In 2011 Schott launched the series Stuttgarter Musikwissenschaftliche Schriften with Was bleibt? 100 Jahre Neue Musik, edited by Andreas Meyer.
Noting that the musical revolutions of Debussy, Stravinsky, and Schoenberg are over a century old, and that the experimentalism of the 1950s belongs to a bygone era, the authors assess the current new music scene and demonstrate how audiences have changed in recent years.
Below, Stockhausen’s pioneering Gesang der Jünglinge (1955–56).
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Filed under 20th- and 21st-century music, New series
The series Studien, Beiträge und Materialien zur Leschetizky-Forschung was launched by Musikverlag Burkhard Muth in 2011 with Theodor Leschetizky by Annette Hullah, in a German translation from the original English (London: J. Lane, 1906).
This volume is particularly suitable as the beginning of the series, since—in addition to presenting a contemporaneous, authentic text—it provides an ideal introduction for those who know little or nothing about the pianist, composer, and teacher.
The first two chapters are devoted to Leschetizky’s biography; the remaining chapters explore his approach to teaching. Information on newly published editions of his piano works is also included.
Below, Leschetizky plays one of his own compositions via piano roll.
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Filed under New series, Romantic era
In 2012 the Akademia Muzyczna im. Karola Lipińskiego in Wrocław launched the series Psalate synetos with Wybrane zagadnienia akompaniamentu liturgicznego (Selected problems of liturgical accompaniment, ISBN 978-83-86543-69-2), edited by Marta Kierska-Witczak. The series is dedicated to church music and is addressed to organ students and others who wish to widen their scope of knowledge and practical skills.
The first volume combines contemporary church music theory and practice. Its 16 essays are divided into two groups: Chorał gregoriański źródłem odniesień dla nowożytnej muzyki liturgicznej (Gregorian chant as a source of reference for modern liturgical music) and Historyczny, estetyczny oraz praktyczny wymiar akompaniamentu liturgicznego i liturgicznej improwizacji organowej (Historical, aesthetic, and practical aspects of liturgical accompaniment and liturgical organ improvisation). The table of contents is here.
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Filed under New series
In December 2011 the Laboratory of Greek Music at the Ionian University, Kerkyra (Corfu), launched the book series Ellinīkī Mousikologikī Vivliothīkī (Ελληνική Μουσικολογική Βιβλιοθήκη/Library of Greek Musicology) with a volume curated by Charīs Xanthoudakīs and Arīs Garoufalīs on the relationship between the great Greek conductor and composer Dīmītrīs Mītropoulos and the Athens conservatory Odeio Athinōn.
Mītropoulos studied at the Odeio Athinōn from 1910 to 1919. Returning from a period of study in Berlin in 1925, he served as conductor first of the orchestra of the other Athens conservatory, Ellīniko Odeio, then from 1927 to 1937 for his alma mater, where he also taught composition. He also created a combined orchestra from the two schools in a Syllogo Synafliōn (Club Concert) that achieved considerable glory in its brief existence, featuring guest appearances by Richard Strauss and Alfred Cortot and a 1933 performance of the “constructivist” Zavod (Iron Foundry) by Aleksandr Mosolov.
The book, O Dīmītrīs Mītropoulos kai to Odeio Athinōn: To chroniko kai ta tekmīria (Dīmītrīs Mītropoulos and the Odeio Athinōn: Chronicle and archival materials, ISBN 978-960-86801-8-0), consists of two parts: a biography of Mītropoulos, and a collection of 85 reproduced documents from the Odeio’s archives illustrating the narrative of the first part, including meeting minutes, personal correspondence, and texts of speeches, together with excerpts from the most recent scholarly studies of Mītropoulos’s life and works before his emigration to the United States and international fame.
Below, Mītropoulos rehearses and performs Liszt’s Faust symphony with the New York Philharmonic.
