Opus 19

Opus 19: A Collection of 19 Original Short Stories to Uplift the Human Psyche Affected by COVID 19 Pandemic By: Brian Whelihan OPUS 19 consists of nineteen self-contained stories. Some are completely fictional, some are completely nonfictional, and others are a mix. Each story is associated with what the author calls a Ficto-Meter, which designates an approximate percentage fictional, and therefore nonfictional content. In describing all of the stories, they are created from actual experiences or fictional accounts derived from real situations or are derived from lessons that we learn throughout life. Many of them leave the reader with nostalgically provocative thoughts about life. Some are just plain funny. The fictional story of the origin of the word woman is an amusing story about how life might have been 15,000 years ago while the story about how shoes wind up on the roadside is so real and convincing that readers will be looking for shoes on the road. The stories in OPUS 19 are amusing (Flies, Church), provocative (Car, Children, Ton and Speech), nostalgic (Bees), and amazingly true (JFK, Cigarettes, Fish, Simultaneous, Cockroach). Curiosity is a true story of an unlikely experience within a controversial time. The inspiration for these stories came in large part from the grip of the pandemic virus and the opportunity for introspection that came along with it. The author’s hope is that the readers of these stories will have their hearts warmed, their brains stimulated, and perhaps even laugh out loud.

A Piano Duet for 2 pianos, 4 hands, composed by Ludwig van Beethoven.

A collection of six duets brilliantly composed by Karl Stamitz for Violin and Cello.

This new volume incorporates all entries from the previous editions by Arthur Wenk, expanding to cover writings drawn from periodicals, theses, dissertations, books, and Festschriften from 1940 to 2000. Over 9,000 references to analyses of works by over 1,000 composers of the nineteenth and twentieth centuries are included.

This book examines the origin, content, and development of the musical thought of Heinrich Schenker and Arnold Schoenberg. One of the premises is that Schenker’s and Schoenberg’s inner musical lives are inseparable from their inner spiritual lives. Curiously, Schenker and Schoenberg start out in much the same musical-spiritual place, yet musically they split while spiritually they grow closer. The reception of Schenker’s and Schoenberg’s work has sidestepped this paradox of commonality and conflict, instead choosing to universalize and amplify their conflict. Bringing to light a trove of unpublished material, Arndt argues that Schenker’s and Schoenberg’s conflict is a reflection of tensions within their musical and spiritual ideas. They share a particular conception of the tone as an ideal sound realized in the spiritual eye of the genius. The tensions inherent in this largely psychological and material notion of the tone and this largely metaphysical notion of the genius shape both their musical divergence on the logical (technical) level in theory and composition, including their advocacy of the Ursatz versus twelvetone composition, and their spiritual convergence, including their embrace of Judaism. These findings shed new light on the musical and philosophical worlds of Schenker and Schoenberg and on the profound artistic and spiritual questions with which they grapple.

Titles: * Scherzo à la russe, Opus 1, No. 1 * Capriccio, Opus 8 * Theme and Variation, Opus 19, No. 6 * Six Pieces on a Theme, Opus 21 * Six Pieces on a Theme, Opus 21 * Doumka, Opus 59 * Ruines d'un Château, Opus 2, No. 1 * Chant sans paroles, Opus 2, No. 3 * Romance, Opus 5 * Valse-Scherzo, Opus 7 * Polka de Salon, Opus 9, No. 2 * Mazurka de Salon, Opus 9, No. 3 * Nocturne, Opus 10, No. 1 * Humoresque, Opus 10, No. 2 * Rèverie du Soir, Opus 19, No. 1 * Feuillet d'Album, Opus 19, No. 3 * Nocturne, Opus 19, No. 4 Kalmus Editions are primarily reprints of Urtext Editions, reasonably priced and readily available. They are a must for students, teachers, and performers.

Born in 1900, Alan Bush, the English composer, conductor and pianist, studied with Corder and Matthay, and privately with John Ireland. He was appointed professor of harmony and composition at the Royal Academy of Music in 1925, a post he held until 1978. In 1929-31, he continued to study at Berlin University and had piano lessons with Moiseiwitsch and Schnabel. The present Source Book documents his works (many of which reflect his Communist sympathies) and the many arrangements of music by other composers. A wealth of detail is provided, including printed scores, CD recordings, bibliographical material and manuscript scores and their locations, the majority of which have been deposited recently in the British Library by the Bush family. A chronology of the composer's life draws on many sources including letters and scrapbooks.

A fascinating and in-depth exploration of how the Enlightenment, the French Revolution, and Napoleon shaped Beethoven’s political ideals and inspired his groundbreaking compositions. Beethoven imbibed Enlightenment and revolutionary ideas in his hometown of Bonn, where they were fervently discussed in cafés and at the university. Moving to Vienna at the age of twenty-one to study with Haydn, he gained renown as a brilliant pianist and innovative composer. In that conservative city, capital of the Hapsburg empire, authorities were ever watchful to curtail and punish overt displays of radical political views. Nevertheless, Beethoven avidly followed the meteoric rise of Napoleon. As Napoleon had made strides to liberate Europe from aristocratic oppression, so Beethoven desired to liberate humankind through music. He went beyond the musical forms of Haydn and Mozart, notably in the Eroica Symphony and his opera Fidelio, both inspired by the French Revolution and Napoleon. John Clubbe illuminates Beethoven as a lifelong revolutionary through his compositions, portraits, and writings, and by setting him alongside major cultural figures of the time—among them Schiller, Goethe, Byron, Chateaubriand, and Goya.