Books: 'Chamber music Composers Chamber music Kamermuziek'

1

1943-, Winchester Barbara, ed. Vocal chamber music: A performer's guide. New York: Garland, 1985.

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2

Mozart chamber music. [London]: Ariel Music, BBC Publications, 1986.

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3

Schubert chamber music. London: BBC Publications, 1986.

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4

Brown, Jeanell Wise. Amy Beach and her chamber music: Biography, documents, style. Metuchen, N.J: Scarecrow Press, 1994.

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5

Ensemble, Minneapolis Artists. The Minnesota Composers Forum presents the Minneapolis Artists Ensemble. [Minn.?]: Innova Recordings, 1987.

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6

Korsten, Bjarne. 19 verk av 14 komponister: Rapport fra en safari i moderne norsk kammer- og orkestermusikk = 19 works of 14 composers : report of a safari in contemporary Norwegian chamber- and orchestral music. Bergen: Author, 2001.

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7

Walker-Hill, Helen. Piano music by Black women composers: A catalog of solo and ensemble works. New York: Greenwood Press, 1992.

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8

Ästhetik und Kompositionsweise der Gruppe der Six: Studien zu ihrer Kammermusik aus den Jahren 1917-1921. Echternach [Luxembourg]: Editions Phi, 1998.

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9

King, A. Hyatt, and Alec H. King. Mozart Chamber Music (Ariel Music Guides). BBC Books, 1995.

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10

Westrup, J. A., and Jack A. Westrup. Schubert Chamber Music (BBC Music Guides). Gloucester, 1996.

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11

Social Worlds of Nineteenth-Century Chamber Music: Composers, Consumers, Communities. University of Illinois Press, 2015.

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12

Lott, Marie Sumner. Social Worlds of Nineteenth-Century Chamber Music: Composers, Consumers, Communities. University of Illinois Press, 2018.

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13

Seddon, Laura. British Women Composers and Instrumental Chamber Music in the Early Twentieth Century. Taylor & Francis Group, 2016.

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14

British Women Composers and Instrumental Chamber Music in the Early Twentieth Century. Ashgate Publishing Group, 2013.

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15

Musica: 1,000 years of Classical Music: The Complete Illustrated Guide; COMPOSERS • PERFORMERS • MUSICAL INSTRUMENTS • ORCHESTRA • OPERA • CHAMBER MUSIC. 52 Bolwarra Rd, Elanora Heights, NSW, 2101 Australia: Millennium House Pty Ltd, 2010.

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16

Harenberg Kammermusikführer. 600 Stücke vom Solostück bis zum Sonett. Harenberg Kommunikation Verlags- und Medien-GmbH, 1997.

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Annette, Retinski, Stübler Klaus, Wolf Christine, and Harenberg (Firm), eds. Harenberg Kammermusikführer: 600 Werke vom Solostück bis zum Nonett. Dortmund: Harenberg, 1997.

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18

Harenberg Kammermusikführer. 12 CDs. Harenberg Kommunikation Verlags- und Medien-GmbH, 1998.

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19

I'll take you there: Mavis Staples, the Staple Singers, and the march up freedom's highway. Scribner, 2014.

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20

I'll Take You There: Mavis Staples, the Staple Singers, and the Music That Shaped the Civil Rights Era. Scribner, 2014.

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21

Loeffler, Charles Martin. Selected Songs with Chamber Accompaniment. Edited by Ellen Knight. A-R Editions, 1988. http://dx.doi.org/10.31022/a016.

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Charles Martin Loeffler's espousal of Symbolism in music made him an exception among American composers at the turn of the century. Unlike the majority of American works, which followed in the conservative German academic tradition, Loeffler's music mirrored the aesthetics of contemporary French poetry. In its own time this music seemed modern, ingeniously colorful, and strikingly original. Out of its own time it remains fresh and out of the ordinary. Loeffler's highly individual songs achieved considerable popularity during his lifetime, but the majority of these songs—as of his works in general—have never been previously published. The songs in the edition include settings by Baudelaire, Verlaine, Kahn, and Rollinat.

