Elgar’s The Music Makers, for contralto solo, choir and large orchestra, has experienced a chequered reputation since its 1912 premiere at the Birmingham Festival. The work faced significant adverse criticism which re-emerged over time. Criticism targeted the poem Elgar chose for his setting – Arthur O’Shaughnessy’s ode, whose reputation was later tarnished by T.S. Eliot’s infamous critique ‘What is Minor Poetry?’. Misunderstanding of Elgar’s innovatory compositional procedure was another main reason behind the negative responses. Elgar integrated the poetic language with musical self-borrowings, transforming the words and offering perceptive listeners enhanced emotion at the highest artistic level. All aspects of Elgar’s musical language combine to produce one of his greatest, yet least understood, masterworks. Reading Elgar’s The Music Makers brings to the fore a prime example of how first musical performances can be misunderstood and reception can shift over time. The work remains as relevant today as ever. The book’s multi-faceted approach will be invaluable not only for conductors, singers and music students, but for concert goers and music lovers generally.

When old friend Arnold Chater Q.C. sends retired Norwegian Judge Christofferson a yellowing manuscript with the mysterious initials G.B. on the first page, the latter starts a quest to seek the truth about British composer Sir Edward Elgar’s secret muse in his masterpiece, the Enigma Variations, and whether he fathered an illegitimate child. Fascinated with riddles and puzzles, the composer was in the habit of leaving a series of codes denoting the inspiration for his timeless compositions. But in the Enigma Variations, Elgar forsook his usual practice of inserting initials to honour his muse, explicitly refusing to name his great love by using a mysterious ellipsis. Cheekily, he gives a clue about his inspiration in the violin concerto with the words, ‘Here is enshrined the soul of ...’ Chris Nicholson’s seminal musical thriller weaves an amazing tale with enigmas piled on riddles. He flagrantly delights in leading readers on a breathless chase of the women who were extraordinarily important in Elgar’s life. At the same time, he also unmasks Elgar as a man who hid himself and his intimate affairs behind a mask of respectability. Nicholson is merciless in the details of Elgar’s life, loves and music, deciphering all the clues and delivering the final judgment as only he can. Chris Nicholson is a retired judge and author of seven books.

What precisely does a conductor do? Why is he so vital to orchestral performance and how does he stamp his own temperament and interpretation on a work? In this book, the author discusses aspects of interpretation and performance with eight distinguished maestri. Their answers, based on extensive interview material, yield a mine of fascinating information for music lovers. We learn how each conductor approaches the work of a given composer in rehearsal and performance, why he is drawn to that particular music, what the composer intended in his score markings and how these have been interpreted or misinterpreted in the past. This is not a practical manual on conducting technique: everyone with an interest in serious music will enjoy the book without any specialised knowledge being necessary. The author's skill in interviewing has drawn from his subjects a huge range of anecdote and highly individual opinion on style, tempo, interpretation, rehearsal methods, background research and many other important aspects of the conductor's function. In addition to lucid insights into the music of great composers there is an introduction to the subject which traces the evolution of conducting from its earliest beginnings.

In this wide-ranging inside view of the history and practice of conducting, analysis and advice comes directly from working conductors, including Sir Charles Mackerras on opera, Bramwell Tovey on being an Artistic Director, Martyn Brabbins on modern music, Leon Botstein on programming and Vance George on choral conducting, and from those who work closely with conductors: a leading violinist describes working as a soloist with Stokowski, Ormandy and Barbirolli, while Solti and Abbado's studio producer explains orchestral recording, and one of the world's most powerful managers tells all. The book includes advice on how to conduct different types of groups (choral, opera, symphony, early music) and provides a substantial history of conducting as a study of national traditions. It is an unusually honest book about a secretive industry and managers, artistic directors, soloists, players and conductors openly discuss their different perspectives for the first time.

This is the first book to consider the relationship between British imperialism and music. With its unique ability to stimulate the emotions and to create mental images, music was used to dramatize, illustrate, and reinforce the components of the ideological cluster that constituted British imperialism in its heyday: patriotism, monarchism, hero-worship, Protestantism, racialism, and chivalry. It was also used to emphasize the inclusiveness of Britain by stressing the contributions of England, Scotland, Wales, and Ireland to the imperial project.

"To the economist and ballet enthusiast John Maynard Keynes he was potentially the most brilliant man he'd ever met; to Dame Ninette de Valois he was the greatest ballet conductor and advisor this country has ever had; to the composer Denis ApIvor he was the greatest, mostr lovable, and most entertaining personality of the musical world; whilst to the dance critic Clement Crisp he was quite simply a musician of genius. Yet sixty years after his ... death Constant Lambert is little known today. As a composer he is remembered for his jazz-inspired The Rio Grande but little more, and for a man who ... devoted the graeter part of his life to the establishment of English ballet his work is largely unrecognized today. [This book] looks not only at his music but at his journalism, his talks for the BBC, his championing of jazz (in particular, Duke Ellington), and, more privately - his longstanding affair with Margot Fonteyn. ..."--Book jacket.

An invaluable guide for lovers of classical music designed to enhance their enjoyment of the core orchestral repertoire from 1700 to 1950 Robert Philip, scholar, broadcaster, and musician, has compiled an essential handbook for lovers of classical music, designed to enhance their listening experience to the full. Covering four hundred works by sixty-eight composers from Corelli to Shostakovich, this engaging companion explores and unpacks the most frequently performed works, including symphonies, concertos, overtures, suites, and ballet scores. It offers intriguing details about each piece while avoiding technical terminology that might frustrate the non-specialist reader. Philip identifies key features in each work, as well as subtleties and surprises that await the attentive listener, and he includes enough background and biographical information to illuminate the composer's intentions. Organized alphabetically from Bach to Webern, this compendium will be indispensable for classical music enthusiasts, whether in the concert hall or enjoying recordings at home.