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Complete fairy tales for solo piano
Complex, surprising pieces by a brilliant, underrated Russian 20th-century Romantic whose music, though similar to that of his friend Rachmaninoff, is more cerebral and harmonically adventurous. These 34 "fairy tales" for piano highlight the composer's gift for musical storytelling, with their intense polyrhythms, intricate textures, and complex harmonic development.
Sonate-Ballade, op. 27 ; Op. 30, A minor ; Sonata-reminiscenza, op. 38, no. 1 ; Canzona matinata, op. 39, no. 4 ; Sonata tragica, op. 39, no. 5 ; Sonata romantica, op. 53, no. 1 ; Sonata minacciosa, op. 53, no. 2 ; Sonate-idylle, op. 56 ; Appendix (Canzona serenata, op. 38, no. 6 ; Alla reminiscenza, op. 38, no. 8)
Series II contains Medtner's final seven sonatas: Sonate-Ballade, Sonata in A Minor, Sonata-Reminiscenza, Sonata tragica, Sonata romantica, Sonata minacciosa, and Sonate-Idylle. Bonus selections include "Canzona matinata," "Canzona seranata," and "Alla Reminiscenza."
Op. 5, F minor ; Sonatentriade, op. 11 (no. 1, A-flat major ; no. 2, Sonate-Élégie, D minor ; no. 3, C major) ; Op. 22, G minor ; Märchen-Sonate, op. 25 (no. 1, C minor ; no. 2, E minor)
Seven rare scores by a long-neglected 20th-century master include Sonata in F Minor; three sonatas of Sonatentriade; Sonata in G Minor; Märchen-Sonate; and Sonata in E Minor ("Night Wind"). Authoritative editions.
Maxwell's Handbook for AACR2
For application of the most current Anglo-American Cataloguing Rules, there is but one standard: Maxwell's Handbook for AACR2. This practical and authoritative cataloging how-to, now in its Fourth Edition, has been completely revised inclusive of the 2003 update to AACR2. Designed to interpret and explain AACR2,Maxwell illustrates and applies the latest cataloging rules to the MARC record for every type of information format. Focusing on the concept of integrating resources, where relevant information may be available in different formats, the revised edition also addresses the Program for Cooperative Cataloging (PCC) and the cataloging needs of electronic books and digital reproductions of ...
Wagner in Russia, Poland and the Czech Lands
Richard Wagner has arguably the greatest and most long-term influence on wider European culture of all nineteenth-century composers. And yet, among the copious English-language literature examining Wagner's works, influence, and character, research into the composer’s impact and role in Russia and Eastern European countries, and perceptions of him from within those countries, is noticeably sparse. Wagner in Russia, Poland and the Czech Lands aims to redress imbalance and stimulate further research in this rich area. The eight essays are divided in three parts - one each on Russia, the Czech lands and Poland - and cover a wide historical span, from the composer’s first contacts with and appearances in these regions, through to his later reception in the Communist era. The contributing authors examine his influences in a wide range of areas such as music, literary and epistolary heritage, politics, and the cultural histories of Russia, the Czech lands, and Poland, in an attempt to establish Wagner’s place in a part of Europe not commonly addressed in studies of the composer.
Rare masterpieces of Russian piano music
A great musical tradition flourished in the late 19th- and early-20th–century Russia, nurturing such renowned composers as Mussorgsky, Tchaikovsky, Rachmaninov, and Prokofiev. Unfortunately, many superb compositions by lesser Russian composers have been eclipsed by the works of these giants. In this volume, University of Kentucky musicologist Dmitry Feofanov presents eleven overlooked masterpieces — important Russian piano works of the late 18th to 20th centuries virtually unobtainable elsewhere. Here is Mikhail Glinka's Prayer, a rare program piece by the founder of Russian opera, the first composer whose music was performed in the West; German-born Johann Hässler's Sonata-Fantasie, Op...
Music of the Soviet Era: 1917-1991
This volume is a comprehensive and detailed survey of music and musical life of the entire Soviet era, from 1917 to 1991, which takes into account the extensive body of scholarly literature in Russian and other major European languages. In this considerably updated and revised edition of his 1998 publication, Hakobian traces the strikingly dramatic development of the music created by outstanding and less well-known, ‘modernist’ and ‘conservative’, ‘nationalist’ and ‘cosmopolitan’ composers of the Soviet era. The book’s three parts explore, respectively, the musical trends of the 1920s, music and musical life under Stalin, and the so-called ’Bronze Age’ of Soviet music after Stalin’s death. Music of the Soviet Era: 1917–1991 considers the privileged position of music in the USSR in comparison to the written and visual arts. Through his examination of the history of the arts in the Soviet state, Hakobian’s work celebrates the human spirit’s wonderful capacity to derive advantage even from the most inauspicious conditions.
