When Mavis Himes, a psychoanalyst with an established practice of over forty years, began to contemplate retirement, she decided to learn to play the cello.

From meeting her teacher in an overcrowded café, through the demanding task of cello practice with its persistent strains and stresses on the body, Himes found a growing appreciation of music's power on her own well-being. An unfortunate bicycle accident resulting in serious injuries to her left arm threw her musical world upside down, forcing her to discontinue lessons. No longer certain if she'd be able to continue playing, Himes bounced back with persistence and physiotherapy. However, the setback from an unhealed fracture placed her progress once again in jeopardy.

Cello Notes: Music and the Urgency of Time is a musical journey later in life that demonstrates the importance of dreaming big and following one's desires at any age. It is also a testament to the natural rhythm of healing, both physically and mentally, and the lessons to be discovered in the face of obstacles.

New readings of the ten Beethoven sonatas for piano and violin, embracing both the performer's interpretation and the analyst's rigour.

This book provides new readings of the ten Beethoven sonatas for piano and violin, many of which have been given surprisingly little attention by scholars to date. This may be because nine of the sonatas are relatively early works, written between 1797-1803, with only the final sonata, Op.96 (1812) standing apart. However, within these ten works, Beethoven demonstrates numerous aspects of his musical personality and compositional style. The analyses in this book engage with postmodern concerns such as hermeneutics, intertextuality, gender, humour, narratology and human interest, revealing characteristics within these sonatas that have been slow to come to light. Here are examples of the Beethovenian narrative that do not always encapsulate heroic struggle and triumph; in many of the sonatas we find a witty, smiling composer, at odds with the growling Beethoven iconography. Works within the violin sonata cycle interrogate the hypermasculine Beethoven trope, before the last sonata is explored via a host of intertextual relationships with a body of early Romantic repertoire that emerged after Beethoven's death.

Embracing both the performer's interpretation and the analyst's rigour (or vice versa), this work offers methodologies for performer's analysis whilst acknowledging that both disciplines are essential to any project that seeks to address the nature of music as it is experienced in time.

Meinrad Schütter is one of the most intriguing of recent Swiss composers. His music offers a highly personal synthesis of 20th-century European modernisms, from Hindemith to Bartók, Stravinsky, Berg and beyond.

Meinrad Schütter (1910-2006) is one of the most intriguing of recent Swiss composers. He was born in Chur in the Swiss Alps, studied at the Zurich Conservatoire, attended Paul Hindemith's classes at Zurich University, and enjoyed early support from the conductor Hermann Scherchen. Schütter's wayward attitude towards authority resulted in his debarment from the Swiss Musicians' Association and its manifold opportunities for advancement, but avid study and a thirst to acquaint himself with the latest trends led to his developing an idiosyncratic style, initially Neo-Classical but later featuring elements of serialism and even aleatory.

After retirement, Schütter enjoyed a remarkable Indian summer, bringing forth several dozen songs, chamber and orchestral works. Many have now been recorded, garnering enthusiastic reviews. This book is the first in English to examine his life and music.

...supported by a wealth of information --- often novel and fascinating --- which the author has collected from a great variety of sources. Admirable industry, sound judgement, and excellent style have produced a book that ought to be in the hands of every conductor. --- Max Rudolf Journal of the Conductors' Guild ...an essential book for anyone trying to give responsible performances of 19th-century music. --- Early Music News

Oxford's highly successful listener's guides--The Symphony, The Concerto, and Choral Masterworks--have been widely praised for their blend of captivating biography, crystal clear musical analysis, and delightful humor. Now James Keller follows these greatly admired volumes with Chamber Music. Approaching the tradition of chamber music with knowledge and passion, Keller here serves as the often-opinionated but always genial guide to 192 essential works by 56 composers, providing illuminating essays on what makes each piece distinctive and admirable. Keller spans the history of this intimate genre of music, from key works of the Baroque through the emotionally stirring golden age of the Classical and Romantic composers, to modern masterpieces rich in political, psychological, and sometimes comical overtones. For each piece, from Bach through to contemporary figures like George Crumb and Steve Reich, the author includes an astute musical analysis that casual music lovers can easily appreciate yet that more experienced listeners will find enriching. Keller shares the colorful, often surprising stories behind the compositions while revealing the delights of an art form once described by Goethe as the musical equivalent of thoughtful people conversing.

