Guide to Chamber Music


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Authoritative guide presents 231 of the most frequently performed pieces by 55 composers. A must for music lovers and musicians alike. "No lover of chamber music should be without this Guide." — John Barkham Reviews.




Complete chamber music for strings


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"As a composer of chamber music Mendelssohn claims greatness almost without qualification. . . . He had a complete mastery of his medium . . . and an intensity of interest in pure music that renders his quartets, in particular, works of integrity in thought and statement." -- "Grove's "These masterpieces in the chamber music repertoire are works perennially popular with players and listeners. All of them have been recorded and many appear frequently on chamber music programs. They have been reproduced directly from the famous and scholarly Breitkopf & Hartel series, an eminently readable edition, and contain all of Mendelssohn's chamber music for strings, excluding only those pieces with piano. The following works are included: Octet in E-flat Major, Op. 20Quintet No. 1 in A Major, Op. 18Quintet No. 2 in B-flat Major, Op. 87Quartet No. 1 in E-flat Major, Op. 12Quartet No. 2 in A Major, Op. 13 Quartet No. 3 in D Major, Op. 44, No. 1Quartet No. 4 in E Minor, Op. 44, No. 2Quartet No. 5 in E-flat Major, Op. 44, No. 3Quartet No. 6 in F Minor, Op. 80Four Pieces for String Quartet, Op. 81The music has been reproduced in a size large enough to be read easily, and there is ample space between staves and in the margins for any notes, harmonic analyses, fingerings or annotations that you may want to record on the score. The edition is practical for almost any use, whether as a study guide, a reference, or just a companion for your greater musical enjoyment. Unabridged (1978) republication of Series 5 and 6 of "Felix Mendelssohn Bartholdy's Werke, " 1874-1877.




Complete string quartets


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Catalogs


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Mendelssohn Essays


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When R. Larry Todd’s biography, Mendelssohn: A Life in Music, appeared in 2003, it won acclaim from several critics as a definitive biography. In researching Mendelssohn’s life over the last two and a half decades, Todd uncovered much new information about the composer and his music, his family and his peers, and his complex reception history. Now, as we approach the 2009 bicentenary of Mendelssohn’s birth, the author has chosen and compiled fifteen essays written between 1980 and 2005, including five previously unpublished, that examine several aspects of the composer whom Goethe and Heine likened to a second Mozart. Mendelssohn Essays explores Mendelssohn’s precocity, his musical impressions of British culture, the role of the visual in his music, his compositional response to Bach’s St. Matthew Passion, and incomplete drafts from his musical estate of three instrumental works. In addition, a group of three essays focuses on the music of Mendelssohn’s sister Fanny Hensel, perhaps the most gifted woman composer of the century, and a significant, complex figure in the formation of the Mendelssohnian style.




The Musical Life of Nineteenth-Century Belfast


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Roy Johnston and Declan Plummer provide a refreshing portrait of Belfast in the nineteenth century. Before his death Roy Johnston, had written a full draft, based on an impressive array of contemporary sources, with deep and detailed attention especially to contemporary newspapers. With the deft and sensitive contribution of Declan Plummer the finished book offers a telling view of Belfast?s thriving musical life. Largely without the participation and example of local aristocracy, nobility and gentry, Belfast?s musical society was formed largely by the townspeople themselves in the eighteenth century and by several instrumental and choral societies in the nineteenth century. As the town grew in size and developed an industrial character, its townspeople identified increasingly with the large industrial towns and cities of the British mainland. Efforts to place themselves on the principal touring circuit of the great nineteenth-century concert artists led them to build a concert hall not in emulation of Dublin but of the British industrial towns. Belfast audiences had experienced English opera in the eighteenth century, and in due course in the nineteenth century they found themselves receiving the touring opera companies, in theatres newly built to accommodate them. Through an energetic groundwork revision of contemporary sources, Johnston and Plummer reveal a picture of sustained vitality and development that justifies Belfast?s prominent place the history of nineteenth-century musical culture in Ireland and more broadly in the British Isles.




The Rhythmic Structure of Music


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In this book, the authors develop a theoretical framework based on a Gestalt approach, viewing rhythmic experience in terms of pattern perception or groupings. Musical examples of increasing complexity are used to provide training in the analysis, performance, and writing of rhythm.