Nineteenth Century Chamber Music proceeds chronologically by composer, beginning with the majestic works of Beethoven, and continuing through Schubert, Spohr and Weber, Mendelssohn, Schumann, Brahms, the French composers, Smetana and Dvorak, and the end-of-the-century pre-modernists.
Nineteenth Century Chamber Music proceeds chronologically by composer, beginning with the majestic works of Beethoven, and continuing through Schubert, Spohr and Weber, Mendelssohn, Schumann, Brahms, the French composers, Smetana and Dvorak, and the end-of-the-century pre-modernists.
20th-Century Chamber Music features an introduction giving a chronological overview of 20th-century chamber music and the major composers in the style, setting in context the following chapters that cover a wide selection of chamber works grouped thematically, including program music; vocal chamber music; works for new ensembles; the modern sonata; and contemporary string quartets.
20th-Century Chamber Music features an introduction giving a chronological overview of 20th-century chamber music and the major composers in the style, setting in context the following chapters that cover a wide selection of chamber works grouped thematically, including program music; vocal chamber music; works for new ensembles; the modern sonata; and contemporary string quartets.
This invaluable resource is a revised edition of an essential index to vocal works composed for at least one solo voice and one instrument (other than piano or guitar) up to twelve solo voices and twelve solo instruments.
This invaluable resource is a revised edition of an essential index to vocal works composed for at least one solo voice and one instrument (other than piano or guitar) up to twelve solo voices and twelve solo instruments.
The appearance of the solo voice in church music in 1602, in Lodovico da Viadanas Cento concerti ecclesiastici, initiated a development that would soon parallel secular solo song.
The appearance of the solo voice in church music in 1602, in Lodovico da Viadanas Cento concerti ecclesiastici, initiated a development that would soon parallel secular solo song.
The purpose of this series is to provide a large repertory 17th century Italian sacred music in clear modern editions that are both practical and faithful to the original sources.
The purpose of this series is to provide a large repertory 17th century Italian sacred music in clear modern editions that are both practical and faithful to the original sources.