Beethoven's quartets show a technical mastery, depth of thought, and intensity of musical inspiration unsurpassed by any other composer. This brilliant survey, by one of America's leading musical scholars, has already achieved classic status.

This meticulous collection of 56 études constitutes the second book of a three-volume set curated by Alwin Schroeder, a former cellist with the Boston Symphony Orchestra and accomplished instructor from the Royal Conservatory of Music in Leipzig, Germany. A compilation of 56 exercises presents a progressively challenging sequence of studies, created by Schroeder and effectively interwoven with several others by his esteemed 19th-century European colleagues Karl Schröder, Ferdinand Büchler, Friedrich Dotzauer, Auguste Franchomme, Friedrich Grützmacher, and Sebastian Lee. The result is a well-rounded selection of exercises carefully arranged to enhance your cello-playing proficiency.

Navigating the captivating world of ham radio can seem daunting, but with the right preparation, achieving your license is within reach. Mastering the Airwaves offers aspiring amateur radio operators a comprehensive roadmap to acing the ham radio licensing exam.

Within this guide, you'll find:

• An introduction to the significance of ham radio, its history, and the vital role it plays in global communication.
• Clear explanations of foundational concepts, from basic terminologies to understanding the intricacies of radio waves.
• Detailed insights into the licensing process, emphasizing the importance of regulations, the various license classes, and the role of the Federal Communications Commission (FCC).
• Step-by-step guidance on setting up your first station, ensuring you're well-equipped to dive into the world of radio communication.
• Essential operating techniques and advanced communication strategies, opening doors to thrilling experiences like satellite communication and moonbounce.
• Practical troubleshooting advice to help you swiftly address common challenges and keep your equipment in top condition.
• A rich set of sample test questions and answers, meticulously crafted to mirror the actual exam and boost your confidence.
• Tips and resources to continue your ham radio journey beyond the exam, ensuring you remain at the forefront of this ever-evolving field.

Designed for both newcomers and seasoned enthusiasts looking to brush up on their knowledge, this study guide is your indispensable companion on your journey to becoming a licensed ham radio operator. Dive in, harness the power of radio communication, and join a global community of passionate amateur radio enthusiasts.

In early 2005, an engineer at the Library of Congress accidentally discovered, in an unmarked box, the recording of Thelonious Monk's and John Coltrane's performance at a 1957 benefit concert at Carnegie Hall. Long considered one of the most important musical meetings in modern jazz, Monk's and Coltrane's work together during a scant few months in 1957 had, until this discovery, been thought to be almost entirely undocumented.
In this book, Gabriel Solis provides an historical, cultural, and analytical study of this landmark recording, which was released by Blue Note records later in 2005. Taking a wide-ranging approach to the recording, Solis addresses issues of liveness, jazz teaching and learning, enculturation, and historiography. Because nearly a half century passed between when the recording was made and its public release, it is a particularly interesting lens through which to view jazz both as a historical tradition and as a contemporary cultural form. Most importantly Solis accounts for the music itself. Offering in depth analytical discussions of each composition, as well as Monk's and Coltrane's improvisational performances he provides insight into Monk's impact on Coltrane as he developed his signature sheets of sound style, as well as into the influence of a strong side-man, like Coltrane, on Monk at his creative and professional peak. The first study of one of the most significant jazz releases of the twenty-first century, Thelonious Monk Quartet with John Coltrane at Carnegie Hall is essential reading for all jazz scholars, students, musicians, and fans.

Luciano Berio's Sinfonia (1968) marked a return by the composer to orchestral writing after a gap of six years. This in-depth study demonstrates the central position the work occupies in Berio's output. David Osmond-Smith discusses the way in which Berio used the Bororo myth described in Levi-Strauss's Le cru et le cuit as a framework for Sinfonia. This is one of many influences in the work, which also include Joyce's 'Sirens' chapter from Ulysses, Beckett's The Unnameable and the scherzo from Mahler's 2nd Symphony. The listener who takes refuge in the score of Sinfonia, argues Osmond-Smith, finds there a maze of allusions to things beyond the score. It is some of those allusions that this book seeks to illuminate.

