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The Organ
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Hearing Bach's Passions
Daniel Melamed offers a study of Bach's passion settings seeking to familiarise readers with some of the intriguing issues in the study & performance of older music. He explores what it means to listen to this music today.
A Practical Guide for Performing, Teaching, and Singing the Brahms "Requiem"
This book is intended to help those who are contemplating performing or studying the Brahms Requiem. It provides historical information, performance considerations, musical analysis, and resource material for all who enjoy the musicology behind this magnificent work. It is especially directed toward conductors, but it is also useful for choristers and soloists as well. A wonderful instructional tool!
Polymath of the Baroque
This is the first book to consider all aspects of the life of Agostino Steffani (1654-1728), a composer, diplomat, and bishop. A remarkable figure of the late 17th and early 18th century Europe, Steffani began his career as a composer, musician, and courtier, but his accomplishments brought him high-level positions in the courts of Germany and the Catholic Church. Throughout his diplomatic and ecclesiatical career, Steffani continued to compose chamber music, vocal chamber music, operas, and sacred music--works which inspired Handel and other Baroque composers.
Organ Literature
Now in paperback! Cloth edition 0-8108-2964-9 originally published in 1995.
Classical and Romantic Performing Practice 1750-1900
The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music were more radically different from ours than is generally assumed.
The London Gazette
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A Social History of Amateur Music-Making and Scottish National Identity: Scotland’s Printed Music, 1880–1951
Late Victorian Scotland had a flourishing music publishing trade, evidenced by the survival of a plethora of vocal scores and dance tune books; and whether informing us what people actually sang and played at home, danced to, or enjoyed in choirs, or reminding us of the impact of emigration from Britain for both emigrants and their families left behind, examining this neglected repertoire provides an insight into Scottish musical culture and is a valuable addition to the broader social history of Scotland. The decline of the music trade by the mid-twentieth century is attributable to various factors, some external, but others due to the conservative and perhaps somewhat parochial nature of t...
