonically rich, and modern, while others feel stuck in basic scales?The secret lies in triads: deceptively simple three-note structures that form the core of nearly every harmony we play.Triad Soloing for Modern Guitar is your step-by-step roadmap to turning these essential shapes into a complete, expressive improvisation system for jazz, fusion, blues, rock, and more - guided by non-other than triad master craftsman Oz Noy.Whether you're navigating fast-moving changes or stretching out over a modal vamp, triads give you melodic control, rhythmic clarity, and access to colourful upper extensions without relying on scale patterns.You'll develop a sophisticated, intervallic approach that lets you target chord tones, build strong motifs, and create solos with real harmonic direction.Inside the book, you'll learn to: - Play major, minor, augmented and diminished triads across the entire guitar fretboard- Use triad patterns for intervallic phrasing and motivic development that cuts through the harmony- Apply chromatic enclosures to target chord tones and upper structures with precision and authentic bebop styling- Combine triad pairs (inside and outside the key) to create cutting-edge harmonic tension and release- Craft lyrical, modern lines using add9 triads and four-note melodic cells in the style of Allan Holdsworth, Wayne Krantz, Eric Johnson, and Jonathan KreisbergEach concept is taught using practical examples and reinforced with detailed, musical solo studies. Not only will you learn to combine triads with arpeggios, pentatonics, bends, and chromaticism in a musical way, you'll also master guitar solos written over familiar progressions ranging from bebop standards to modal grooves and fusion sequences.When you've completed the course you'll be able to: - Outline chords melodically in real time- Solo fluently across changes using triads- Visualise triads in every position and inversion- Create expressive, modern lines with rhythmic variety- Combine triads with arpeggios, pentatonics and chromaticismThis book is for any guitarist who wants to break out of box shapes and build melodic lines that sound connected to the harmony.Whether you play jazz, fusion, blues or modern rock, Triad Soloing for Modern Guitar gives you the tools and fretboard fluency to take your improvisation to the next level.Includes Audio DownloadWith over 100 audio examples and full-band backing tracks, you'll hear every concept in context and be able to practice creatively straight away. Notated in standard notation and TAB.Get started with Triad Soloing for Modern Guitar today and master the most powerful building block in modern guitar improvisation.
David Bowie Rainbowman
The most authoritative work on the creation of Bowie's music ever published. "This is a book unlike any other, the definitive analysis of David's music, told in a quiet natural way, but with absolute authenticity, by the people around him" - Hermione Farthingale "J矇r繫me Soligny is one of the best authorities in the world of David Bowie's career and life in general... His new biography Rainbowman is a thorough and honest account of the great man." - Tony Visconti "J矇r繫me is a guy who is still aware that popular music is an art form and not a money suppository. He writes from the heart and is one of the last exemplars of a dying breed. The critic, armed with intelligence and brute compulsive honesty, as dangerous as a river." - Iggy Pop "Not long ago, J矇r繫me told me something that I find very true: 'David played saxophone, guitar, a bit of keyboards, but above all, he played... musicians!' I think he was right on the money." - Mike Garson In David Bowie Rainbowman, J矇r繫me Soligny tells the story of David Bowie the musician with the help of those intimately involved with the creation of his music. This uniquely exhaustive work on Bowie's 1967-1980 albums draws on over 150 interviews with the musicians, producers and friends who knew Bowie best, including Robert Fripp, Hermione Farthingale, Lou Reed, George Underwood, Mick Ronson, Carlos Alomar, Trevor Bolder, Mike Garson, Woody Woodmansey and many, many others. With an essay by Soligny on each album followed by oral histories from the most trusted and influential figures in Bowie's musical life, David Bowie Rainbowman is the definitive guide to a singular and mercurial genius - the Rainbowman himself. ​ Includes a foreword by Tony Visconti, an introduction by Mike Garson and cover photo by Mick Rock. A beautiful and stylish gift for Bowie fans, over 700 pages long, filled with iconic photographs and with striking cover design by Barnbrook.
