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January 2004

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Below are items you may have seen this month in a certain monthly organ magazine.

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Description, Specifications, More Photos, Article, The Church of Jesus Christ of Latter-day Saints Conf. Center, Salt Lake City, Utah, Schoenstein

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Description, More Photos, Article, Symphony Hall, The Esplanade, Singapore, Klais

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Specifications, Holy Trinity Lutheran Church, Red Bank, New Jersey, Petty-Madden

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Zion Lutheran Church, Marengo, Illinois, Fabry

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Description, Specifications, More Photos, Article, Symphony Hall, Brimingham, England, Klais

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Description, Specifications, More Photos, Article, Peachtree Road United Methodist Church, Atlanta, Georgia, Mander

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Good Shepherd Lutheran Church, Chicago, Illinois, Wicks

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Specifications, First Presbyterian Church, Highlands, North Carolina, Wicks

cover Abide With Me: The World of Victorian Hymns by Ian C. Bradley

cover Arthur Bliss: Music and Literature by Stewart R. Craggs

cover Beethoven's Anvil: Music in Mind and Culture by William L. Benzon
Why does the brain create music? In Beethoven's Anvil, cognitive scientist and jazz musician William Benzon finds the key to music's function in the very complexity of musical experience. Music demands that our symbol-processing capacities, motor skills, and emotional and communicative skills all work in close coordination--not only within our own heads but also with the heads (and bodies) of others. Music is at once deeply personal and highly social, highly disciplined yet open to emotional nuance and interpretation. It's precisely this coordination of different mental functions, Benzon argues, that underlies our deep need to create and participate in music. At once daring and scholarly, this remarkable book offers a sweeping vision of a vital, underappreciated force in our minds and our culture.

cover Copland Connotations: Studies and Interviews by Peter Dickinson (Editor)
The contributors to Copland Connotations - both American and British - include the leading figures in Copland studies. Pre-eminent among these is Vivian Perlis, whose two-volume memoirs were written in collaboration with the composer himself; then Howard Pollack, whose substantial biography of Copland has been acclaimed; and also other established specialists in American music such as Stephen Banfield, William Brooks, Mark DeVoto, Peter Dickinson, David Schiff, Larry Starr and the distinguished analyst Arnold Whittall. Brilliant studies from young scholars are a special feature - Jessica Burr, Jennifer DeLapp, Sally Bick, Daniel E. Mathers and Marta Robertson. These all offer exciting new perspectives on Copland's work; unique reflections on his private life; and indicate the undoubted vitality of his appeal to future generations.The British-based team of authors, along with Anthony Burton, David Nicholls and Bayan Northcott, engages in a lively open forum discussion covering many issues in connection with Copland and his work. And finally Copland Connotations brings Copland himself into the picture by providing transcriptions of two previously unpublished interviews Copland gave to Peter Dickinson at Keele University in 1976.

cover Gilbert and Sullivan: A Dual Biography by Michael Ainger
A Gilbert is of no use without a Sullivan. With these words, W.S. Gilbert summed up his reasons for persisting in his collaboration with Arthur Sulllivan despite the combative nature of their relationship. In fact, Michael Ainger suggests in Gilbert and Sullivan the success of the pair's work is a direct result of their personality clash, as each partner challenged the other to produce his best work. After exhaustive research into the D'Oyly Carte collection of documents, Ainger offers the most detailed account to date of Gilbert and Sullivan's starkly different backgrounds and long working partnership. Having survived an impoverished and insecure childhood, Gilbert flourished as a financially successful theater professional, married happily and established himself as a property owner. His sense of proprietorship extended beyond real estate, and he fought tenaciously to protect the integrity of his musical works. Sullivan, the product of a supportive family who nourished his talent, was much less satisfied with stability than his collaborator. His creative self-doubts and self-demands led to nervous and physical breakdowns, but it also propelled the team to break the successful mode of their earliest work to produce more ambitious pieces of theater, including The Mikado and The Yeoman of the Guards. Offering previously-unpublished draft librettos and personal letters, this thorough double-biography will be an essential addition to the library of any Gilbert and Sullivan fan.

cover The Healing Power of Sound : Recovery from Life-Threatening Illness Using Sound, Voice, and Music by Mitchell L. Gaynor

cover J.S. Bach: the Complete Cantatas in Parallel Translation by Richard Stokes (Translator)

cover Joseph Haydn and the Eighteenth Century: Collected Essays of Karl Geiringer by Karl Geiringer

cover Mahler: A Biography by Jonathan Carr
Evaluating with exemplary judiciousness the masses of material about Gustav Mahler (1860-1911), British journalist Jonathan Carr pens a highly readable biography. Whether describing the composer's youth in Central Europe, triumphs as a conductor in Vienna and New York, or stormy marriage to Alma Schindler, Carr elucidates Mahler's complex nature without presuming to "explain" it. Devilish or saintly? Cunning or naive? Extrovert or withdrawn? "He was all these things," writes Carr, "brandishing his contradictions in music of stinging intensity." Mahler's compositions and personality gain new dimensions from this fresh, nuanced approach.

