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Notes:

• Includes alternate viola part.

Subjects:

• Trios (Flute, oboe, harp) — Parts.
• Trios (Flute, harp, viola) — Parts.

Requested by Klemp, M.

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Notes:

• Salon des Musiciens Français — Mention — Juin 1919 –on first page of each score.
• AUGSBURG COLLEGE LINDELL LIBRARY’s copy includes a score for clarinet that may be substituted for the oboe part.

Subjects:

• Trios.
• Flute and oboe music.
• Flute and harp music.
• Trios (Flute, oboe, harp) fast (OCoLC)fst01196231

Requested by Klemp, M.

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Notes:

• Salon des Musiciens Français — Mention — Juin 1919 –on first page of each score.
• AUGSBURG COLLEGE LINDELL LIBRARY’s copy includes a score for clarinet that may be substituted for the oboe part.

Subjects:

• Trios.
• Flute and oboe music.
• Flute and harp music.
• Trios (Flute, oboe, harp) fast (OCoLC)fst01196231

Requested by Klemp, M.

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Part of the series Russian music studies;Russian music studies (Bloomington, Ind.)
Notes:

• Includes bibliographical references and index.
• Early works. five preludes Three fantastic dances, op. 5 Piano sonata no. 1, op. 12 Aphorisms, op. 13 Polka, op. 22a, from the ballet The golden age — Mature works. Twenty-four preludes, op. 34 Piano sonata no. 2, op. 61 — The masterpiece. Twenty-four preludes and fugues, op. 87 — Works for children. Children’s notebook, op. 69 Dances of the dolls.
• The piano works of Dmitri Shostakovich (1906-1975) are among the most treasured musical compositions of the twentieth century. In this volume, pianist and Russian music scholar Sofia Moshevich provides detailed interpretive analyses of the ten major piano solo works by Shostakovich, carefully noting important stylistic details and specific ways to overcome the numerous musical and technical challenges presented by the music. Each piece is introduced with a brief historic and structural description, followed by an examination of such interpretive aspects as tempo, phrasing, dynamics, voice balance, pedaling, and fingering. This book will be an invaluable resource for students, pedagogues, and performers of Shostakovich’s piano solos –Publisher’s description.

Subjects:

• Shostakovich, Dmitriĭ Dmitrievich, 1906-1975. Piano music.
• Piano music — History and criticism.
• Piano music (Shostakovich, Dmitriĭ Dmitrievich) fast (OCoLC)fst01376638
• Piano music. fast (OCoLC)fst01063403
• Šostakovič, Dmitrij D., 1906-1975. (DE-588)118642472 gnd
• Criticism, interpretation, etc. fast (OCoLC)fst01411635

Requested by Diamond, D.

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Notes:

• Includes bibliographical references and index.
• Introduction — Part one: Soprano/High mezzo — From The boys from Syracuse: Falling in love with love — From Brigadoon: Waitin’ for my dearie — From Guys and Dolls: If I were a bell — From Fanny: I have to tell you — From The most happy fella: Somebody, somewhere — From The most happy fella: Warm all over — From The music man: My white knight — From Flower drum song: Love, look away — From Fiorello!: When did I fall in love? — From She loves me: Ice cream — From Fiddler on the Roof: Far from the home I love — From The apple tree: What makes me love him? — From Drood: Moonfall — From Evita: Another suitcase in another hall — From Carrie: It hurts to be strong — From Elegies: Anytime (I am there) — From Little women: Some things are meant to be — From The light in the Piazza: The light in the Piazza — From Grey Gardens: Will you? — Part Two: Mezzo-Alto — From Anything Goes: Anything Goes — From Allegro: So far — From Bye bye Birdie: An English teacher — From 110 in the shade: Is it really me? — From 110 in the shade: Old Maid — From Merrily we roll along: Not a day goes by — From Man of La Mancha: Aldonza — From Cabaret: Cabaret — From Applause: Applause — From Mack and Mabel: Time heals everything — From Starting here, starting now: Crossword puzzle — From City of Angels: You can always count on me — From March of the Falsettos: Trina’s song — From Baby: The story goes on — From Rags: Children of the wind — From Brownstone: Since you stayed here — From Carrie: I’m not alone — From Chess: Heaven help my heart — From The Secret Garden: Hold on — From State Fair: It might as well be spring — From I love you, You’re perfect, now change: I will be loved tonight — From Jekyll and Hyde: A new life — From the Wild Party: Raise the roof — From Floyd Collins: Through the mountain — From The Last five years: A part of that — From the Last five years: Still hurting — From Wicked: I’m not that girl — From Little Women: Astonishing — From A catered affair: Don’t ever stop saying
• The Broadway Song is a practical and comprehensive guide to the formal characteristics of key Broadway songs on a song-by-song basis, including main voice type, secondary voice qualities, range, and tessitura, as was as larger contextual information about the musical and the character that provides the performer a way into the character. Clark brings his wide-ranging and extensive experience as a director, performer, and teacher to bear in his performance notes on the individual pieces. Additionally, he includes excerpts from short interviews with artists that provide insight into the song from the perspective of those who first created (or re-created) it. The interviews, conducted with composers, lyricists, performers, and – in one case – book collaborators, are snapsnots into the creative process and act as conduits to further study of the selected songs. — from back cover.