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22

Improvisation games for classical musicians: A collection of musical games with suggestions for use : for performers, instrumental teachers, music students, music therapists, bands, orchestras, choirs, chamber music ensembles, conductors, composers, pianists, percussionists, and everybody else (even jazz players). Chicago: GIA Publications, 2008.

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23

Fitzsimmons, Lorna, and Charles McKnight, eds. The Oxford Handbook of Faust in Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780199935185.001.0001.

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The Oxford Handbook of Faust in Music comprises twenty-five chapters examining representative works in the history of the Faust theme in music from the nineteenth century to the present in Europe, North America, Australia, and the United Kingdom. Since its emergence in sixteenth-century Germany, the magician Faust has become one of the most profound themes in Western history. Though variants are found across all media, few adaptations have met with greater acclaim than in music. Bringing together more than two dozen authors in a foundational volume, The Oxford Handbook of Faust in Music testifies to the spectacular impact the Faust theme has exerted over the centuries. The Handbook’s three-part organization enables readers to follow the evolution of Faust in music across time and stylistic periods. Part I explores symphonic, choral, chamber, and solo Faust works by composers from Beethoven to Schnittke. Part II discusses the range of Faustian operas, and Part III examines Faust’s presence in ballet and musical theater. Illustrating the interdisciplinary relationships between music and literature and the fascinating tapestry of intertextual relationships among the works of Faustian music themselves, the volume suggests that rather than merely retelling the story of Faust, these musical compositions contribute significant insights on the tale and its unrivaled cultural impact.

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24

Waterlow, David Barry. Between two worlds: Bernard Naylor, English composer in Canada. 1999.

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25

Miller, Leta E. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038532.003.0001.

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This introductory chapter provides an overview of Aaron Jay Kernis's achievements. His current Schirmer catalog lists more than one hundred compositions: a dozen orchestral works; another dozen concerti with large orchestra or wind ensemble; a group of works for soloist with chamber orchestra; nearly two dozen compositions for two to six players and the same number of pieces for chorus; fourteen pieces for solo voice accompanied by piano or chamber groups; and a dozen compositions for keyboard. Quantity, however, is but one measure of achievement. In Kernis's case, quality has been repeatedly affirmed by a steady stream of awards and commissions, by the enthusiastic reception from renowned performers, and by the strong response his music elicits from audiences. Indeed, he has already won three major prizes coveted by contemporary composers: the Pulitzer Prize (1998), the Grawemeyer Award (2002), and the Nemmers Prize (2012).

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26

Nichols, Roger. Poulenc. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300226508.001.0001.

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Francis Poulenc is a key figure in twentieth-century classical music, as well as an unorthodox and striking individual. This book draws upon Poulenc's music and other primary sources to write an authoritative life of this great artist. Although associated with five other French composers in what came to be called “Les Six,” Poulenc was very much sui generis in personality and in his music, where he excelled over a wide repertoire-opera, songs, ballet scores, chamber works, piano pieces, sacred and secular choral works, orchestral works and concertos. This book fully covers this wide range, while also describing the vicissitudes of Poulenc's life and the many important relationships he had with major figures such as Satie, Ravel, Stravinsky, Diaghilev, Cocteau and others.

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27

Beal, Amy C. Compositional Beginnings, 1933–1936. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039157.003.0002.

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This chapter examines Beyer's compositional beginnings. Aside from several solo pieces composed in 1931 and 1932—a piano waltz and two solo clarinet suites, respectively—Beyer composed several chamber pieces during 1933. She continued making strides in her compositional work and developed new working methods. By December 1934, Beyer was gaining recognition for her music, but no money. Like most musicians during the Depression, Beyer struggled financially. However, despite foreclosures and other threats, the year 1935 brought some relief through the Works Progress Administration and its associated initiatives, and it is probably during this time that she taught piano under the auspices of the Federal Music Project. Eventually, Beyer had the first of her two Composers' Forum-Laboratory concerts on May 20, 1936, during which a number of her pieces were performed.