Related article: Dimitri Mitropoulos (1896–1960)
Filed under New series, Performance practice
Indiana University Press launched the series The symphonic repertoire in 2002, with volume 2. Subsequently production was stalled following the death of the founder of the series, A. Peter Brown; it was revived in 2012.
For Volume 1, The Eighteenth-Century Symphony, 22 of Brown’s former students and colleagues collaborated to complete the work that he began on this critical period of development in symphonic history. The book follows Brown’s outline, is organized by country, and focuses on major composers.
Contributors address issues of historiography, the status of research, and questions of attribution and stylistic traits, and provide background material on the musical context of composition and early performances. The volume features a CD of recordings from the Bloomington Early Music Festival Orchestra, highlighting the largely unavailable repertoire discussed in the book.
Below, the Amadeus Orchestra performs a symphony by the little-known Czech composer Johann Baptist Vanhal (1739–1813).
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Filed under Classic era, New series
In 2012 Carus-Verlag launched the series Bach-Repertorium to make available for study and performance the compositions of all members of the widespread Bach family of musicians from the 17th into the 19th century.
For the first time, as a result of systematic research covering all musical and archive sources, all compositions attributed to members of the Bach family will be categorized according to the same criteria. In addition to details of scoring, succession of movements, and history of the works and sources, information is given concerning editions, authentication, and the most important literary references.
In the case of vocal works the origins of the texts, editions of the librettos, and the chorale melodies used are verified. Also covered are arrangements of works by other composers, editions with which the composer was involved, and—as far as it can be reconstructed—his music library.
An appendix includes arrangements by others, and spurious works are also described. The accompanying music examples document in short score the beginning of each movement and the structurally important sections of the compositions, providing for an initial insight into the works. The use of the volumes is facilitated by numerous indices.
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Filed under Baroque era, Classic era, New series, Resources
A series launched by Brepols in 2011, Musicalia Medii Aevi is a collection of international studies that welcomes writings and reflections on the most innovative aspects of medieval musicology.
As one of the essential liberal arts in the Middle Ages, music was at the center of the era’s thought and culture. That is why the collection addresses the field of music as part of a wide and varied cultural history, often in interdisciplinary terms, offering a fresh look at the role of music in medieval society. The first volume in the series is The calligraphy of medieval music by John Haines.
Related article: Codici online
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Filed under Middle Ages, New series, Notation
Libreria Musicale Italiana (LIM) launched the series Quaderni del Centro Studi Canzone Napoletana in 2011 with La canzone napoletana: Le musiche e i loro contesti. Edited by Enrico Careri and Anita Pesce, the book comprises papers presented at the eponymous conference held from 4 through 5 June 2010 at the Casa Murolo-Palazzo Maddaloni, Naples.
Below, Enrico Caruso, who brought canzone napoletana to the world’s attention, sings the genre’s most famous song, Giovanni Capurro and Eduardo di Capua’s O sole mio.
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Filed under Europe, New series, Popular music
In 2012 Editorial Estampa inaugurated its series Retalhos da música afro-luso-brasileira with Quejas, Tchufe e Lobo: Reis crioulos do samba, fado e morna dos anos 30 by Alveno Figueiredo e Silva.
The book is a tribute to the memory of Fernando Quejas, Pedro Alcântara de Freitas Silva Ramos (Tchufe), and Antoninho Lobo, popular singers who combined influences from Cape Verdean, Brazilian, and Portuguese cultures.
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Filed under New series, Popular music
In 2011 Peter Lang launched the series Liturgical studies, edited by Silvia A. Sweeney.
The inaugural volume, Embodying the feminine in the dances of the world’s religions by Angela M. Yarber, explores bharata nāṭyam, a classical Indian genre stemming from the devadāsī tradition; kabuki onnagata, Japanese male enactors of female-likeness; the Mevlevi Order of America, which allows women to train as whirling dervishes; and Gurit Kadman, who created folk dances for Jewish women and men.
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Filed under Dance, New series
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