By Michael Kennedy
While The Oxford Dictionary of song first seemed, it was once hailed as "without query the main accomplished, targeted, trustworthy one-volume reference paintings on tune now to be had within the English language" (Music and Musicians). greatly revised and improved, the second one variation good points over 900 totally new entries, and plenty of extra descriptions of U.S. composers and performers than within the unique paintings. Now with over 12,000 overall entries, the dictionary continues to be the main complete one-volume reference paintings on hand, providing a wealth of knowledge on song and musicians from the center a long time to the current.
As some time past, the dictionary's insurance is outstanding, spanning musical subject matters of all types. prepared alphabetically and specified by an enticing two-column structure, the entries conceal over 2,000 composers of all nationalities, from Ludwig van Beethoven to Stravinsky and Strauss (including vast, up to date lists in their valuable works); nearly 1,800 entries on performers in all fields, from Beverly Sills, to Paul McCartney, to Vaclav Nijinsky; over 450 entries on conductors; over 2,200 definitions of musical phrases and types, reminiscent of "intonation," "reggae," and "partimento"; over 550 descriptions of musical tools; entries on top orchestras and track academies around the globe; and knowledge on critics, reporters, and different writers on track.
Written to attract normal readers in addition to musicians and musicologists, The Oxford Dictionary of song is an imperative addition to the reference shelf of the live performance goer, the opera buff, the list consumer, or somebody concerned with song, even if novice or expert.
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Extra info for The Oxford Dictionary of Music
Composer, trumpeter, and cond. Studied RCM 1938--40. O. ) 1946--8. Studied in It. 1948--9. E. 1970. Works, in many genres, notable for melodic invention, colour, exuberance, and craftsmanship. One of post-1950 Eng. composers who has kept in touch with his audience without debasing his style or lowering his standards. Several film scores, incl. The Bridge on the River Kwai, 1957. Prin. works: ballets: Homage to the Queen, Op. 49 (1955); Electra, Op. 79 (1963). orch: Syms: No. 1, Op. 22 (1951), No.
Citizen) and librettist. Wrote lib. for Britten's first opera Paul Bunyan (1941) and, with Chester Kallman, for Stravinsky's The Rake's Progress (1951), and Henze's Elegy for Young Lovers (1961) and The Bassarids (1966). Audran, Edmond (b Lyons,1840; d Tierceville, 1901). Fr. organist at Marseilles and composer first of church mus. and later (with great success) of comic operas such as La Mascotte (1880), and La Poupée (1896). , 1845; d Loschwitz, Dresden, 1930). Hung. violinist and teacher. Pupil of Joachim and others.
Became chaplain in Venice 1582. Influenced by Giovanni Gabrieli and Palestrina. Comp. book of madrigals for 2 vv. in strict canon throughout. Aspull, George (b Manchester, 1813; d Leamington, 1832). Eng. p. in Eng. of Weber's Konzertstück. Asrael. Title of Sym. in C minor, Op. 27, by Suk, comp. 1906. Asrael is the Angel of Death. Begun as memorial to Dvo;Akrák, Suk's father-in-law, in 1904, became memorial also to Suk's wife who died 18 months after her father. Contains quotation from Dvo;Akrák's Requiem.