Subjects:

• Singing — Instruction and study.
• Popular music — Analysis, appreciation.
• Singing — Instruction and study. fast (OCoLC)fst01119319
• Popular music — Analysis, appreciation. fast (OCoLC)fst01071424

Requested by Thompson, S.

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Notes:

• Includes bibliographical references (pages 305-320) and index.
• A composer, his dedicatee, her instrument, and I — Delivery, delivery, delivery! — Short octaves müssen sein! — Your most humble and obedient servant — An opus for the insightful world — A contract with posterity.

Subjects:

• Haydn, Joseph, 1732-1809. Keyboard music.
• Performance practice (Music) — History — 18th century.
• Keyboard instrument music — Analysis, appreciation.
• Keyboard instruments — Performance.
• Keyboard music (Haydn, Joseph) fast (OCoLC)fst01369601
• Haydn, Joseph, 1732-1809. gnd (DE-601)134580214
• 1700 – 1799 fast
• History. fast (OCoLC)fst01411628

Requested by Klemp, M.

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Notes:

• Includes bibliographical references and index.
• Early years, 1932-41 (letters 1-89) — First successes : from Tanglewood to On the town, 1941-4 (letters 90-185) — Conquering Europe and Israel, 1945-9 (letters 186-294) — Marriage, passport problems, and Italy, 1950-55 (letters 295-358) — West Side story, 1955-7 (letters 359-409) — The New York Philharmonic years, 1958-69 (letters 410-544) — Triumphs, controversies, catastrophe, 1970-78 (letters 545-591) — Final years, 1979-90 (letters 592-650) — Appendix one. Arthur Laurents (with Leonard Bernstein) : outline for Romeo sent to Jerome Robbins — Appendix two. Bernstein’s letters and postcards to Mildred Spiegel.
• Leonard Bernstein was a charismatic and versatile musician-a brilliant conductor who attained international super-star status, and a gifted composer of Broadway musicals (West Side Story), symphonies (Age of Anxiety), choral works (Chichester Psalms), film scores (On the Waterfront), and much more. Bernstein was also an enthusiastic letter writer, and this book is the first to present a wide-ranging selection of his correspondence. The letters have been selected for the insights they offer into the passions of his life-musical and personal-and the extravagant scope of his musical and extra-musical activities. Bernstein’s letters tell much about this complex man, his collaborators, his mentors, and others close to him. His galaxy of correspondents encompassed, among others, Aaron Copland,Stephen Sondheim, Jerome Robbins, Thornton Wilder, Boris Pasternak, Bette Davis, Adolph Green, Jacqueline Kennedy Onassis, and family members including his wife Felicia and his sister Shirley. The majority of these letters have never been published before. They have been carefully chosen to demonstrate the breadth of Bernstein’s musical interests, his constant struggle to find the time to compose, his turbulent and complex sexuality, his political activities, and his endless capacity for hard work. Beyond all this, these writings provide a glimpse of the man behind the legends: his humanity, warmth, volatility, intellectual brilliance, wonderful eye for descriptive detail, and humor — Provided by publisher.