cover Medieval Music-Making and the Roman de Fauvel by Emma Dillon
This book explores the role of music in an early fourteenth-century French manuscript. It sets the manuscript against the wider culture of Parisian book-making, showing how in devising new systems of design and folio layout, its creators developed a new kind of materiality in music. It also illustrates how music is expressive in ways that are unperformable apart from its visual representation, and argues that the new attitudes to material music making embodied in the manuscript serve as a model for exploring other music manuscripts to emerge in late medieval France.

cover Music and Culture in Late Renaissance Italy by Iain Fenlon
This collection of essays is unified by a number of concerns: one is the way in which musical activity of all kinds was instrumentalized by those in power, in Italy, during the Sixteenth Century. A second expressed through the chornological concentration on the second half of the century, is with a period which is still often regarded as one of decline and degeneracy after the achievements of the Quattrocento and the decades before the calameta d'Italia. This book implicitly argues that Italian culture did not lose its vigor after 1530, but underwent a transformation, as both individuals and institutions reacted to new economic, political, and religious circumstances.

cover A Music Learning Theory for Newborn and Young Children by Edwin E. Gordon

cover Musorgsky: His Life and Works by David Brown
Modest Musorgsky was one of the towering figures of nineteenth-century Russian music. Now, in this new volume in the Master Musicians series, David Brown gives us the first life-and-works study of Musorgsky to appear in English for over a half century. Indeed, this is the largest such study of Musorgsky to have appeared outside Russia. Brown shows how Musorgsky, though essentially an amateur with no systematic training in composition, emerged in his first opera, Boris Godunov, as a supreme musical dramatist. Indeed, in this opera, and in certain of his piano pieces in Pictures at an Exhibition, Musorgsky produced some of the most startlingly novel music of the whole nineteenth century. He was also one of the most original of all song composers, with a prodigious gift for uncovering the emotional content of a text. As Brown illuminates Musorgsky's work, he also paints a detailed portrait of the composer's life. He describes how, unlike the systematic and disciplined Tchaikovsky, Musorgsky was a fitful composer. When the inspiration was upon him, he could apply himself with superhuman intensity, as he did when composing the initial version of Boris Godunov. Sadly, Musorgsky deteriorated in his final years, suffering periods of inner turmoil, when his alcoholism would be out of control. Finally, unemployed and all but destitute, he died at age forty-two. His failure to complete his two remaining operas, Khovanshchina and Sorochintsy Fair, Brown concludes, is one of music's greatest tragedies. Written by one of the leading authorities on nineteenth-century Russian composers, Musorgsky is the finest available biography of this giant of Russian music.

cover Parallels and Paradoxes : Explorations in Music and Society by Edward W. Said
This fascinating exchange between two of the most prominent figures in contemporary culture, Daniel Barenboim, Music Director of the Chicago Symphony Orchestra and the Deutsche Staatsoper Berlin, and Edward W. Said, the eminent literary critic and scholar and a leading expert on the Middle East, grew out of the acclaimed Carnegie Hall Talks. A unique and impassioned discussion about politics and culture, it touches on many diverse subjects: the importance of a sense of place; the differences between writing prose and music; the conductors Wilhelm Fürtwangler and Arturo Toscanini; Beethoven as the greatest sonata composer; the difficulty of playing Wagner; the sound at Bayreuth; the writers Balzac, Dickens, and Adorno; the importance of great teachers; and the power of culture to transcend all national and political differences——something they both witnessed when they brought together young Arab and Israeli musicians to play at Weimar in 1999. Although Barenboim and Said have very different points of view, they act as catalysts for each other. The originality of their ideas makes this a book that is both accessible and compelling for anyone who is interested in the culture of the twenty-first century.

