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All volumes of ANTHOLOGY FOR MUSIC IN WESTERN CIVILIZATION by Wright, Simms, and Roden contain scores representing all the major European styles, genres, and composers. The anthologies include an introduction to, a score for, and (where applicable) lyrics and translation for each piece discussed in the text MUSIC IN WESTERN CIVILIZATION and included in its CD set. It is available in a two- and a three-volume set to provide instructors with maximum flexibility. It can also be customized through TextChoice.
52. Franz Schubert.
Schubert, ERLKÖNIG. Schubert, GANYMED. Schubert, NÄHE DES GELIEBTEN.
53. Music in Paris Under Louis Philippe: Berlioz and Chopin.
Berlioz, SYMPHONIE FANTASTIQUE, 4th mvt. Berlioz, "Absence" from LES NUITS D''ÉTÉ. Chopin, Nocturne in D-flat major.
54. Leipzig and the Gewandhaus: Mendelssohn and the Schumanns.
Mendelssohn, Piano Trio in D minor, 1st mvt. Robert Schumann, Symphony No. 1, 2nd mvt. Clara Schumann, LIEBST DU UM SCHÖNHEIT.
55. German Opera in the Nineteenth Century: Weber and Wagner.
Weber, DER FREISCHÜTZ, Wolf''s Glen Scene. Wagner, DAS RHEINGOLD, Entrance of the Gods into Valhalla.
56. Opera in Italy: Rossini and Verdi.
Rossini, THE BARBER OF SEVILLE, Act 1, No. 1. Verdi, OTELLO, Act IV, Sc. 3.
57. Nationalism and Virtuosity: Franz Liszt.
Liszt, HUNGARIAN RHAPSODY No. 15 (RÁKÓCZY MARCH).
58. Vienna in the Late Nineteenth Century: Brahms and Bruckner.
Brahms, Symphony No. 3, 1st mvt. Brahms, FELDEINSAMKEIT. Bruckner, CHRISTUS FACTUS EST.
59. Music and Ballet in Nineteenth-Century Russia: Mussorgsky and Tchaikovsky.
Mussorgsky, SUNLESS, "Within Four Walls." Tchaikovsky, NUTCRACKER, Act 1, No. 8.
60. Vienna at the Turn of the Twentieth Century: Gustav and Alma Mahler.
Gustav Mahler, Symphony No. 5, 4th mvt. Gustav Mahler, "Um Mittnernacht." Alma Mahler, "Die stille Stadt."
61. England at the End of the Romantic Period: Elgar and Vaughan Williams.
Elgar, ENIGMA Variations, theme and 9th variation ("Nimrod").
62. Opera in Milan After Verdi: Puccini, Toscanini, and Verismo.
Puccini, MADAMA BUTTERFLY, "Dovunque al mondo."
63. Paris of the Belle Époque: Debussy, Fauré, and Lili Boulanger.
Debussy, FÊTES GALANTES I, "En sourdine."
Debussy, IMAGES I, "Reflets dans l''eau."
Debussy, NOCTURNES, "Nuages."
Fauré, Dans la forêt de septembre.
Boulanger, CLAIRIÈRES DANS LE CIEL, "Elle est gravement gaie."
PART VII: THE EARLY TWENTIETH CENTURY.
64. Richard Strauss in Berlin.
Strauss, SALOME, concluding scene.
65. Music in Russia During the Silver Age: Igor Stravinsky.
Stravinsky, THE RITE OF SPRING, "Procession of the Sage," "The Sage," "Dance of the Earth."
66. Atonality: Schoenberg and Scriabin.
Schoenberg, Piano Piece, Op. 11, No. 1. Schoenberg, PIERROT LUNAIRE, "Nacht." Scriabin, Piano Prelude, Op. 74, No. 5.
67. French Music at the Time of World War I: Ravel and Satie.
Ravel, LE TOMBEAU DE COUPERIN, "Rigaudon." Satie, Sarabande No. 2.
68. Music in Paris After World War I: Stravinsky and the Six.
Stravinsky, Octet, 1st mvt. Milhaud, SAUDADES DE BRAZIL, "Botofago."
69. Vienna in the Aftermath of War: Twelve-Tone Methods.
Schoenberg, String Quartet No. 4, 1st mvt. Webern, Symphony, 2nd mvt.
70. Musical Theater in Germany in the 1920s: Berg and Weill.
Berg, WOZZECK, Act 3, Sc. 2. Weill, THE THREEPENNY OPERA, "Ballad of Mack the Knife."
71. Béla Bartók and Hungarian Folk Music.
Bartók, EIGHT HUNGARIAN FOLK SONGS, "Fekete föd." Bartók, Concerto for Orchestra, 1st mvt.
72. Early Jazz.
Joplin, "Maple Leaf Rag."
73. Paul Hindemith and Music in Nazi Germany.
Hindemith, MATHIS DER MALER, Sc. 6, Entrance 3.
74. Music in Soviet Russia: Prokofiev and Shostakovich.
Prokofiev, Piano Sonata No. 7, 3rd mvt. Shostakovich, Piano Concerto No. 1, 1st mvt.
75. Self-Reliance in American Music: Ives, Seeger, Nancarrow.
Ives, "Feldeinsamkeit." Ives, "Charlie Rutlage." Ives, THE UNANSWERED QUESTION. Seeger, String Quartet, 2nd mvt.
76. American Composers Return from Europe: Copland and Barber.
Copland, Piano Variations. Copland, APPALACIAN SPRING, "Variations on a Shaker Hymn." Barber, HERMIT SONGS, "Sea-Snatch."
77. Tin Pan Alley and the Broadway Musical.
Gershwin, "The Man I Love." Rodgers and Hammerstein, OKLAHOMA! "I Cain''t Say No." Bernstein, WEST SIDE STORY, "Cool."
PART VIII: CONTEMPORARY MUSIC.
78. Reflections on War: Britten, Penderecki, and Others.
Britten, WAR REQUIEM, Agnus Dei. Penderecki, THRENODY FOR THE VICTIMS OF HIROSHIMA.
79. Twelve-Tone Music and Serialism After World War II.
Babbitt, Composition for Piano No. 1. Stravinsky, AGON, Bransle Double. Boulez, LE MARTEAU SANS MAÎTRE, "L''artisanat furieux."
80. Alternatives to Serialism: Chance, Electronics, Textures.
Cage, MUSIC OF CHANGES, Part 1. Varèse, POÈME ÉLECTRONIQUE. Messiaen, "Mode de valeurs et d''intensités."
82. Music in the 1960s and 1970s: Live Processes, Minimalism, Metric Modulations.
Berio, CIRCLES, "Stinging Gold Swarms." Crumb, ANCIENT VOICES OF CHILDREN, "¿De donde vienes?" Carter, String Quartet No. 2, Introduction and 1st mvt. Reich, CLAPPING MUSIC.
83. Returning to the Known: Music of the Recent Past.
Ligeti, HUNGARIAN ROCK. Adams, NIXON IN CHINA, "News." Tower, FANFARE FOR THE UNCOMMON WOMAN. Pärt, BERLIN MASS, CREDO.
"These are skills that I find lacking in many of our incoming graduate students. While they tend to be adept at identifying styles and composers in listening exams, they tend to freeze up when a score is put in front of them. … The proposed anthology goes a long way toward helping to address this general shortcoming in the training of undergraduate music majors."
"I would be highly likely to use the anthology should I adopt the textbook. … The choice of examples seems a good mix of pieces that are discussed in many textbooks."