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Symphony
This landmark of 20th-century symphonic writing, one of Mahler's most popular and admired works, is notable for innovation, poetic drama and the fresh and formidable thinking Mahler brought to its composition. The full orchestral score is reprinted here from authoritative Universal-Edition, Vienna, 1912. New glossary of German terms.
Symphonies Nos. 3 and 4 in Full Score
Two brilliantly contrasting masterworks ? one scored for a massive ensemble, the other for small orchestra and soloist ? reprinted from authoritative Viennese editions.
Symphonies nos. 1 and 3
http://www.areditions.com/rr/rra/a066.html Florence Beatrice Smith Price (1887-1953), who settled in Chicago in 1927, was the most widely known African-American woman composer from the 1930s until her death. This edition presents two important unpublished orchestral works: the Symphony no. 1 in E Minor (1932) and the Symphony no. 3 in C Minor (1940). The style of these works is quite different. Price's Symphony in E Minor is squarely in the nationalist tradition, and it may be more fully considered in the context of the Harlem Renaissance and the New Negro Movement of the 1920s and 1930s. Cultural characteristics are borne out in the pentatonic themes, call-and-response procedures, syncopate...
The Beatitudes
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Gustav Adolf
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Symphonies nos. 1 and 2
Two of the much-loved English composer's best and most powerful works: "Symphony No. 1 in A-flat Major, Op. 55, " and "Symphony No. 2 in E-flat Major, ""Op. 63," both reproduced from authoritative scores.
Symphony no. 3 ("Organ")
Dedicated to the memory of Franz Liszt, the composer's friend and mentor, Saint-Saëns' Symphony No. 3 ("Organ") ranks among the most important contributions to French symphonic music. In this work, Saint-Saëns achieves a synthesis of the traditional four-movement symphony with Liszt's characteristic thematic metamorphosis.
Les Preludes -- Symphonic Poem No. 3
Composed by Franz Liszt, Les Preludes—Symphonic Poem No. 3 is arranged for Full Orchestra.
Of Mind and Music
In this fascinating account of the way in which we understand music, Laird Addis builds on the idea, first articulated by Susanne Langer, that passages of music symbolize emotions and other conscious states. He maintains that the unique bond joining music and feelings is based on a previously unnoticed affinity between consciousness and sound. Addis combines a scholar's insight with a musician's sensibility to make an engaging and convincing statement that will help readers comprehend music's importance in human affairs.
The Queen of Saba
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