This volume includes all of the surviving songs by German-American composer, performer, critic, and businessman Herrman S. Saroni (1823/24–1900), who is now most remembered as the owner and editor of Saroni’s Musical Times (one of America’s first significant music magazines). The entire date range of these songs is 1844–89, but the vast majority appeared in the 1840s and early 1850s. Saroni was among the first composers in America to combine aspects of German lieder and various features associated with popular song, and these works fuse accessibility to amateurs with sophisticated compositional techniques. Despite several indicators of success in his era, Saroni’s songs are almost completely unknown today. These works deserve reconsideration and modern performance both for their historical significance and for their aesthetic value. Most of the songs in this edition were published in Saroni’s lifetime, but an appendix includes a transcription of an unpublished holograph manuscript song, the original of which is also shown in two plate images.

The Complete Songs of Hugo Wolf gathers together for the first time every poem Wolf set to music. Alongside the original German texts are translations by leading Lieder expert Richard Stokes, who also provides illuminating commentary. The 36 poets set by Wolf are each given their own chapter: a brief essay on the poet is followed by a note on Wolf's connection with the writer, extracts from letters that throw light on the Songs and convey his mood at the time of composition, and the texts and translations. Short biographies of all Wolf's correspondents flesh out the extraordinary life of this genius. This will be an indispensable volume for all lovers of Lieder.

(Vocal Collection). In celebration of the 100th anniversary of the birth of Samuel Barber, this major new edition includes newly edited and engraved editions of the complete contents of Collected Songs and Ten Early Songs (1994), plus many previously unpublished early songs. Manuscripts from the Library of Congress and other sources were consulted for all songs. The edition includes extensive historical information about each song, a lengthy and insightful article about Barber, and facsimiles of selected manuscripts. Songs published during the composer's lifetime (In chronological order of publication): Three Songs, Op. 2 : The Daisies; With rue my heart is laden; Bessie Bobtail * Three Songs, Op. 10: Rain has fallen; Sleep now; I hear an army * Four Songs, Op. 13: A Nun Takes the Veil; The Secrets of the Old; Sure on this shining night; Nocturne * Two Songs, Op. 18: The queen's face on the summery coin; Monks and Raisins * Nuvoletta, Op. 25 o Melodies passageres, Op. 27: Puisque tout passe; Un cygne; Tombeau dans un parc; Le clocher chante; Depart * Hermit Songs, Op. 29: At Saint Patrick's Purgatory; Church Bell at Night; St. Ita's Vision; The Heavenly Banquet; The Crucifixion; Sea-Snatch; Promiscuity; The Monk and His Cat; The Praises of God; The Desire for Hermitage * Despite and Still, Op. 41: A Last Song; My Lizard (Wish for Young Love); In the Wilderness; Solitary Hotel; Despite and Still * Three Songs, Op. 45: Now have I fed and eaten up the rose; A Green Lowland of Pianos; O boundless, boundless evening. Songs published posthumously : 1 First published in this edition; 2 First published in Samuel Barber: Ten Early Songs (1994); 3 First published in Samuel Barber: Ten Selected Songs (2008): Ask me to rest 1 * Au claire de lune 1 * Beggar's Song 2 * Fantasy in Purple 1 * In the dark pinewood 2 * La nuit 1 * Love at the Door 2 * Love's Caution 2 * Man 1 * Mother, I cannot mind my wheel 3 * Music, when soft voices die 1 * Night Wanderers 2 * Of that so sweet imprisonment 2 * Peace 1 * Serenader 2 * A Slumber Song of the Madonna 2 * Stopping by Woods on a Snowy Evening 1 * Strings in the earth and air 2 * There's nae lark 2 * Three Songs, The Words from Old England: Lady, when I behold the roses 1; An Earnest Visit to His Unkind Mistress Not to Forsake Him 1; Hey nonny no! 3 * Two Poems of the Wind: Little Children of the Wind 1; Longing 1 * Two Songs of Youth: I never thought that youth would go 1; Invocation to Youth * Watcher s 1 * Who carries corn and crown 1

