This edition of Haydn's Divertimento with variations for harpsichord four hands, violin and violone is intended to meet the performer's needs for an accurate score in order to make interpretive decisions, while maintaining the original text. For purposes of visual simplification, the violone part has been moved from the bottom staff and placed below the violin parts. A detailed introduction discusses the origin and characteristics of the score, which was found in a library in Padua. Includes bibliographical references. Annotation copyrighted by Book News, Inc., Portland, OR.

This book presents these significant scores in a modern edition that is suitable for scholars and performers. Copious critical notes and discussions of various aspects of the manuscripts, sources, will be most enlightening for musicologists interested in Haydn source materials. H. C. Robbins Landon introduced a citation of authentic parts for Symphony no. 93 in his monumental study, The Symphonies of Joseph Haydn, with the remarks: As this book goes to press, I have made the discovery that parts of all twelve London symphonies were printed by J. P. Salomon with the firm Monzani & Cimador... Textually these parts are of the utmost importance, since comparison with the autographs shows that this edition was made from Salomon's MS. orchestral material and not from the scores.1 Twenty some years after those words were written, score copies of Haydn's symphonies 97, 93, 94 and 98 came to light at the British Library2 that are likewise traceable to Salomon and clearly establish his role as one of the earliest agents for the transmission of the London symphonies in authentic guise. 1792 and 1794, most likely at his behest, using the original performing parts or Salomon's own copies of them as their model. Thus, their importance as sources for the symphonies in question can scarcely be overestimated. Michael Ruhling traces the history of these fascinating scores, examining the myriad of details that reflect their striking resemblance to Haydn's own autographs. He reveals that Salomon's scores preserve numerous details of articulation, phrasing, even of note material that are absent from the autographs; and adduces Salomon's later quintet arrangements of the symphonies, wherein the same details are duplicated, as evidence of the sound and manner that shaped the works at their earliest performances. Ruhling concludes his study with first-ever editions of Salomon's score copies. Handsomely engraved and meticulously documented, these editions present a delight to the eye as well as a provocation to thoughtful study.

This book presents a clear and comprehensive picture of these two great figures of Western music. As contemporaneous composers Franz Joseph Haydn and Wolfgang Amadeus Mozart spoke the same musical language of late eighteenth-century Classicism. They shared the summit in the development of a procedure known as sonata style

Jonathan Harvey's Bhakti, commissioned by Pierre Boulez in association with IRCAM, has been widely recognized as one of the most influential works of the 1980s and one of the major electroacoustic compositions ever to be produced at IRCAM, Paris. It has been performed worldwide by the most influential ensembles of contemporary music. This study provides the reader with a comprehensive platform of discussion including a rigorous analytical scrutiny of the serial techniques used by the composer, an in-depth exploration of the electroacoustic techniques employed for the realisation of the tape part, a discussion about the composer's aesthetics and the correspondence between the music and its metaphysical meaning in conjunction with the Rig Veda texts that have inspired the work, an interview with the composer, and a final forum about the work including eminent musicologists, composers and conductors such as Joel Chadabe, Arnold Whittall, James Wood, Eric De Visscher and other leading personalities of the international contemporary music circuit.

Ferdinando Giorgetti's Metodo per Esercitarsi a Ben Suonare L'Alto Viola (A Self-Training Method for Playing the Viola Well) was first published in Florence in 1854. In this translation, Sciannameo (multidisciplinary studies, music, Carnegie Mellon University) gives background on Giorgetti's life an

This monograph presents original research based on Wagner's theoretical writings and demonstrates that there is a precise logic to his tonal structures.

John La Montaine is known primarily for his Concerto for Piano and Orchestra, Opus 9, which was awarded the Pulitzer Prize for Music in 1959. In addition, he has won countless awards for composition. However, his compositions for voice and piano are not yet an established part of the vocal solo repertoire. This work illustrates La Montaine's music for voice and piano through an analysis of musical and dramatic elements that support the text and drama. A biographical study provides details about the composer's life such as musical training, personal influences, awards and goals. In addition, the issues of philosophy, creativity, methods, musical styles, and textual considerations are discussed and are the basis for the following analysis.

For this vast array of information in these studies, Dr. Radice, Curator of the Karel Husa Archive and Gallery at Ithaca College School of Music, P. rofessor of Music History at Ithaca, has provided cohesion in his opening essay, in which he offers full biographical dat in addition to discussions of everything that Karel has written to date; he has also included selected, edited, and translated correspondence dating back into the 1940s with extensive annotations about personalities and compositions.