Expand your cello practice repertoire with renowned cellist Alwin Schroeder's third installment in a three-volume set of 170 Foundation Studies for Violoncello. This final volume provides 34 structured exercises designed to develop and improve technical proficiency. Schroeder addresses key aspects of cello playing, from bow control and intonation to finger dexterity and rhythm and phrasing. The studies, created by Schroeder and several of his esteemed nineteenth-century European colleagues, are progressively arranged and suitable for teaching students of various proficiency levels.

The clavichord seemed an ideal antidote to all this modernity, and its repertoire - from the exuberance of the virginalists to the elegance of the classical style - a return to an ordered musical civilization. The very idea of using it as a tool for contemporary music is therefore surprising in some ways, so the gentleness of the modernity exemplified by Herbert Howells'

seminal post-Tudor set Lambert's Clavichord of 1928 was probably critical to some of the success of what followed. As Richard Terry wrote in a review of that volume, 'Sooner or later it was bound to come that some modern English composer would set himself or herself to write music for these resuscitated instruments of the past. The danger would have been considerable, had the first attempts been more imitations of the old idiom'.

Compositions for the clavichord in the early 20th century depended on the availability of both working instruments and interested performers, and the narrative of the clavichord revival (Chapter 2) and its performers (Chapter 3), and the means by which these elements came together (Chapter 4), takes the view that musical serendipity had a important part to play.

How many clavichords existed, where they were located, what was played on them, and by whom, is less important than the circumstances in which an individual composer might hear a concert or broadcast that stimulated an idea for a work, happened across an instrument or maker, wrote for a clavichord they owned themselves, or met a performer looking (or not) for

new repertoire. This is partly because the normal compositional outcomes for (say) the equivalent harpsichord repertoire - a public recital, a recording or a publication - do not apply to the clavichord in the same way. Nor was there a repertoire - such as the major 20th century harpsichord concertos - to follow as a model, and thus contribute to a known tradition. Nevertheless, the clavichord offered novelty of sound, and some unique characteristics such as bebung (finger vibrato), thus new compositions attracted adventurous performers looking for more dissonant and exciting repertoire; as with the harpsichord, some contemporary music specialists emerged, while others commissioned or performed new works occasionally.

The development of the modern clavichord repertoire is explored in Chapter 5, taking first Britain - whose particular musical and stylistic characteristics owe much to the instrument makers there and to neoclassical and pastoral traditions - then the US, and Europe. While some recent Calls for Scores have brought in interesting new composers from further afield, including Latin America, Eastern Europe and Asia, the performing tradition for new clavichord repertoire is still mainly focused on the US and Britain - for now. By way of encouragement, practical advice is offered for composers (Chapter 6) and for performers (Chapter 7) - it is clear that personal relationships between the two parties have much to do with the successful creation of new repertoire, and it is important for both sides to understand each other.

The detailed Catalogue is supported by a Select Discography and an extensive Bibliography. Referencing throughout has been thorough, as (for example) three key documentary sources, the De Clavicordo Magnano conference proceedings, the journal Clavichord International and the British Clavichord Society Newsletter, are available only in print form, and not widely

available, the proceedings series having ended and the other two periodicals ceased publication.

(Score). The Study Score for James Whitbourn's Requiem, scored for SATB choir, solo soprano saxophone and orchestra. Commissioned by Westminster Choir College of Rider University. First performed on 13th April 2024 at Carnegie Hall, by Westminster Choir and The New England Symphonic Ensemble conducted by James Jordan. Duration: c. 40 minutes

The book is devoted to Shostakovich's most controversial symphony, composed at the height of Stalin's Purges. It rescued Shostakovich from official disfavour and deeply moved audiences. The critics recognized it as a masterpiece, but they were perplexed by its ambiguities, especially at the end of the Symphony: some imagined it as the joyful final victory of socialism, while others heard the triumph instead of a sinister and oppressive force. The second interpretation was pushed into the background, but the controversy persisted, with the further complication of two very different tempo markings for the closing section, both of which seemed to be approved by the composer. The authors give an authoritative account of the tempo controversy and the effect of the different tempos on the reception of the work in the West.

