The full score to one of Piazzolla's most popular and beloved works. In 1965, Piazzolla began writing Cuatro Estraciones Porteñas, a homage to both the tango and Vivaldi's The Four Seasons, and completed the work in 1970. The Four Seasons: 1. Otoño porteño (Fall) - 6:00 2. Invierno porteño (Winter) - 6:50 3. Primavera porteña (Spring) - 5:20 4. Verano porteño (Summer) - 3:45 The parts are available for rent. Contact [email protected].

Tracing Tangueros offers an inside view of Argentine tango music in the context of the growth and development of the art form's instrumental and stylistic innovations. Rather than perpetuating the glamorous worldwide conceptions that often only reflect the tango that left Argentina nearly 100 years ago, authors Kacey Link and Kristin Wendland trace tango's historical and stylistic musical trajectory in Argentina, beginning with the guardia nueva's crystallization of the genre in the 1920s, moving through tango's Golden Age (1932-1955), and culminating with the "Music of Buenos Aires" today. Through the transmission, discussion, examination, and analysis of primary sources currently unavailable outside of Argentina, including scores, manuals of style, archival audio/video recordings, and live video footage of performances and demonstrations, Link and Wendland frame and define Argentine tango music as a distinct expression possessing its own musical legacy and characteristic musical elements. Beginning by establishing a broad framework of the tango art form, the book proceeds to move through twelve in-depth profiles of representative tangueros (tango musicians) within the genre's historical and stylistic trajectory. Through this focused examination of tangueros and their music, Link and Wendland show how the dynamic Argentine tango grows from one tanguero linked to another, and how the composition techniques and performance practices of each generation are informed by that of the past.

Essays “capturing media ecologies as varied as museum installations, film festival showings, photography, and multiple varieties of internet sharing.” —Jump Cut In Documentary Across Platforms, noted scholar of film and experimental media Patricia R. Zimmermann offers a glimpse into the ever-evolving constellation of practices known as “documentary” and the way in which they investigate, engage with, and interrogate the world. Collected here for the first time are her celebrated essays and speculations about documentary, experimental, and new media published outside of traditional scholarly venues. These essays envision documentary as a complex ecology composed of different technologies, sets of practices, and specific relationships to communities, engagement, politics, and social struggles. Through the lens of reverse engineering—the concept that ideas, just like objects, can be disassembled to learn how they work and then rebuilt into something new and better—Zimmermann explores how numerous small-scale documentary works present strategies of intervention into existing power structures. Adaptive to their context, modular, and unfixed, the documentary practices she explores exploit both sophisticated high-end professional and consumer-grade amateur technologies, moving through different political terrains, different platforms, and different exhibition contexts. Together these essays demonstrate documentary’s role as a conceptual practice to think through how the world is organized and to imagine ways that it might be reorganized with actions, communities, and ideas.

Combining deft musical analysis and intriguing personal insight, Azzi and Collier vividly capture the life of Piazolla, the Argentinean musician--a visionary who won worldwide acclaim but sparked bitter controversy in his native land. 42 halftones.

In this second edition of Orchestral “Pops” Music: A Handbook, Lucy Manning brings forward to the present her remarkable compendium of information about this form of orchestral music. Since the appearance of the first edition in 2008, this work has proven critical to successful “pops” concert programming. With changes in publishers and agents, the discontinuation of the publication of certain original material or, worst of all, presses going out of business, music directors, orchestra conductors, and professional instrumentalists face formidable challenges in tracking down accurate information about this vast repertoire. This revised handbook alleviates the time-consuming task of researching these changes by offering a list of works for orchestral “pops” concerts that is comprehensive, informative, and current. Manning’s emphasis on clarity and accuracy gives users an indispensable tool for gathering vital information on the style, instrumentation, and availability of the repertoire listed, as well as notes on its performance. The user-friendly appendices include expanded instrumentation choices, easy-to-find durations, and handy title cross-references. In addition to corrections and updates, this new edition of Orchestral “Pops” Music includes at least 1,000 new title listings. Orchestral “Pops” Music: A Handbook is the ideal tool for working conductors and orchestral librarians, as well as music program directors at colleges, conservatories, and orchestras.

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.

"Laurie Shulman's book places the Meyerson in its socio-political context, tracing its history to the early 1970s when financial collapse forced the Dallas Symphony to suspend operations. Drawing on interviews with more than 100 individuals as well as documentary resources, her narrative shows how the orchestra's recovery led to a splendid new hall."--BOOK JACKET.