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28

Beal, Amy C. Having Faith, 1936–1940. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039157.003.0003.

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This chapter discusses Beyer's music in the late 1930s. During this period, Beyer's life seemed to balance precariously between a private struggle with poverty and being on the brink of public recognition. Beyer received some support from WPA projects around this time. On May 19, 1937, Beyer had her second Composers' Forum-Laboratory event, shared with composer Walter Helfer. She continued to compose prolifically; in 1937 alone she wrote eight works, including two chamber pieces, three pieces for choir, and three works for orchestra. Around 1938, Beyer was included in a small group that would comprise a “Promotion Committee” for the New Music Quarterly Recordings (NMQR), and she communicated regularly about the New Music recordings project with Harrison Kerr, Otto Luening, and Gerald Strang, who had taken over the direction of New Music Society events.

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29

Mirka, Danuta. Hypermetric Manipulations in Haydn and Mozart. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548905.001.0001.

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This book presents a systematic discussion of hypermeter and phrase structure in eighteenth-century music. It combines perspectives from historical and modern music theory with insights from the cognitive study of music and introduces a dynamic model of hypermeter that allows the analyst to trace the effect of hypermetric manipulations in real time. This model is applied in analyses of string chamber music by Haydn and Mozart. The analyses shed a new light upon this celebrated musical repertory, but the aim of this book goes far beyond an analytical survey of specific compositions. Rather, it is to give a comprehensive account of the ways in which phrase structure and hypermeter were described by eighteenth-century music theorists, conceived by eighteenth-century composers, and perceived by eighteenth-century listeners.

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30

Mirchandani, Sharon. Fragments. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037313.003.0003.

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This chapter focuses on Marga Richter's shorter, more fragmented works that had little or no development and were not as expansive as her earlier (and later) pieces. Unlike other U.S. composers in the 1960s such as Edgard Varèse and Milton Babbitt, Richter did not gravitate toward total serialism, electronic music, or chance music, although she reluctantly responded to the trend of composing sparse, economical, and atonal works. An encounter with composer William Sydeman at the Bennington Composers Conference was influential in steering Richter toward the prevailing attitudes of the day. This chapter discusses some of Richter's more concise compositions during the 1960s, including short solo and chamber music scores such as Fragments for solo piano; choral works like Psalm 91 for mixed chorus for mixed chorus; and the modern ballet score, Abyss for the Harkness Ballet. It also considers Richter's compositional retreat at a family residence in Shrewsbury, Vermont, and her self-admitted tendency to suffer from a letdown following elation from a performance or completion of a major work.

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31

Miller, Leta E. Triumphs and Tribulations. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038532.003.0006.

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This chapter focuses on Kernis's music in the years 1995–2001. In 1995, the American Academy of Arts and Letters honored Kernis with a $7,500 prize to facilitate a recording. During the following five years, Kernis would continue down the “road of excess,” churning out new works at a prodigious rate. In the summer of 1995, Kernis appeared for the first time as one of the featured composers at the Cabrillo Music Festival in Santa Cruz, California—a two-week contemporary music extravaganza held annually since 1963. Commissions also added to Kernis's increasing renown—he received one in August 1995 from the St. Paul Chamber Orchestra for an arrangement of piano music, another in September from the Birmingham Bach Choir for a short choral work, and a third in October from the Chicago Symphony for a choral symphony. Meanwhile, Kernis was frantically working on the Double Concerto for Violin and Guitar, which continued to give him trouble.

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32

Mirchandani, Sharon. Landscapes. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037313.003.0004.

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This chapter focuses on Marga Richter's compositions during the 1970s, including orchestral, chamber music, and piano pieces. Richter's music in the 1970s is her response to the beauty she found in nature, as well as intimacy. She also became increasingly aware of the need to promote her own music. Her orchestral works drew the interest of prominent conductors such as Stanislaw Skrowaczewski, Gregory Millar, Kenneth Schermerhorn, Harold Farberman, and Sheldon Morgenstern. The backdrop to these performances and more was the second-wave feminism that had swept the nation. This chapter first discusses Richter's relationship to the feminist movement of the period and how feminism contributed to the growth of support for women composers, and particularly to Richter's success. It then examines Richter's Landscapes series—Landscapes of the Mind I, Landscapes of the Mind II, and Landscapes of the Mind III—as well as her shorter works and piano works. It also analyzes Richter's thirteen-minute symphonic poem Blackberry Vines and Winter Fruit, which reflects a touch of American transcendentalism, and concludes with an assessment of her musical aesthetics.