cover Play, Sing, & Dance: An Introduction to Orff Schulwerk by Doug Goodkin

cover Puccini: His Life and Works by Julian Budden
Julian Budden, one of the world's foremost scholars of Italian opera and author of a monumental three-volume study of Verdi's works, now offers music lovers a major new biography of one of the giants of Italian opera, Giacomo Puccini. Blending astute musical analysis with a colorful account of Puccini's life, here is an illuminating look at some of the most popular operas in the repertoire, including Manon Lescaut, La Boheme, Tosca, Madama Butterfly, and Turandot. Budden provides an illuminating look at the process of putting an opera together, the cut-and-slash of nineteenth-century Italian opera--the struggle to find the right performers for the debut of La Boheme, Puccini's anxiety about completing Turandot (he in fact died of cancer before he did so), his animosity toward his rival Leoncavallo (whom he called Leonasino or "lion-ass"). Budden provides an informative analysis of the operas themselves, examining the music act by act. He highlights, among other things, the influence of Wagner on Puccini--alone among his Italian contemporaries, Puccini followed Wagner's example in bringing the motif into the forefront of his narrative, sometimes voicing the singer's unexpressed thoughts, sometimes sending out a signal to the audience of which the character is unaware. And Budden also paints an intriguing portrait of Puccini the man--talented but modest, a man who had friends from every walk of life: shopkeepers, priests, wealthy landowners, fellow artists. Affable, well mannered, gifted with a broad sense of fun, he rarely failed to charm all who met him. A new volume in the esteemed Master Musicians series, Puccini offers a masterful portrait of this beloved Italian composer.

cover Songs and Madrigals by Denis Stevens (Translator)
This is the first collection of Claudio Monteverdi's "Madrigal and Song" texts published in parallel Italian and English versions. Denis Steven's unique anthology ranges across four centuries of verse for music. More than thirty poets, old and new, famous and obscure, are represented here, many for the first time in English. Enthusiasts and scholars of the music and its period will be extremely interested in finding out what the poems Monteverdi set to music really mean. The keys Stevens uses in his translations come from a lifetime's work devoted to Monteverdi and his contemporaries.

cover Teaching Choral Music (2nd Edition) by Don L. Collins
Written in a lively and engaging style, this comprehensive, practical, and authoritative guide to teaching choral music offers a sequential, organized plan of approach that explores the foundation principles and methods of the discipline, covers the nuts and bolts of the profession, and helps users learn to structure administration and organization responsibilities to promote long, complete, and satisfying careers. Offers practical guidance and explains complex concepts about vocal and choral technique in a simple and easy-to-understand language. Covers theŸgistory of choral music in Europe and America, and delineates aspecific philosophy of teachingchoral music with a particular emphasis on its justification in the secondary school curriculum. Now recommends long- and short-term Study Projects for each chapter, and comes with new and expanded appendices that include: Suppliers of Choral Music, Materials and Equipment; Choral Literature for Mid-Level Grades; Multicultural Choral Music; Sight Reading Methods; plus useful Web Sites. Makes an ideal reference.

cover Television Opera : The Fall of Opera Commissioned for Television by Jennifer Barnes
Television opera - that is, opera commissioned for television - was one of the earliest attempts by television to bridge the distinction between high culture and popular culture: between 1951 and 2002, in Britain and the United States, over fifty operas were commissioned for television. This book discusses three case studies, the first a live broadcast, the second a video recording, and the third a filmed opera made for television: Gian Carlo Menotti's 'Amahl and the Night Visitors' (NBC, 1951; Benjamin Britten's 'Owen Wingrave' (BBC, 1971), taking into account Britten's earlier television experiences with 'The Turn of the Screw' (Associated Rediffusion, 1959) and 'Billy Budd' (NBC, 1952 and BBC 1966); and Gerald Barry's 'The Triumph of Beauty and Deceit' (1995), part of Channel 4's decision in 1989 to embark upon a series of six hour-long television operas. In each case, the composer's response to the demands of television, and his place within the production's hierarchy, are examined; and the effect of the formats and techniques peculiar to television on the process of composing are discussed. JENNIFER BARNES is Assistant Principal and Dean of Studies at Trinity College of Music, London.From its beginnings, television has relied on music to signal its message to the broadest market, and opera was a significant part of that plan. But whereas in opera the role of the composer is paramount and his vision provides the driving force, in opera commissioned for television there are other priorities, both practical and artistic. Over the decades, conflict of expectations, methods and authority have influenced the production of many television operas. To chart these changes, this work examines three, commissioned at twenty-year intervals - Menotti's 'Amahl and the Night Visitors', Britten's 'Owen Wingrave' and Barry's 'Triumph of Beauty and Deceit.Over fifty operas have been commissioned for television since the early 1950s. Examining changes in television techniques, Jennifer Barnes considers their impact on the role of the composer and questions whether television, in its rapid evolution, has abandoned early indigenous production methods, and with that its secrets of writing and producing opera for television.