Subjects:

• Bernstein, Leonard, 1918-1990 — Correspondence.
• Musicians — United States — Correspondence.
• Composers — United States — Correspondence.
• Conductors (Music) — United States — Correspondence.

Requested by Diamond, D. & Kagin, R.

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Notes:

• Includes bibliographical references and index.
• Foreword — Chronology — Introduction — Childhood and youth — The St. Petersburg Conservatoire — A free artist — War and revolution — The road to Calvary — The Red Guards — The musical conscience of Moscow — The planes are flying — World fame and the patriotic war — Cry of the wanderer — The swan song — The final coda — Bibliography — Discography — Catalog of works.
• Gregor Tassie describes Nikolay Myaskovsky as one of the great enigmas of 20th-century Russian music. Between the two world wars, the symphonies of Myaskovsky enjoyed great popularity and were performed by all major American and European orchestras they were some of the most inspiring symphonic works of the last hundred years and prolonged the symphonic genre. But accusations of formalism at the 1948 USSR Composers Congress resulted in the purposeful neglect of his music until the collapse of the Soviet Union. In Nikolay Myaskovsky: The Conscience of Russian Music, Tassie gives readers the first modern English-language biography of this Russian composer since his death in 1950. Tassie draws together information from the composer’s diaries and letters, as well as the memoirs of friends and colleagues–even his secret police files–to chronicle Myaskovsky’s early life, subsequent far-reaching influence as a composer, teacher, and journalist, and his final persecution by the Soviet government. This biography will surely rekindle interest in Myaskovsky’s remarkable body of work and will interest aficionados, students, and scholars of the modern classical music tradition and history of the arts in Russia [Publisher description].

Subjects:

• Mi︠a︡skovskiĭ, N. (Nikolaĭ), 1881-1950.
• Composers — Soviet Union — Biography.
• Mi︠a︡skovskiĭ, N. (Nikolaĭ), 1881-1950. fast (OCoLC)fst00060165
• Soviet Union. fast (OCoLC)fst01210281
• Biography. fast (OCoLC)fst01423686

Requested by Diamond, D.

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Part of the series Musical performance and reception;Musical performance and reception.
Notes:

• Includes bibliographical references (p. 261-279) and index.
• Nadia Boulanger between the wars — Nadia Boulanger’s musical work — Performing the work — The problem of concerts — New links between them — Tomb or treasure — The art of assembling art.

Subjects:

• Boulanger, Nadia.
• Music teachers — France — Biography.
• Conductors (Music) — France — Biography.

Requested by Klemp, M. & Kagin, R.

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Notes:

• Includes bibliographical references (pages 183-185) and index.
• Invitation — Beauty and grace — Thresholds — Grace and renewal — Knowing innocence.
• It is a common article of faith that Mozart composed the most beautiful music we can know. But few of us ask why. Why does the beautiful in Mozart stand apart, as though untouched by human hands? At the same time, why does it inspire intimacy rather than distant admiration, love rather than awe? And how does Mozart’s music create and sustain its buoyant and ever-renewable effects? In Mozart’s Grace, Scott Burnham probes a treasury of passages from many different genres of Mozart’s music, listening always for the qualities of Mozartean beauty: beauty held in suspension beauty placed in motion beauty as the uncanny threshold of another dimension, whether inwardly profound or outwardly transcendent and beauty as a time-stopping, weightless suffusion that comes on like an act of grace. Throughout the book, Burnham engages musical issues such as sonority, texture, line, harmony, dissonance, and timing, and aspects of large-scale form such as thematic returns, retransitions, and endings. Vividly describing a range of musical effects, Burnham connects the ways and means of Mozart’s music to other domains of human significance, including expression, intimation, interiority, innocence, melancholy, irony, and renewal. We follow Mozart from grace to grace, and discover what his music can teach us about beauty and its relation to the human spirit. The result is a newly inflected view of our perennial attraction to Mozart’s music, presented in a way that will speak to musicians and music lovers alike [Publisher description].
• Invitation — Beauty and grace — Thresholds — Grace and renewal — Knowing innocence.

Subjects:

• Mozart, Wolfgang Amadeus, 1756-1791 — Criticism and interpretation.

Requested by Diamond, D. & Kagin, R.