Classical Masterworks

A progressive repertoire series designed to motivate students while allowing them to progress evenly and smoothly from the earliest classics toward intermediate literature. These pieces are from the standard classical literature, chosen to appeal both to teacher and student. Each volume comes with a corresponding CD. PIanist Kim O'Reilly Newman holds a Master of Music degree from the University of Illinois. She has performed throughout North America and Europe with the Hambro Quartet of Pianos and was an editor and recording pianist for Alfred Music. Kim is a brain tumor survivor and now specializes in performing music for the left hand.

Features 8 favorite classical pieces arranged at the intermediate level for one piano/four hands. Includes: Canon in D * Eine Kleine Nachtmusik, First Movement Excerpt * A Midsummer Night's Dream Overture, Excerpt * Rhapsody on a Theme of Paganini, Variation XVIII * Symphony No. 5 in C Minor, First Movement Excerpt (Beethoven) * and more.

Fully revised and updated, this book provides an introduction to 800 years of classical music and recommends key recordings for a complete understanding of each era.

This invaluable reference book explores the background to 800 years of musical history, from 12th century chanting monks to 21st century virtuoso performers. Recommended key recordings of central works by each composer, specially selected by the editors of The Gramaphone magazine, help the reader to build an enduring classical music collection.

Masterworks of the Orchestral Repertoire was first published in 1968. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. The fullest enjoyment of an orchestral performance or a record concert comes with a background of knowledge about the music itself. This handbook is designed to help music lovers get the ultimate pleasure from their listening by providing them with that background about a large portion of the orchestral repertoire. Professor Ferguson analyzes and interprets the most important classical symphonies, overtures, and concertos, as well as selected orchestral works of modern composers. He goes beyond a conventional analysis of structure since he believes (with a majority of the music-loving public) that great music is actually a communication -- that it expresses significant emotions. The great composers, on their own testimony, have striven not merely to create perfect forms but to interpret human experience. Mingled with the analyses, then, the reader will find comments on the expressive purport of the music. For twenty-five years Professor Ferguson has supplied the program notes for the subscription concerts of the Minneapolis Symphony Orchestra, and this volume is an outgrowth of that activity. In preparing the material for book publication, however, he studied the musical compositions anew, and the resulting chapters provide a much deeper exploration of the musical subjects than did the program notes. The themes of important works are illustrated by musical notations, and a brief glossary explains technical terms.

