This companion book to the CD Cantabile by Butch Baldassari and John Mock fills a void in the all too often hard to find category of music for mandolin and classical guitar, expanding the repertoire for the intimate combination of these two instruments. Pieces range from Renaissance and Baroque to the more Classical music of Handel and Beethoven, to contemporary and Romantic compositions from Satie, Calace and Tarrega. This book should work well for both students and professionals. Standard notation only.

A valuable assortment of teacher/student duets in their original form written by teachers and composers during the 18th and 19th centuries. Arranged in order of difficulty, the student parts are limited to a single five-finger position and fall primarily within the grand staff reading range. Each book includes works by such composers as Diabelli, Gurlitt, Bercucci, Wohlfahrt, Berens and others.

String Festival Solos are economical collections of transcriptions by Samuel Applebaum. In two volumes for each instrument, the solos are in progressive order of difficulty. Each volume contains nine pieces -- all classic titles in the Applebaum teaching repertoire. Some of these have been hard to find. Volume I progresses from Level 1 to Level 2, Volume II progresses from Level 2 to Level 3. The solos are useful for teaching technique, dynamics, phrasing, and overall musicianship. String Festival Solos are excellent for recitals, auditions and performances for assemblies, concerts or festivals. Titles: * Sonatina in G (Beethoven) * Valse Bluette (Duvernoy) * Three German Dances (Beethoven) * Intermezzo (Hook) * Andante (Mozart) * Sonata in G (Hook) * Fantasia, Opus 86, No. 1 (Dancla) * Gavotte (Bach) * Theme and Variations, Opus 89, No. 5, (Dancla).

A monthly journal for the musician, the music student, and all music lovers.

Beyond Reason relates Wagner’s works to the philosophical and cultural ideas of his time, centering on the four music dramas he created in the second half of his career: Der Ring des Nibelungen, Tristan und Isolde, Die Meistersinger von Nürnberg, and Parsifal. Karol Berger seeks to penetrate the “secret” of large-scale form in Wagner’s music dramas and to answer those critics, most prominently Nietzsche, who condemned Wagner for his putative inability to weld small expressive gestures into larger wholes. Organized by individual opera, this is essential reading for both musicologists and Wagner experts.