Oxford University Press

Gioachino Rossini was one of the most influential, as well as one of the most industrious and emotionally complex of the great nineteenth-century composers. Between 1810 and 1829, he wrote 39 operas, a body of work, comic and serious, which transformed Italian opera and radically altered the course of opera in France. His retirement from operatic composition in 1829, at the age of 37, was widely assumed to be the act of a talented but lazy man. In reality, politicalevents and a series of debilitating illnesses were the determining factors. After drafting the Stabat Mater in 1832, Rossini wrote no music of consequence for the best part of twenty-five years, before the clouds lifted and he began composing again in Paris in the late 1850s. During this gloriousIndian summer of his career, he wrote 150 songs and solo piano pieces his ‘Sins of Old Age’ and his final masterpiece, the Petite Messe solennelle. The image of Rossini as a gifted but feckless amateur-the witty, high-spirited bon vivant who dashed off The Barber of Seville in a mere thirteen days-persisted down the years, until the centenary of his death in 1968 inaugurated a process of re-evaluation by scholars, performers, and writers. The original 1985 edition ofRichard Osborne’s pioneering and widely acclaimed Rossini redefined the life and provided detailed analyses of the complete Rossini oeuvre. Twenty years on, all Rossini’s operas have been staged and recorded, a Critical Edition of his works is well advanced, and a scholarly edition of his correspondence, including 250previously unknown letters from Rossini to his parents, is in progress. Drawing on these past two decades of scholarship and performance, this new edition of Rossini provides the most detailed portrait we have yet had of one of the worlds best-loved and most enigmatic composers.
 
Pages: 432
Languages: English
Publisher: Oxford University Press

Contents
List of Illustrations Key to Sigla Preface to First Edition Preface to Second Edition 1. The formative years (1792-1810)2. Venice and Milan (1811-14)3. Arrival in Naples (1815)4. Rome and Il barbiere di Siviglia (1816)5. Naples, Rome and Milan (1816-17)6 Mosè in Egitto and Return to Pesaro (1818). 7. 1819-218. Vienna, Verona, Venice (1822-3)9. Paris and London (1823-4)10 Paris (1824-9)11. Retirement from operatic composition12. Bologna, Paris, Madrid (1829-34), Stabat mater, Olympe Pd’elissier, and Balzac13. Paris, the Rhineland, and return to Italy (1835-46)14. Times of Barricades and Assassinations, Bologna, Florence, and departure from Italy (1847-55)15. Return to Paris (1855)16. Saturday soirées and a New Mass17. Last Years (1865-8)18. Entr’acte: Some Problems of Approach to the Works19. The Early Operas (I): Farse for Venice’s Teatro San Moisd`e20. Overtures21. The Early Operas (ii): Demetrio e Polibio, L’equivoco stravagante,Ciro in Babilonia, La Pieta del Paragone22. Tancredi: Heroic Comedy and the Forming of a Method23. L’italiana in Algeri: Formal Mastery in the Comic Style24. Milan and Venice (1813-14), Aureliano in Palmira, Il turco in Italia, Sigismondo25. Arrival in Naples (1815-16), Elisabetta, regina d’Inghilterra, La gazzetta26. Il barbiere di Siviglia and the Transformation of a Tradition27. Otello and the Confrontation of Tragedy28. La Cenerentola: an Essay in Comic Pathos29. La Gazza Ladra and the Semiseria Style30. Armida and the New Romanticism31. Mosè in Egitto (1818-19) and Mo:ise et Pharaon (1827)32. A lost Masterpiece and a Forgotten Favorite: Ermione,and Ricciardo e Zoraide33. Rossini and Scott: La Donna del Lago34. Maometto II (1820) and Le Siège de Corinth (1826)35. Back from the Shadows: Matilde di Shabran and Zelmira36. Farewell to Italy: Semiramid37. Il viaggio a Reims (1825) and Le Comte Ory (1828)38. Guillaume Tell39. Sacred Music, Messa di Gloria, Stabat mater, Petite Messe Solennelle40. Vocal and Piano Music, Early Songs, Giovanna d’Arco, Les soirées Musicales, Péchés de VieillesseAppendices A: CalendarB: List of worksC: PersonaliaD: Select bibliographyIndex

These delightful little classical sonatas – almost sonatinas – appeared in Lefévre’s Méthode de Clarinette (1802). They are technically undemanding, but they are winning in their unaffected lyric charm.
 
 
Pages: 42Language: EnglishPublisher: Oxford University Press

Practice makes Perfect takes you through all the various aspects of playing your instrument, clearly, helpfully, and progressively. It’s full of useful advice, tunes, exercises, practice tips, studies, listening games, and projects about your instrument, designed to show that technique is neither difficult nor boring – but can be fun!
 