With more than 60 essential solo piano masterworks in their original form, this book guarantees a lifetime of exploration and challenge at the keys. Titles: *The Avalance, Op. 45, No. 2 (Heller) *Bagatelle, Op. 5, No. 10 (Tcherepnin) *Ballade, Op. 100, No. 15 (Burgmí_ller) *Bear Dance (Bartí_k) *Clair de lune, from Suite bergamasque (Debussy) *Consolation, Op. 30, No. 3, from Song without Words (Mendelssohn) *The Easy Winners (Joplin) *Elfin Dance, Op. 12, No. 4 (Grieg) *The Entertainer (Joplin) *Fantasy in D Minor, K. 397 (Mozart) *First Arabesque (Debussy) *First Gymnopí©die (Satie) *Fughetta (Zipoli) *Fí_r Elise, WoO 59 (Beethoven) *A Giddy Girl, from Histoires (Ibert) *Golliwog's Cakewalk, from Children's Corner (Debussy) *Grillen, Op. 12, No. 4, from Fantasiestí_cke (Schumann) *Impromptu in A-flat Major, Op. 142, No. 2 (Schubert) *Invention No. 8 in F Major, BWV 779 (Bach) *Invention No. 13 in A Minor, BWV 714 (Bach) *Invention No. 14 in B-Flat Major, BWV 785 (Bach) *Knecht Ruprecht, Op. 68, No. 12, from Album for the Young (Schumann) *Le Coucou (The Cuckoo) (Dacquin) *Le fille aux cheveux de lin, from Preludes, Book 1 (Debussy) *Le petit níÂgre (Debussy) *The Little White Donkey, from Histoires (Ibert) *Maple Leaf Rag (Joplin) *Menuet in G Major, WoO 10, No. 2 (Beethoven) *Minuet in G Major, Op. 14, No. 1 (Paderewski) *Moments musicaux, Op. 94, No. 3 (Schubert) *Nocturne in B-flat Major (Field) *Nocturne in E-flat Major, Op. 9, No. 2 (Chopin) *Nocturne in E Minor, Op. 72, No. 1 (Chopin) *Notturno, Op. 52, No. 4 (Grieg) *O Polichinelo, from The Babyäó»s Family, Book 1 (Villa-Lobos) *Prelude in A Major, Op. 28, No. 7 (Chopin) *Prelude in C Major, BWV 846, from The Well-Tempered Clavier, Book 1 (Bach) *Prelude in C Minor, Op. 28, No. 20 (Chopin) *Prelude in C-sharp Minor, Op. 3, No. 2 (Rachmaninoff) *Prelude in E Minor, Op. 28, No. 4 (Chopin) *Puck, Op. 71, No. 3 (Grieg) *Remando (Nazareth) *Romance, Op. 24, No. 9 (Sibelius) *Rustles of Spring, Op. 32, No. 3 (Sinding) *Sarabande, from Suite No. 4 in D Minor (Handel) *Solfeggio in C Minor (C.P.E. Bach) *Sonata in A Major, K. 331, from Rondo Alla Turca (Movement 3) (Mozart) *Sonata in A Major, Op. 120 (Movement 1) (Schubert) *Sonata in C Major, Hob. XVI/35 (Movement 1) (Haydn) *Sonata in C Major, K. 545 (Movement 1) (Mozart) *Sonata in D Major, Hob. XVI/37 (Movement 1) (Haydn) *Sonata No. 8 in C Minor, Op. 13, from Pathí©tique (Movement 2) (Beethoven) *Sonata No. 14 in C-sharp Minor, Op. 27, No. 2 (Moonlight) (Beethoven) *Sonatina in C Major, Op. 36, No. 1 (Clementi) *Sonatina in C Major, Op. 55, No. 3 (Kuhlau) *Spanish Dance, Op. 12, No. 1 (Moszkowski) *Spanish Dance, Op. 5, No. 5 (Granados) *Spinning Song, Op. 14, No. 4 (Ellmenreich) *Tango in D Major, Op. 165, No. 2, from Suite Espaí±a (Albí©niz) *To a Wild Rose, Op. 51, No. 1, from Woodland Sketches (MacDowell) *Toccata in A Major (Paradisi) *Trí_umerei, Op. 15, No. 7, from Scenes from Childhood (Schumann) *Twelfth Street Rag (Bowman) *Venetian Boat Song, Op. 19, No. 6 (Mendelssohn) *Venetian Boat Song, Op. 30, No. 6 (Mendelssohn) *Waltz in A-flat Major, Op. 39, No. 15 (Brahms) *Waltz in D-flat Major, Op. 64, No. 1 (Chopin) *Waltz in E Major, Op. 39, No. 2 (Brahms)

Explores how modernist films use classical music in ways that restore the music’s original subversive energy. Classical music masterworks have long played a key supporting role in the movies—silent films were often accompanied by a pianist or even a full orchestra playing classical or theatrical repertory music—yet the complexity of this role has thus far been underappreciated. Sounds Like Helicopters corrects this oversight through close interpretations of classical music works in key modernist films by Francis Ford Coppola, Werner Herzog, Luis Buñuel, Stanley Kubrick, Jean-Luc Godard, Michael Haneke, and Terrence Malick. Beginning with the famous example of Wagner’s “Ride of the Valkyries” in Apocalypse Now, Matthew Lau demonstrates that there is a significant continuity between classical music and modernist cinema that belies their seemingly ironic juxtaposition. Though often regarded as a stuffy, conservative art form, classical music has a venerable avant-garde tradition, and key films by important directors show that modernist cinema restores the original subversive energy of these classical masterworks. These films, Lau argues, remind us of what this music sounded like when it was still new and difficult; they remind us that great music remains new music. The pattern of reliance on classical music by modernist directors suggests it is not enough to watch modernist cinema: one must listen to its music to sense its prehistory, its history, and its obscure, prophetic future. “To learn how classical music and modernist cinema were destined to be lovers, long before Adorno learned to talk, read Matthew Lau’s inventive book, which shows us how to see music, and how to hear cinema. After taking a spin with Isabelle Huppert, Franz Schubert will never be the same again, thanks to the meticulous Lau, who shows us how some of classical music’s not-yet-kindled radicalism required modernist cinema’s perversely revivifying touch. What’s more, Lau manages to offer, in his conclusion, a subtle, stirring plea for a society—a politics—that makes room for difficult cinema and complex music. For such a society’s emergence, Lau’s book may be the instruction manual, teaching salvific, insurrectional solfège.” — Wayne Koestenbaum, author of The Anatomy of Harpo Marx

The unique At-Home Book contributes greatly to a student's success. When used by parents during practice time, it can make a dramatic difference in the student's musical learning. All parents-with or without musical knowledge-will be able to participate. It's like having a second teacher at home. Contents include: Assignment Pages, Parent Pages, and an engaging musical adventure story that started in Level 1A and comes to a fun conclusion in Level 2B.