Milhaud was the most versatile, resourceful, and accomplished French composer of his time. These 5 chamber symphonies — dissonant, lightweight, anti-symphonic in their brevity, yet well crafted and charmingly lyrical — include Le printemps (Spring), written in 1917; Pastorale, 1918; Serenade, 1921; Dixtuor a cordes, 1921; and Dixtuor d'instruments a vent, 1922.

Two of the composer's finest symphonies — Symphony No. 6 in D and Symphony No. 7 in D Minor — reproduced from the authoritative Simrock edition. Seventh symphony often considered his greatest achievement in the form.

(DSCH). Includes: Suite from the Opera Lady Macbeth of the Mtsensk District, Op. 29a; Five Interludes from the Opera Lady Macbeth of the Mtsensk District (Katerina Izmailova) Op. 29/114 (a); Interlude between Scenes 6 and 7 from the Opera Katerina Izmailova, Op. 114 (b) Full Score. These volumes are the first releases of an ambitious series started in 1999 by DSCH, the exclusive publisher of the works of Dmitri Shostakovich. Each volume contains new engravings; articles regarding the history of the compositions; facsimile pages of Shostakovich's manuscripts, outlines, and rough drafts; as well as interpretations of the manuscripts. In total, 150 volumes are planned for publication.

Possessing a soloistic texture and variations in instrumental color defined by Grove's as "chamber music for full orchestra," this 1909 work demonstrates the composer's daring explorations in music that renounces motivic connections and tonality. Includes bar-numbered movements and ample margins at the bottom of each page for notes and analysis.

The Slavonic March was published in 1880, the same year as Symphony No. 4 and Capriccio Italien. This Russian warhorse more than holds its own in such attractive company, boasting numerous current recordings.

DIVVirtually all of the composer's works for piano solo: 4 piano sonatas, "Invitation to the Dance," 8 sets of variations, "Grande Polonaise," others. Authoritative C. F. Peters edition. /div

Composed 1912-1913; first revised before 1918. Published in 1920. Dedicated to George Butterworth. This Dover edition is available again after being out of print for some time.

The New Grove Dictionary of Music and Musicians is the most up-to-date body of musical knowledge ever gathered together. The New Grove composer biographies have been selected from the dictionary to bring the finest of the biographies to a wider audience. Each has been expanded and updated for book publication and contains a comprehensive work-list, index, and fully revised bibliography, in addition to the definitive view of the subject's life and works. Arnold Schoenberg, Anton Webern, and Alban Berg comprise what is known as the 'Second Viennese School.' Their early 20th-century atonal and 12-tone composition marked the abolition of the traditional tonal functions and heralded an entirely new treatment of dissonance. These three biographies by Paul Griffiths (Webern), Oliver Neighbour (Schoenberg), and George Perle (Berg) provide insight into these developments and offer succinct and illuminating discussions of the composers' lives and works.

Early nineteenth-century composers, publishers and writers evolved influential ideals of Beethoven's symphonies as untouchable masterpieces. Meanwhile, many and various arrangements of symphonies, principally for amateur performers, supported diverse and 'hands-on' cultivation of the same works. Now mostly forgotten, these arrangements served a vital function in nineteenth-century musical life, extending works' meanings and reach, especially to women in the home. This book places domestic music-making back into the history of the classical symphony. It investigates a largely untapped wealth of early nineteenth-century arrangements of symphonies by Beethoven - for piano, string quartet, mixed quintet and other ensembles. The study focuses on three key agents in the nineteenth-century culture of musical arrangement: arrangers, publishers and performers. It investigates significant functions of those musical arrangements in the era: sociability, reception and canon formation. The volume also explores how conceptions of Beethoven's symphonies, and their arrangement, changed across the era with changing conception of musical works.