 
Pages: 38Language: EnglishPublisher: Oxford University Press

An entertaining mix of dinosaur pieces, games, and puzzles at about the level of Piano Time 2. Lively full colour illustrations introduce you to each of the friendly (or not-so-friendly) monsters, and all the material has a solid musical and tutorial basis as well as being tremendous fun.
Contents

Stegosaurus Stomp
Monstersearch
Ambling Allosaurus
Fossilized footprints
Browsing Brontosaurus
A reminder about note values
Playful Plesiosaurs
Sharps and flats
Triceratops trot
Depths and heights
The very vicious Velociraptor
The Scaleosaurus
Never vex a Tyrannosaurus Rex!
Make up a monsterpiece
Diplodocus drag
Games for two to play
Pterodactyl glide
A tip from two Pterodactyls
Jurassic jamboree
Musical puzzles

 
 
Pages: 24Language: EnglishPublisher: Oxford University Press

Music Through Time is an exciting series of instrumental repertoire books designed to provide young musicians with enjoyable, interesting and stimulating material in the early stages of their playing career. The contents of each volume are arranged chronologically, and each piece is accompanied by short notes which place the music in its wider historical context so that the student can more easily relate the style of the music to its period. The pieces in Book 3 are of around grades 5-6 standard.
Contents

Farnaby – Tower Hill (1598)
Purcell – Hornpipe (1699)
Babell – Rigaudon (1714)
W.F. Bach – Allemande (1746)
Bennett – Trumpet Voluntary (1758)
Arne – Myrtillia (1772)
Mozart – Les Echos (1781)
Wesley – Presto (1787)
Haydn – Andante (1794)
Boccherini – Minuet (1802)
Beethoven – Menuetto (1802)
Czerny – Legand (1851)
Burgmuller – Allegretto (1865)
Delibes – Clockwork Toys (1870)
Gurlitt – Impromtu (1874)
Karganov – Little Waltz (1879)
Grieg – My Homeland (1884)
Dvorak – Largo (1893)
Goedicke – Sonatina (1897)
Draper – Cheese Cake Walk (1908)
Curwen – Come Along Sam (1913)
Grechaninov – On Horseback (1923)
Elgar – Sonatina (1932)
Lang – Trumpets (1955)
Seal – The Old Wheelbarrow (1969)
Harris – Nocturne (1990)

 
 
Pages: 36 Language: English Publisher: Oxford University Press

Music Through Time is an exciting series of instrumental repertoire books designed to provide young musicians with enjoyable, interesting and stimulating material in the early stages of their playing career. The contents of each volume are arranged chronologically, and each piece is accompanied by short notes which place the music in its wider historical context so that the student can more easily relate the style of the music to its period. This is the second volume in this ingenious and intuitive series and suitable for Pianists working at Grades 2-3.
Contents

Farnaby – A Toye (1625)
Anne Cromwell’s Virginal Book – A Masque (1638)
Purcell – Hornpipe (1695)
Clarke – King William’s March (1700)
Handel – Silent Worship (1725)
Sheeles – Jigg (1736)
Mozart – Minuet (1760)
Beethoven – Allemande (1800)
Schubert – Ecossaise (1815)
Weber – Invitation to the Dance (1819)
Chopin – Prelude (1839)
Heller – L’ Avalanche (1844)
Kohler – Fandango (1846)
Schumann – Wild Horsemen (1848)
Glinka – Polka (1849)
Burgmuller – Tarantella (1852)
Bizet – March from “L’ Arlesienne” (1872)
Spindler – Waltz (1875)
Kullak – Berceuse (1877)
Joplin – Maple Leaf Rag (1899)
Rebikov – Christmas Present (1903)
Maikapar – Having Fun (1909)
S. Stravinsky – Pagoda (1960)
Seal – Playground Fun (1979)
Harris – Oriental March (1990)

 
 
Pages: 30 Language: English Publisher: Oxford University Press

This single volume brings together all the piano accompaniments required for both Fiddle Time Runners and Viola Time Runners. Accompaniments are labelled with the relevant instruments and the differences between violin and viola melodies are indicated throughout. Fingering and bowing for both instruments are included and some accompaniments are also compatible with Cello Time.
 
 
Pages: 55Language: EnglishPublisher: Oxford University Press

Cello Time Starters is a great beginner book for the budding cellist. Carefully paced to suit young learners, it supports players through the important early stages, step by step-from how to hold your instrument and bow, through basic notation, to exciting pieces in a range of styles. With plenty of entertaining illustrations and a CD to play along to, with Cello Time it really is fun to play!

Over 60 varied tunes, from open strings to finger pattern 0-1-23-4
Quizzes, games, songs, and listening activities
Colour illustrations to demonstrate each stage, plus fun cartoons
Play-along tracks with imaginative accompaniments available to download from a Companion Website
Ideal for use before and alongside Cello Time Joggers
Fully compatible with Fiddle and Viola Time Starters and suitable for individual or mixed group lessons
Teacher’s notes and accompaniments available in the Starters Teacher’s Handbook (ISBN 978-0-19-336585-8)

 
 
Pages: 40Language: EnglishPublisher: Oxford University Press

Contains all the piano accompaniments for Cello Time Joggers (the cello duets are unaccompanied and so printed in the cello book only). Characterful and easy to play, these piano parts provide the perfect stylish accompaniment to the cellist’s first tunes, and help capture the spirit and mood of the pieces. Essential for teachers and musical parents, these books will help motivate all young cellists as they learn to play.

Difficulty: Very Easy

 
 
Pages: 40Language: EnglishPublisher: Oxford University Press