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Beethoven, the Sonatas for Piano and Violin
The first in over half a century to be devoted to a detailed analysis of the complete Beethoven sonatas for violin and piano, this book arose from the author's desire to pass on to a younger generation more than sixty years' experience as a practising musician and teacher. Professor Rostal addresses himself to professional and amateur musicians alike, to students and to listeners, all of whom will derive pleasure and enlightenment from his words. Each of the ten Sonatas is carefully discussed, the manuscripts and first and later editions meticulously compared. Musicians will find technical and interpretative problems approached and solved and the music-lover a helpful listener's guide to these ever-popular masterpieces. As the Amadeus Quartet's Preface says of this important book, It is a "must" for all students and performers, and is a "must" for all lovers of Beethoven.' A renowned violinist and teacher, Professor MAX ROSTAL studied music under Arnold Ros and Carl Flesch. Founder and President of the European String Teachers' Association, he has made many recordings and is the editor of numerous wirks in the violin repertoire.
Teaching Violin, Viola, Cello, and Double Bass
Teaching Violin, Viola, Cello, and Double Bass summarizes three centuries of string pedagogy treatises to create a comprehensive resource on methods and approaches to teaching all four bowed string instruments. Co-written by three performance and pedagogy experts, each specializing in different string instruments, this book is applicable to all levels of instruction. Essays on historical pedagogues are clearly structured to allow for easy comprehension of their philosophies, pedagogical practices, and unique contributions. This book concludes with a section on application through comparative analysis of the historical methods and approaches. With coverage from the eighteenth century to the present, this book will be invaluable for teachers and students of string pedagogy and general readers who wish to learn more about string pedagogy’s rich history, diverse content, and modern developments.
Alan Bush
Born in 1900, Alan Bush, the English composer, conductor and pianist, studied with Corder and Matthay, and privately with John Ireland. He was appointed professor of harmony and composition at the Royal Academy of Music in 1925, a post he held until 1978. In 1929-31, he continued to study at Berlin University and had piano lessons with Moiseiwitsch and Schnabel. The present Source Book documents his works (many of which reflect his Communist sympathies) and the many arrangements of music by other composers. A wealth of detail is provided, including printed scores, CD recordings, bibliographical material and manuscript scores and their locations, the majority of which have been deposited recently in the British Library by the Bush family. A chronology of the composer's life draws on many sources including letters and scrapbooks.
The Strad
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War Correspondent
The offhand admission to the doctor at the recruiting centre that he suffered from asthma as a boy was enough to put an end to Michael Moynihan's military career even before it started. However, this unpropitious beginning was eventually to lead to a wartime career far more dramatic than anything he could have imagined had he been allowed to don the King's uniform. For, after a provincial grounding as a cub reporter in the North, he moved to London and soon became a war correspondent on the now long-defunct News Chronical, then one of the leading newspapers in Fleet Street. Prior to that he had acclimatised himself to a via de boheme in violent contrast to an upbringing largely centred aroun...
Beethoven's Chamber Music in Context
A noted violinist and conductor, Watson is particularly well suited for his chosen task: outlining the historical context and character of more than 50 of the chamber works that Beethoven composed during his years in Vienna. Avoiding the pitfalls of becoming too critical or "academic," the author characterizes each composition in general terms only, and does not discuss changing styles of performance. Instead, Watson provides information on a work's historical background and character, and on the musical points of interest in each movement. He pays special attention to the influence of Beethoven's large-scale compositions on his chamber music, and on the composer's increasing mastery of improvisation. Filling a hole in scholarship on Beethoven's compositions, this book will be greatly appreciated by professional and amateur musicians.
PracticeMind for Everyone
PracticeMind for Everyone is a groundbreaking method book for all musicians that will transform your practice and performance. Hans Jørgen Jensen and Oleksander Mycyk define a mental practice model for piano, percussion, brass, wind, and string players, filling the book with research-backed practice techniques and methods that will dramatically improve your performance results. The ¿rst section delves into the mental, motivational, and psychological aspects of learning. Demystifying the powerful metacognitive learning cycle, the second part of the book focuses on topics such as goal setting and practice planning. The chapters focusing on implementation explore the active part of practicing and the proven techniques you can apply in your daily practice sessions. The ¿nal section of this definitive guide to developing your practice mind encourages active listening, feedback, and evaluation of all steps of your musical journey. PracticeMind for Everyone promotes a practice mindset that inspires greater motivation, effectiveness, and inspiration in all aspects of a musical life on and off the stage.
Essays on Music
Hans Keller (1919-1985), who lived and worked in London, was one of the most brilliant and stimulating writers on music of his day and the new theory of music which has emerged from his psychologically based music criticism has exerted considerable influence on a whole generation of composers and performers. This first large selection of his writing will appeal to professional and amateur musicians and all those listeners who remember the distinctive style of his broadcasts for the BBC.
My Sorrows, My Joys
Born of wealthy parents, but shunned by his father, Yong Ku Ahn suffered through a stormy and traumatic childhood, and in his loneliness, taught himself to play the violin. Born in 1928 in Wonsan, in what is today North Korea, Ahn’s early childhood included parental rejection and a debilitating bout of polio that cut him off from his family and their social milieu. It was music and the violin in particular that saved him. Until Ahn was accepted into Kyungsung Music School, which later became the School of Music at Seoul National University, he was virtually self-taught. Those who knew him through his college years remember him as an orphan. After World War II, Ahn began his professional ed...
Forbidden Music
Offers a study of the Jewish composers and musicians banned by the Third Reich, and describes the consequences for music around the world.