Shostakovich's Symphony No. 5 delves into the history of the work's composition, the pressures Shostakovich experienced at the time, and the cultural environment from the time the composer began work on Symphony through to the settling of its official critical reception. At the center of this exploration is the musical score itself, which is full of secrets that have taken decades to uncover, the most colorful of which is the case for Shostakovich's extensive references to Bizet's Carmen, and the connection between these and Shostakovich's lover of the mid-30s, Lala Carmen (Elena Konstantinovskaya). The authors show how Shostakovich largely (but not entirely) set aside his influences from Mahler and German modernists, and in replacement absorbed Beethoven and Tchaikovsky with the same ingenuity as his previous influences. Shostakovich decided to make a virtue of a necessity, and created one of the richest of symphonic scores, allowing himself to retain his artistic pride while winning the official approval necessary for regaining his livelihood. These events all unfolded in the atmosphere of terror created by Stalin's Great Purge. This book is the first to be devoted to this watershed symphony, and includes secrets of the score that took decades to uncover.

If you want to play one of the most famous songs from the beautiful movie Breakfast at Tiffany's, read on!

Often finding effective arrangements for clarinet quartet can be really difficult and complicated. Especially if you look for songs that can excite the audience and that are easy to listen to.
This arrangement will give you the opportunity to enrich your repertoire, without neglecting professionalism!

• Full score
• Separate parts
• Audio preview possibility at the following address: https: //www.giordanomuolo.com/en/online-shop-3/
• arrangement also valid for four Bb clarinets

Even if you tried to look for other professional tracks to enrich your repertoire without success, this arrangement will make the difference in your concert and will thrill the audience!

Buy this book right now!

The perfect companion for professional and amateur musicians performing music of the eighteenth century, this book distinguishes various types of appoggiaturas and trills, shows how to perform them, and notes differences between baroque and rococo ornamentation.

A new biography of Shostakovich that views him through the intimate music of his string quartets

Most previous books about Dmitri Shostakovich have focused on either his symphonies and operas, or his relationship to the regime under which he lived, or both, since these large-scale works were the ones that attracted the interest and sometimes the condemnation of the Soviet authorities. Music for Silenced Voices looks at Shostakovich through the back door, as it were, of his fifteen quartets, the works which his widow characterized as a diary, the story of his soul. The silences and the voices were of many kinds, including the political silencing of adventurous writers, artists, and musicians during the Stalin era; the lost voices of Shostakovich's operas (a form he abandoned just before turning to string quartets); and the death-silenced voices of his close friends, to whom he dedicated many of these chamber works.

Wendy Lesser has constructed a fascinating narrative in which the fifteen quartets, considered one at a time in chronological order, lead the reader through the personal, political, and professional events that shaped Shostakovich's singular, emblematic twentieth-century life. Weaving together interviews with the composer's friends, family, and colleagues, as well as conversations with present-day musicians who have played the quartets, Lesser sheds new light on the man and the musician. One of the very few books about Shostakovich that is aimed at a general rather than an academic audience, Music for Silenced Voices is a pleasure to read; at the same time, it is rigorously faithful to the known facts in this notoriously complicated life. It will fill readers with the desire to hear the quartets, which are among the most compelling and emotionally powerful monuments of the past century's music.

Intended for the music student, the professional musician, and the music lover, Chamber Music: An Essential History covers repertoire from the Renaissance to the present, crossing genres to include string quartets, piano trios, clarinet quintets, and other groupings. Mark A. Radice gives a thorough overview and history of this long-established and beloved genre, typically performed by groups of a size to fit into spaces such as homes or churches and tending originally toward the string and wind instruments rather than percussion. Radice begins with chamber music's earliest expressions in the seventeenth century, discusses its most common elements in terms of instruments and compositional style, and then investigates how those elements play out across several centuries of composers- among them Mozart, Bach, Haydn, and Brahms- and national interpretations of chamber music. While Chamber Music: An Essential History is intended largely as a textbook, it will also find an audience as a companion volume for musicologists and fans of classical music, who may be interested in the background to a familiar and important genre.