Singers are faced with a unique challenge among musicians: they must express not just the music, but the lyrics too. To effectively communicate the meaning behind these words, singers must understand the many references embedded in the vast international repertoire of great art songs. They must deal with the meaning of the lyrics, frequently in a language not their own and of a culture unfamiliar to them. From Zelter and Schubert to Rorem and Musto, Researching the Song serves as an invaluable guide for performers, teachers, and enthusiasts to the art song repertoire. Its more than 2,000 carefully researched entries supply information on most of the mythological, historical, geographical, and literary references contained in western art song. The authors explain the meaning of less familiar literary terms, figures, and authors referenced in song while placing songs in the context of larger literary sources. Readers will find entries dealing with art songs from the German, French, Italian, Russian, Spanish, South American, Greek, Finnish, Scandinavian, and both American and British English repertoires. Sources, narratives, and explanations of major song cycles are also given. Organized alphabetically, the lexicon includes brief biographies of poets, lists of composers who set each poet's work, bibliographic materials, and brief synopses of major works from which song texts were taken, including the plots of all Restoration theater works containing Purcell's vocal music. The more performers know and understand the literary elements of a song, the richer their communication will be. Researching the Song is a vital aid for singers and teachers in interpreting art songs and building song recital programs.

“The ultimate literary bucket list.” —THE WASHINGTON POST Celebrate the pleasure of reading and the thrill of discovering new titles in an extraordinary book that’s as compulsively readable, entertaining, surprising, and enlightening as the 1,000-plus titles it recommends. Covering fiction, poetry, science and science fiction, memoir, travel writing, biography, children’s books, history, and more, 1,000 Books to Read Before You Die ranges across cultures and through time to offer an eclectic collection of works that each deserve to come with the recommendation, You have to read this. But it’s not a proscriptive list of the “great works”—rather, it’s a celebration of the glorious mosaic that is our literary heritage. Flip it open to any page and be transfixed by a fresh take on a very favorite book. Or come across a title you always meant to read and never got around to. Or, like browsing in the best kind of bookshop, stumble on a completely unknown author and work, and feel that tingle of discovery. There are classics, of course, and unexpected treasures, too. Lists to help pick and choose, like Offbeat Escapes, or A Long Climb, but What a View. And its alphabetical arrangement by author assures that surprises await on almost every turn of the page, with Cormac McCarthy and The Road next to Robert McCloskey and Make Way for Ducklings, Alice Walker next to Izaac Walton. There are nuts and bolts, too—best editions to read, other books by the author, “if you like this, you’ll like that” recommendations , and an interesting endnote of adaptations where appropriate. Add it all up, and in fact there are more than six thousand titles by nearly four thousand authors mentioned—a life-changing list for a lifetime of reading. “948 pages later, you still want more!” —THE WASHINGTON POST

This book brings to light the choral works of three contemporary British women composers: Elisabeth Lutyens (1906-1983), Elizabeth Maconchy (1907-1994), and Thea Musgrave (1928- ). Earning solid reputations in Britain through their varying compositional styles, their music has revealed them to be substantial, prolific composers who are representative of major trends in twentieth-century British choral composition. Lutyens, often described as a musical pioneer, incorporates a highly personal and imaginative style in her use of twelve-tone technique, and her departures from the strict practice of serial writing are always highly personal and imaginative. Maconchy describes her own technique as 'impassioned argument,' using compositional tools such as contrapuntal textures in both her instrumental and choral works, resulting in a high degree of chromatic color. Musgrave encompasses many modes of expression, from her early choral works featuring tonal diatonic writing, to a free chromatic style with imprecise tonality at times. Complete with historical perspective, musical examples, and reproductions of choral texts, this resource of important and little known contemporary choral works demonstrates the diverse approaches used by these and other contemporary composers, and contributes to the growing literature on women in music.