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Madrigals and Partsongs, Paperback by Bartlett, Clifford (EDT), Like New Used...
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eBay-objectnummer:364386820258
Specificaties
- Objectstaat
- Book Title
- Madrigals and Partsongs
- ISBN
- 9780193436947
- Subject Area
- Music
- Publication Name
- Madrigals and Partsongs
- Item Length
- 10.6 in
- Publisher
- Oxford University Press, Incorporated
- Subject
- Instruction & Study / Voice, Genres & Styles / Choral, Printed Music / Choral
- Series
- Oxford Choral Classics Collections
- Publication Year
- 2002
- Type
- Textbook
- Format
- Sheet Music
- Language
- English
- Item Height
- 0.8 in
- Item Width
- 7.5 in
- Item Weight
- 24.7 Oz
- Number of Pages
- 384 Pages
Over dit product
Product Information
This book contains 59 of the finest examples of the secular choral repertoire, ranging from the late 15th to the 20th century and spanning all the major European countries. All the pre-twentieth-century pieces are in completely new editions going back to the earliest and most reliable sources. Includes English translations and playable keyboard reductions.Some items from this volume are available separately in the Oxford Choral Classics Octavo series.
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0193436949
ISBN-13
9780193436947
eBay Product ID (ePID)
2010577
Product Key Features
Publication Name
Madrigals and Partsongs
Format
Sheet Music
Language
English
Subject
Instruction & Study / Voice, Genres & Styles / Choral, Printed Music / Choral
Series
Oxford Choral Classics Collections
Publication Year
2002
Type
Textbook
Subject Area
Music
Number of Pages
384 Pages
Dimensions
Item Length
10.6 in
Item Height
0.8 in
Item Width
7.5 in
Item Weight
24.7 Oz
Additional Product Features
LCCN
2002-541622
Intended Audience
Scholarly & Professional
Reviews
'There is an excellent commentary on each of the 59 compositions which reads like a history of choral development and any group of singers contemplating programme planning would be well advised to read this through. It is both erudite and informative in such a lucid and helpful way that any criticism of elitism or academic stuffiness would be quite out of place and would entirely miss the point of encouraging us to bring about thoughtful and expert performances. Indeed, the wholebook is beautifully set out, easy to read and in the unaccompanied pieces, a keyboard reduction is a further aid to learning . . . Here I must mention that there are no daft translations into execrable English but merely the original text with an unobtrusive literal message of its content. Thus onehears the full force of the beauty of the foreign tongue with its individual sound, shape and emphasis which adds so much colour and vitality in performance . . . cont, 'OUP goes from strength to strength with its Choral Classics catalogue. With a huge repertoire, ranging from the fifteenth to the twentieth centuries from which to choose, Clifford Bartlett has clearly spent a great deal of time and effort, not only in selecting what to include, but also what to exclude . . . All of this in one volume, bound and presented in the excellent format which we have come to know and expect from OUP. What more can I say, except "More please". Very highlyrecommended.' Henry Howell, Australian Music Teacher September 2003, cont . . . 'There is enough material in the 384-page book to make up a dozen delightful and fulfilling programmes and, if the reader needed further proof of this, surely I need only mention that Elgar, Dowland, Lassus, Delius, Gibbons, Monteverdi, Finzi - even Haydn and Schubert are all wellrepresented. Madrigals and Partsongs is a masterly addition to the choral repertoire and I sincerely hope that OUP will initiate a follow up.' Grayston Burgess, Choir and Organ, May/June 2002, 'An attractive feature of Bartlett's editing here is the discreet inclusion of translations in small, italicised text underneath the piano reduction - a much neater solution than the usual rummage round to the index, and more immediate for the performers . . . One of the best features of the volume is the considerable, informative commentary at the back, with detailed historical and editorial comment on each item - Bartlett's polymath skills really come into their own here. Thescore-setting is a model of clarity throughout. Overall, while clearly not intended to break any particularly fresh ground, the volume should have a ready market, particularly among the many mixed-voice, small- to medium-sized chamber choirs for whom this repertoire is staple fare.' Matthew Greenall, TheSinger April 2002, 'An attractive feature of Bartlett's editing here is the discreet inclusion of translations in small, italicised text underneath the piano reduction - a much neater solution than the usual rummage round to the index, and more immediate for the performers . . . One of the