Beginning with her childhood discoveries of the worlds of dance and music, continuing through her ballet and historical dance studies in England, and culminating in her distinguished work as a dancer, choreographer, scholar, and teacher in the United States, this memoir traces the fascinating, circuitous path of Wendy Hilton''s remarkable career. Hilton's early aspirations to become a ballerina led her to the ballet studios of Marie Rambert, Cleo Nordi, Audrey de Vos, and Maria Fay and then to dancing in live broadcasts on early British television, in movies, and with the companies of Felicity Grey, Walter Gore, and Letty Littlewood. In 1952, a chance introduction to the historical dance specialist Belinda Quirey began Hilton's lifelong study of and commitment to the fields of early dance and music. A few years later, another chance introduction to the eminent Bach specialist Rosalyn Tureck brought Hilton to America, with their collaborations winning rave reviews from distinguished critics. Hilton went on to collaborate with such other renowned musicians as Michael Tilson Thomas, Albert Fuller, and Frederick Renz, and such early music groups as the New York Pro Musica Antiqua and the Ensemble for Early Music. Two significant academic appointments, both of which would continue for over twenty years, played prominent roles in her career: at the Juilliard School, where, as nowhere else, she mounted gloriously costumed and musically sophisticated performances in the baroque dance style, and at Stanford University, where she directed an annual workshop on baroque dance and music. Hilton's memoir is richly illustrated with 75 photographs by notable dance and theater photographers, including Jack Blake, Frederica Davis, Rebecca Lesher of the Martha Swope Studios, Peter Schaaf, G. B. L. Wilson, and Reg Wilson.

Named a Library Journal Best Reference of 2023 - "Bravo! An invaluable source for scholars and concertgoers.” - Library Journal In the history of the Western musical tradition, the Baroque period traditionally dates from the turn of the 17th century to 1750. The beginning of the period is marked by Italian experiments in composition that attempted to create a new kind of secular musical art based upon principles of Greek drama, quickly leading to the invention of opera. The ending is marked by the death of Johann Sebastian Bach in 1750 and the completion of George Frideric Handel’s last English oratorio, Jephtha, the following year. The Historical Dictionary of Baroque Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 500 cross-referenced entries on composers, instruments, cities, and technical terms. This book is an excellent resource for students, researchers, and anyone wanting to know more about baroque music.

"For professional and amateur musicians who want to perform the music of Bach, Handel, Vivaldi, Telemann, and other composers of the period, Baroque Music provides a clear, readable guide to the standard repertoire - and more - examining more of the major Baroque works in detail than any other book ever published. With wit and clarity, Victor Rangel-Ribeiro draws on the writings of C.P.E. Bach, J.J. Quantz, G.P. Telemann, Francesco Geminiani, Leopold Mozart, and Giuseppe Tartini to offer advice to instrumentalists, singers, and conductors seeking to cope with the difficult aspects of eighteenth-century German, Italian, and English Baroque masterworks. Baroque Music shows how to: interpret Baroque ornaments; provide ornamentation where composers provide only a bare melody; accompany from a 'figured bass'; apply Baroque performance practices to the works of individual composers; synthesize and apply knowledge of Baroque music to bring freshness to works in the standard repertoire, as well as to works that may be less familiar. Moving from relatively simple material to more complex works, the performer is continually made aware of the effects of chronology and national milieu on performance and is encouraged to apply all the knowledge he or she acquires directly to the music being performed."--Publisher's description.