Excerpt from Five Mystical Songs: For Baritone Solo, Chorus (Ab Lib) And Orchestra About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

"This single-volume life-and-works biography of Ralph Vaughan Williams provides a contemporary reassessment of one of the twentieth century's most versatile, influential, and enduringly popular British musicians. Throughout his wide-ranging career-as composer, conductor, editor, scholar, folksong collector, teacher, author, administrator, and philanthropist-Vaughan Williams worked tirelessly to improve the standards and quality of British musical life. His compelling and original musical language-inspired in part by elements drawn from English folksong, French impressionism, Wagnerian post-chromaticism, Tudor-era sacred music, and Anglican hymnody-presented a distinctively British response to musical modernism over his sixty-year-long career, and in works ranging from art songs for amateurs to perhaps the finest symphonic cycle of the twentieth century. Alternating between biographical and analytical chapters, it draws upon previously inaccessible primary sources alongside a wealth of secondary material to craft a concise and engaging overview of Vaughan Williams's life and music"--

Daniels’ Orchestral Music is the gold standard for all orchestral professionals—from conductors, librarians, programmers, students, administrators, and publishers, to even instructors—seeking to research and plan an orchestral program, whether for a single concert or a full season. This sixth edition, celebrating the fiftieth anniversary of the original edition, has the largest increase in entries for a new edition of Orchestral Music: 65% more works (roughly 14,050 total) and 85% more composers (2,202 total) compared to the fifth edition. Composition details are gleaned from personal inspection of scores by orchestral conductors, making it a reliable one-stop resource for repertoire. Users will find all the familiar and useful features of the fifth edition as well as significant updates and corrections. Works are organized alphabetically by composer and title, containing information on duration, instrumentation, date of composition, publication, movements, and special accommodations if any. Individual appendices make it easy to browse works with chorus, solo voices, or solo instruments. Other appendices list orchestral works by instrumentation and duration, as well as works intended for youth concerts. Also included are significant anniversaries of composers, composer groups for thematic programming, a title index, an introduction to Nieweg charts, essential bibliography, internet sources, institutions and organizations, and a directory of publishers necessary for the orchestra professional. This trusted work used around the globe is a must-have for orchestral professionals, whether conductors or orchestra librarians, administrators involved in artistic planning, music students considering orchestral conducting, authors of program notes, publishers and music dealers, and instructors of conducting.

Exploring English Lyrics is the most unified collection of English art texts with transcriptions available, containing 790 unique art song selections with pronunciation as defined by the International Phonetic Alphabet (IPA). It is an invaluable resource for both the native speaking singer and singers with no previous exposure to the English language. These lyrics span nearly 500 years of art song history with texts set by more than 129 composers. Diverse segments of British, American, African American, Canadian, Scottish, Irish, and Australian cultures are represented. The scope of the lyrics selected includes works appropriate for beginners as well as those being performed by the world’s most prominent professional singers. Texts of frequently performed songs from the Royal Conservatory of Music Development Program adjudications, new composers’ collected works, as well as lyrics from major anthologies such as Joan Boytim’s First Book series are included. Detailed indications for selections that require a particular dialect or character voice pronunciation are provided. Helpful indices enable the reader to search by composer, song cycle, first line, or song title. References to settings of texts by multiple composers are indicated throughout the book. The book assists the teacher with repertoire selections while giving the student an accurate and elegant pronunciation that is ideal for intelligibility and optimal singing technique. Knowledge of the phonetic system and detailed pronunciation of new and standard repertoire are readily accessible with this text.

W HAT I H A V E attempted in this book is a survey of song; the kind of song which one finds variously described as 'concert', 'art', or sometimes even 'classical song'. 'Concert song' seems the most useful, certainly the least inexact or misleading, of some descriptions, especially since 'art song' sounds primly off putting, and 'classical song' really ought to be used only to refer to songs written during the classical period, i. e. the 18th century. Concert song clearly means the kind of songs one hears sung at concerts or recitals. Addressing myself to the general music-lover who, though he possesses no special knowledge of the song literature, is never theless interested enough in songs and their singers to attend recitals of Lieder or of songs in various languages, I have naturally confined myself to that period of time in which the vast majority of these songs was composed, though not necessarily only to those composers whose songs have survived to be remembered in recital programmes today. I suppose this to be roughly the three centuries covered by the years 1650-1950, though most of the songs we, as audiences, know and love were composed in the middle of this period, in other words in the 19th century.