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33

Mirchandani, Sharon. Culmination. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037313.003.0006.

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This chapter focuses on Marga Richter's compositions during the 1990s. In the 1990s, the compositional world was still fragmented as composers focused on serial and electronic music, performance art, and numerous other styles. Richter continued to created choral music as well as music for opera, which she combined with vocal and orchestral works. Her compositions were fewer in number during this decade, but large in scale for the most part. This chapter first considers Richter's works after the death of her husband Alan Skelly, beginning with the seven-poem cycle, Into My Heart, which she dedicated to him. It then examines Richter's Quantum Quirks of a Quick Quaint Quar, along with two large-scale works from the 1990s that mark the apex of her output to date: the triple concerto, Variations and Interludes on Themes from Monteverdi and Bach for violin, cello, piano, and orchestra (1992); and the chamber opera, Riders to the Sea. It also discusses Sarah do not mourn me dead, which has hints of transcendentalism and love.

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34

Preston, Katherine K. George Frederick Bristow. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043420.001.0001.

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George Frederick Bristow (1825-1898), a pillar of the nineteenth-century New York musical community, was educated, lived, and worked in New York for his entire life. A skilled performer (piano, organ, violin, conducting), he was a decades-long member of the Philharmonic Societies of New York and Brooklyn, and conducted the Harmonic Society, Mendelssohn Union, numerous church choirs, and pickup choral and instrumental ensembles organized for special events. He taught music privately and in the public school system. Bristow’s professional activities were those of a highly skilled urban journeyman musician--typical of many who worked in America during the period. Bristow was a steadfast and outspoken supporter of American composers throughout his career. This started in 1854 with his participation--along with William Henry Fry and editor Richard Storrs Willis--in a months-long journalistic battle that centered on the Philharmonic Society’s lack of support for American composers, an activity that has dominated his historical reputation. But he was also a prolific composer: of five symphonies, two oratorios, an opera, many secular and sacred choral pieces, chamber music, songs, and works for piano and organ. As a quiet and self-effacing individual, Bristow was not a self-promoter. But many of his contemporaries regarded him as a skilled performer, a generous colleague, and the most important American classical composer during much of the mid-century period.

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35

Heyman, Barbara B. Samuel Barber. 2nd ed. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.001.0001.

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Samuel Barber (1910–1981) was one of the most important and honored American composers of the twentieth century. Writing in a great variety of musical forms—symphonies, concertos, operas, vocal music, chamber music—he infused his works with poetic lyricism and gave tonal language and forms new vitality. His rich legacy includes such famous compositions as the Adagio for Strings, the orchestral song Knoxville: Summer of 1915, three concertos, and his two operas, the Pulitzer Prize–winning Vanessa and Antony and Cleopatra, a commissioned work that opened the new Metropolitan Opera House at Lincoln Center in New York. Generously documented by letters, sketchbooks, original musical manuscripts, and interviews with friends, colleagues, and performers with whom he worked, this book covers Barber’s entire career and all of his compositions. The biographical material on Barber is closely interspersed with a discussion of his music, displaying Barber’s creative processes at work from his early student compositions to his mature masterpieces. The book also provides the social context in which this major composer grew: his education; how he built his career; the evolving musical tastes of American audiences; his relationship with Gian Carlo Menotti and such musical giants as Serge Koussevitzky, Arturo Toscanini, Vladimir Horowitz; and the role of radio in the promotion of his music. A testament to the significance of neo-Romanticism, Samuel Barber stands as a model biography of an important American musical figure.

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Books on the topic 'Chamber music Composers Chamber music Kamermuziek'

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