cover What Every Pianist Needs to Know About the Body by Thomas Mark, Thom Miles, Roberta Gary
Techniques on how to gain greater fluidity of movement while playing to improve the quality of the experience are offered in this manual for serious piano players. This book encourages musicians to develop a broader understanding of the involvement of the entire body in playing-and the strains playing places on the body-by focusing on body mapping to increase awareness of the body's function, size, and structure. Ways in which piano, organ, harpsichord, clavichord, and digital keyboard players can eliminate or prevent carpal tunnel syndrome and other debilitating conditions without traditional medical treatments are also explored.

cover The Restoration of Gregorian Chant: Solesmes and the Vatican Edition by Dom Pierre Combe
This book presents for the first time in English the fully documented history of the Gregorian chant restoration which culminated in the publication of the Vatican Edition ordered by Pope Pius X at the dawn of the twentieth century. It is based upon archival documents in the Abbey of St. Pierre de Solesmes. The ecclesia orans, the Praying Church, has always regarded genuine church music as an integral part of prayer and of solemn public worship as a whole. Sacred music is not intended to beautify and decorate worship. Rather, taking shape from the depths of the Church’s interior life, sacred music bears the imprint of that divine beauty which never grows old—and which is far more sublime than all mere artistic or historical intentions. Gregorian chant, the Catholic Church’s very own music, is proper to the Roman liturgy, but during the course of its long history it has experienced periods of ascendancy and of decline. A century ago, Pope Pius X called for a restoration of the sacred melodies, and the result was the Vatican Edition. This book describes in careful, vivid detail the strenuous efforts of personalities like Dom Joseph Pothier, Dom Andre Mocquereau, Fr. Angelo de Santi, and Peter Wagner to carry out the wishes of the Pope. The attentive reader will not fail to note that many of the questions so fervidly debated long ago are still current and topical today. The original French edition, Histoire de la restauration du chant grégorien, was published by the Abbey of Solesmes in 1969. Robert A. Skeris’s new introduction to this edition illuminates the current discussion with documentation including the Preface to the Vatican Gradual and the "Last Will and Testament" written by Dom Eugene Cardine.

cover Dies Irae: A Guide to Requiem Music by Robert Chase

cover Manufacturing the Muse: Estey Organs and Consumer Culture in Victorian America by Dennis G. Waring

Meditation Sur B.A.C.H. By Lionel Rogg. For organ. Published by Editions Henry Lemoine. (513019760)
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Quatre Etudes Caprices By Naji Hakim. For organ. Duration 8 Mins. Published by Editions Alphonse Leduc. (513019940)
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Concerto By Thierry Escaich. Part. Published by Editions Alphonse Leduc. (513019520)
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Debout Sur Le Soleil By Jean Louis Florentz. For organ. Published by Editions Alphonse Leduc. (513013940)
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cover Philadelphia Gothic
On this CD:
Joseph Jackson unleashes the full power of the Reuter Organ at The First Presbyterian Church in Philadelphia in the monumental Variations on Weinem, Klagen, Zagen by Liszt and the mysterious Fantasie Choral No. 2 by Whitlock. In contrast, many lovely solo voices are displayed corresponding to the registrational directions in the scores. The popular Liebestraum and the delightful Marche Pastorale contrast effectively with the two major works.

1. Variations on Bach's "Weinem, Klagen, Zagen" (Franz Liszt)
2. Liebestraume, No. e (Franz Liszt)
3. Fantasie Choral No. 2 in F-sharp minor (Percy Whitlock)
4. Marche Pastorale (Shepherds' March) (Pietro Yon)
5. Symphonic Chorale, Op. 87, No. 2 ("Jesu, meine Freude") Sigfrid Karg-Elert

cover Bach: The Ascension Oratorio & 2 Festive Cantatas
On this CD:
1. Cantata No. 11, "Lobet Gott in seinen Reichen," ("Ascension Oratorio"), BWV 11
Composed by Johann Sebastian Bach
Performed by Bach Festival Orchestra with Thomas Goeman, Charles Holdeman, Robin Kani, Ann Monoyios, Christopher Nomura, Loretta O'Sullivan, Lisa Rautenberg
Conducted by Greg Funfgeld

2. Cantata No. 51, "Jauchzet Gott in allen Landen," BWV 51
Composed by Johann Sebastian Bach
Performed by Bach Festival Orchestra with Thomas Goeman, Charles Holdeman, Robin Kani, Ann Monoyios, Loretta O'Sullivan, Lisa Rautenberg
Conducted by Greg Funfgeld

3. Cantata No. 34, "O ewiges Feuer, o Ursprung der Liebe," BWV 34
Composed by Johann Sebastian Bach
Performed by Bach Festival Orchestra with Thomas Goeman, Charles Holdeman, Robin Kani, Christopher Nomura, Loretta O'Sullivan, Lisa Rautenberg
Conducted by Greg Funfgeld

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