French Horn in Eb part (instead F Horn) of "Je veux vivre" Aria from "Romeo and Juliet" by Charles Gounod. Arrangement for Woodwind Quintet by Francesco Leone (Flute, Oboe, Bb Clarinet, Horn and Bassoon) intermediate level, duration 3.30 min (+-). Score & Parts available in series. Scan Qr-code (in cover) for audio demo or visit www.glissato.it product code: EG0859. Roméo et Juliette is an opera in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré, based on Romeo and Juliet by William Shakespeare. It was first performed at the Théâtre Lyrique (Théâtre-Lyrique Impérial du Châtelet), Paris on 27 April 1867. This opera is notable for the series of four duets for the main characters and the waltz song "Je veux vivre" for the soprano.

Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.

There have been numerous publications in the last decades on the Bible in literature, film, and art. But until now, no reference work has yet appeared on the Bible as it appears in Western music. In The Bible in Music: A Dictionary of Songs, Works, and More, scholars Siobhán Dowling Long and John F. A. Sawyer correct this gap in Biblical reference literature, providing for the first time a convenient guide to musical interpretations of the Bible. Alongside examples of classical music from the Middle Ages through modern times, Dowling Long and Sawyer also bring attention to the Bible’s impact on popular culture with numerous entries on hymns, spirituals, musicals, film music, and contemporary popular music. Each entry contains essential information about the original context of the work (date, composer, etc.) and, where relevant, its afterlife in literature, film, politics, and liturgy. It includes an index of biblical references and an index of biblical names, as well as a detailed timeline that brings to the fore key events, works, and publications, placing them in their historical context. There is also a bibliography, a glossary of technical terms, and an index of artists, authors, and composers. The Bible in Music will fascinate anyone familiar with the Bible, but it is also designed to encourage choirs, musicians, musicologists, lecturers, teachers, and students of music and religious education to discover and perform some less well-known pieces, as well as helping them to listen to familiar music with a fresh awareness of what it is about.

Sketches of classical composers and CD reviews.

The Polish-born, British-based pianist André Tchaikowsky (1935-82) saw himself principally as a composer- one of several conflicting elements in his personality, charted by the diaries he kept between 1974 and 1982.

For the last twenty-three years of Igor Stravinsky's incredibly full life, the noted musician, conductor, and writer Robert Craft was his closest colleague and friend, a trusted member of the Stravinsky household, and an important participant in virtually all of the composer's worldwide activities. Throughout these years, Craft kept a detailed diary, impressive in its powers of observation and characterization. This diary forms the basis for Stravinsky: Chronicle of a Friendship, now released in this substantially revised and enlarged edition.