Arriving in the United States at age twenty-seven, Hungarian-born Paul Henry Lang (1901-1991) went on to exert a powerful influence on musical life and scholarship in his adopted country for more than six decades. As professor of musicology at Columbia University, editor of the Musical Quarterly, a founder of the American Musicological Society, and chief music critic of the New York Herald Tribune, Lang became one of Americas foremost musical scholars and commentators. This anthology of his previously uncollected writings includes essays written throughout his career on a full array of musical subjects, as well as unpublished chapters of the book on performance practice that he was writing at the time of his death. Lang was concerned above all with safeguarding the purity of musical knowledge as reflected in both scholarship and performance. Whether addressing his fellow musicologists or the general public, he expressed a broadly humanistic conception of musicology in his erudite and entertaining writings on such diverse subjects as Bach and Handel, the historical veracity of the film Amadeus, Marxist theory and music, and the controversial issue of authenticity in performance.
George J. Buelow's distinguished career as author, translator, editor, and officer of numerous musical associations is celebrated in this collection of essays. The volume, planned by his colleagues in honor of his sixty-fifth birthday, concentrates on three of his active interests-Handel studies, vocal music and singers, and the history of music theory. The work concludes with an autobiographical sketch of the dedicatee's early life in Chicago and his formation as a musicologist.
A renowned Verdi authority offers here the often-astounding first history of how Verdi's early operas -- including one of his great masterpieces, Rigoletto -- made their way into America's musical life.
Our contemporary culture is communicating ever-increasingly through the visual, through film, and through music. This makes it ever more urgent for theologians to explore the resources of art for enriching our understanding and experience of the Judeo-Christian tradition. Annunciations: Sacred Music for the twenty-First Century, edited by George Corbett, answers this need, evaluating the relationship between the sacred and the composition, performance, and appreciation of music. Through the theme of ‘annunciations’, this volume interrogates how, when, why, through and to whom God communicates in the Old and New Testaments. In doing so, it tackles the intimate relationship between Scriptural reflection and musical practice in the past, its present condition, and what the future might hold. Annunciations comprises three parts. Part I sets out flexible theological and compositional frameworks for a constructive relationship between the sacred and music. Part II presents the reflections of theologians and composers involved in collaborating on new pieces of sacred choral music, alongside the six new scores and links to the recordings. Part III considers the reality of programming and performing sacred works today. This volume provides an indispensable resource for scholars and artists working at the interface between theology and the arts, and for those involved in sacred music. However, it will also be of interest to anyone concerned with the ways in which the Divine communicates through word and artistry to humanity.
Influential 18th-century oratorio renowned for the beauty, drama, and brilliant originality of its arias, duets, and choruses. Authoritative German Handel Society edition. Text underlay in English and German.
This collection includes previously published and unpublished essays on modern music, postmodern musicology and literary theory, and analytical studies of Haydn and Schubert, written by the distinguished composer and Columbia University professor emeritus George Edwards.
This magnificent oratorio portrays the tribulations of the Jews, the plagues of Egypt, and related Biblical events. Glorious example of the use of the chorus as a dramatic medium. Full contents in English and German.
Written in 1727 to accompany the ceremony during which George II ascended the English throne, these anthems represent a true expression of Handel’s genius. This four-part collection, painstakingly reproduced from the authoritative Breitkopf & Härtel edition, consists of "Zadok, the Priest"; "The King shall rejoice"; "My heart is inditing"; and the magnificent conclusion, "Let Thy hand be strengthened.
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