Composed in 1923 in the USA the University of Michigan Library, Holst's eight-minute gem for solo flute, oboe and strings was given its first performance at the President's residence of the university by members of the Chicago Symphony under the baton of Frederick Stock on May 17 of that year. First publication followed soon afterwards by Novello in London. Offered here is a study score for the newly engraved critical edition based upon the composer's manuscript and first edition prepared by Richard W. Sargeant Jr. The large conductor's score and orchestra parts are likewise available from Serenissima Music, inc.

First published in 2011, this text provides citations to the core Holst literature. The volume is intended for students and researchers, as well as those seeking an introduction to Holst. The inclusion of materials for the non- specialist seems entirely appropriate as Holst devoted much of his career to teaching amateur musicians. The contents of this book presents a selective, annotated list of essential materials published through the end of 2009, although a very few exceptions were made for a limited number of post-2009 print and web resources.

This book demonstrates, in fascinating diversity, how musicians in the nineteenth century thought about and described music. The analysis of music took many forms (verbal, diagrammatic, tabular, notational, graphic), was pursued for many different purposes (educational, scholarly, theoretical, promotional) and embodied very different approaches. This, the first volume, is concerned with writing on fugue, form and questions of style in the music of Palestrina, Handel, Bach, Mozart, Beethoven and Wagner and presents analyses of complete works or movements by the most significant theorists and critics of the century. The analyses are newly translated into English and are introduced and thoroughly annotated by Ian Bent, making this a volume of enormous importance to our understanding of the nature of music reception in the nineteenth century.