best features of thevolume is the considerable, informative commentary at the back, with detailed historical and editorial comment on each item - Bartlett's polymath skills really come into their own here. The score-setting is a model of clarity throughout. Overall, while clearly not intended to break any particularlyfresh ground, the volume should have a ready market, particularly among the many mixed-voice, small- to medium-sized chamber choirs for whom this repertoire is staple fare.' Matthew Greenall, The Singer April 2002, 'For me, opening the attractively-produced volume and running my finger down the list of contents was rather like renewing acquaintance with numerous old friends . . . Selecting the 59 pieces for inclusion in this volume can't have been easy, but Bartlett is to be applauded on the catholicityof his choice and on the informative commentary in which the scholarship is worn lightly. The inclusion of literal English translations (a welcome feature of an increasing number of modern editions) will assist singers when preparing the foreign-language pieces for performance as will the carefullyprepared keyboard reductions. All in all, this volume can be recommended unhesitatingly to choirs large and small with singers experienced or less so - it is incredibly good value for money.' Christopher Field, Music Teacher, Sept 2002, 'For me, opening the attractively-produced volume and running my finger down the list of contents was rather like renewing acquaintance with numerous old friends . . . Selecting the 59 pieces for inclusion in this volume can't have been easy, but Bartlett is to be applauded on the catholicity of his choice and on the informative commentary in which the scholarship is worn lightly. The inclusion of literal English translations (a welcome feature of an increasing number of moderneditions) will assist singers when preparing the foreign-language pieces for performance as will the carefully prepared keyboard reductions. All in all, this volume can be recommended unhesitatingly to choirs large and small with singers experienced or less so - it is incredibly good value for money.'Christopher Field, Music Teacher Sept 2002, 'There is an excellent commentary on each of the 59 compositions which reads like a history of choral development and any group of singers contemplating programme planning would be well advised to read this through. It is both erudite and informative in such a lucid and helpful way that anycriticism of elitism or academic stuffiness would be quite out of place and would entirely miss the point of encouraging us to bring about thoughtful and expert performances. Indeed, the whole book is beautifully set out, easy to read and in the unaccompanied pieces, a keyboard reduction is afurther aid to learning . . . Here I must mention that there are no daft translations into execrable English but merely the original text with an unobtrusive literal message of its content. Thus one hears the full force of the beauty of the foreign tongue with its individual sound, shape andemphasis which adds so much colour and vitality in performance . . . cont, cont . . . 'There is enough material in the 384-page book to make up a dozen delightful and fulfilling programmes and, if the reader needed further proof of this, surely I need only mention that Elgar, Dowland, Lassus, Delius, Gibbons, Monteverdi, Finzi - even Haydn and Schubert are all well represented. Madrigals and Partsongs is a masterly addition to the choral repertoire and I sincerely hope that OUP will initiate a follow up.' Grayston Burgess, Choir and Organ, May/June2002
Table of Content
Dindirín, dindirínIl bianco e dolce cignoOf all the birds that I do knowAll creatures nowNachtwache No. 1The Evening PrimroseNever weather-beaten sailSo weich und warmTrois chansons de Charles d'OrléansTwo Unaccompanied PartsongsCome, heavy sleepCan she excuseWeep you no more, sad fountainsAs torrents in summerMy love dwelt in a Northern landThere is sweet musicFair Phyllis I sawMy spirit sang all daySince first I saw your faceLieto godeaAmor vittoriosoAh, dear heartThe silver swanWhat is our life?Tanzen und springenAch, Weh des LeidenDie Harmonie in der EheInnsbruck, ich muss dich lassenRevoici venir du printempsFarewell, dear loveMille regretsChi chi li chiLa nuit froide et sombreBonjour mon coeurMatona, mia caraCrudel perché mi fuggiScaldava il solO Mirtillo, Mirtillo, anima miaOhimè se tanto amateLamento d'AriannaMy bonny lass she smilethNow is the month of mayingMusic, when soft voices dieIl est bel et bonLay a garlandRest, sweet nymphsAncor che col partireDouce mémoireDer TanzAch Elslein, liebes ElseleinAu joli boisThe blue birdHeraclitusThe long day closesThree Shakespeare SongsSweet Suffolk owlThule, the period of cosmography (The first part)The Andalusian merchant (The second part)Draw on, sweet NightWeep, weep, mine eyes
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