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Complete Sonatas and Partitas for Unaccompanied Violin; Six Sonatas for Violin and Clavier. Bach-Gesellschaft edition.

Over 300 authentic, rare 19th-century engravings selected by noted collagist for artists, designers, decoupeurs. Machines, people, animals, more, printed one side of page. 25 scene plates for backgrounds.

This volume contains the full orchestral scores of Mozart's Symphonies 35-41, reprinted directly from the Breitkopf & Härtel Complete Works Edition.Included are: Symphony No. 35 in D Major, K.385 ("Haffner"); Symphony No. 36 in C Major, K.425 ("Linz"); Symphony No. 37 in G Major, K.444; Symphony No. 38 in D Major, K.504 ("Prague"); Symphony No. 39 in E-flat Major, K.543; Symphony No. 40 in G Minor, K.550; and Symphony No. 41 in C Major, K.551 ("Jupiter").Do not confuse this with a piano rendering; it is the full orchestral score. In addition to its obvious uses for study, this score is also an indispensable associate for anyone listening to record sets or broadcasts. In no other manner can the listener appreciate the full orchestral richness of these works.

Alexander Nikolayevitch Scriabin (1872-1915), Russian composer and pianist, is best known for his perfectly spun miniatures where his novel harmonic and pianistic ideas were most brilliantly worked out. This volume in Dover's continuing series of musical scores presents the best of Scriabin's works, his complete etudes and preludes for the solo piano. There are the Chopinesque works from his early period, including the 12 etudes from Op. 8 and the 24 Preludes, Op. 11. The works of the middle period, when he began working out his new harmonies based on a series of fourths, include the outstanding sets of Preludes, Opp. 33 and 48, and the Etudes, Op. 42. The 5 Preludes, Op. 74, and the Etudes, Op. 65, from the final period reveal perhaps most about his joyous ecstasy and languid contemplation, moods which no other composer could express to such a degree. There are also the preludes and etudes from Opp. 2, 9, 13, 15, 16, 17, 22, 27, 31, 35, 37, 39, 45, 49, 51, 59, and 67, each containing miniatures working out some subtle harmonic, rhythmic, or melodic idea with a perfect pianistic sense of writing. This book has been especially designed as a playing edition―the noteheads are large and easily readable at the piano, and the margins and spaces between staves are adequate for written notes, fingerings, and turnovers. It is also most useful for analysis, or simply for following along with the actual music. A Dover original (1973) edition, reproducing the entire musical contents of Prelyudii dlya fortepiano (two volumes, 1966 and 1967) and Etyudy dlya fortepiano (1967), edited by K. N. Igumnov and Y. I. Mil'shteyn.

A widely used instruction of classic knitting patterns--and how to create them. Patterns, illustrated in charts, diagrams and photographs, range from cross and cross-over motifs to lace knitting, medallion knitting and filet lace.

"There is not one page of this enchanting book which does not contain something to interest the common reader as well as the serious student. Regarded simply as a history of flowers, it adds to the joys of the country."--B. E. Todd, Spectator.If you want to know how pleurisy root, lungwort, and abscess root got their names, how poison ivy used to treat rheumatism, or how garlic guarded against the Bubonic Plague, consult A Modern Herbal. This 20th-century version of the medieval Herbal is as rich in scientific fact and folklore as its predecessors and is equally encyclopedic in coverage. From aconite to zedoary, not an herb, grass, fungus, shrub or tree is overlooked; and strange and wonderful discoveries about even the most common of plants await the reader.Traditionally, an herbal combined the folk beliefs and tales about plants, the medicinal properties (and parts used) of the herbs, and their botanical classification. But Mrs. Grieve has extended and enlarged the tradition; her coverage of asafetida, bearberry, broom, chamomile, chickweed, dandelion, dock, elecampane, almond, eyebright, fenugreek, moss, fern, figwort, gentian, Hart's tongue, indigo, acacia, jaborandi, kava kava, lavender, pimpernel, rhubarb, squill, sage, thyme, sarsaparilla, unicorn root, valerian, woundwort, yew, etc.--more than 800 varieties in all--includes in addition methods of cultivation; the chemical constituents, dosages, and preparations of extracts and tinctures, unknown to earlier herbalists; possible economic and cosmetic properties, and detailed illustrations, from root to bud, of 161 plants.Of the many exceptional plants covered in Herbal, perhaps the most fascinating are the poisonous varieties--hemlock, poison oak, aconite, etc.--whose poisons, in certain cases, serve medical purposes and whose antidotes (if known) are given in detail. And of the many unique features, perhaps the most interesting are the hundreds of recipes and instructions for making ointments, lotions, sauces, wines, and fruit brandies like bilberry and carrot jam, elderberry and mint vinegar, sagina sauce, and cucumber lotion for sunburn; and the hundreds of prescriptions for tonics and liniments for bronchitis, arthritis, dropsy, jaundice, nervous tension, skin disease, and other ailments. 96 plates, 161 illustrations.

Practically without ancestry, the songs of Franz Schubert stand out as the crowning achievement of the lieder tradition. The directly appealing melodies, with their infinite variety and grace, and the highly evocative accompaniments, filled with graceful pianistic figures, lend these short masterpieces the rare distinction of encompassing greatness in a score of bars. Schubert's three great song cycles are here reprinted directly from the definitive Breitkopf & Härtel Schubert-Gesammtausgabe. The volume comprises the universally known and beloved songs of Die schöne Müllerin (1823), the somber depth and picturesqueness of Die Winterreise (1827) and Schwanengesang (1828), one of Schubert's last works, a rich and masterly epilogue to the long series of his songs. Whether purely lyrical (as in "Wohin?") or creating revolutionary atmospheric effects (as in "Die Stadt" or "Der Doppelgänger"), all of these songs show the composer to sure and powerful advantage. In addition to the music and German texts, this volume also includes English translations of the texts by Henry S. Drinker, previously unavailable, that are especially designed to be sung to Schubert's melodies. Unabridged republication of three song cycles from Series 20 (Lieder und Gesänge) of Franz Schubert's Werke, Breitkopf & Härtel, 1985.

Well-known, richly illustrated reference work, consulted by generations of collectors, curators, dealers, historians, and craftsmen. Each of 101 furniture masterpieces is characterized by a photograph, descriptive text, and several measured drawings.

This well-known study by an eminent musicologist constitutes one of the best mid-level explorations of the nature and function of the orchestra.

"To orchestrate is to create, and this cannot be taught," wrote Nikolay Rimsky-Korsakov, the great Russian composer whose genius for brilliant, highly colored orchestration is unsurpassed. But invention, in all art, is closely allied to technique, and technique can be taught. This book, therefore, which differs from most other texts on the subject because of its tremendous wealth of musical examples and its systematic arrangement of material according to each constituent of the orchestra, will undoubtedly be of value to any music student. It is a music classic, perhaps the only book on classical orchestration written by a major composer.In it, the composer aims to provide the reader with the fundamental principles of modern orchestration from the standpoint of brilliance and imagination, and he devotes considerable space to the study of tonal resonance and orchestral combination. In his course, he demonstrates such things as how to produce a good-sounding chord of certain tone-quality, uniformly distributed; how to detach a melody from its harmonic setting; correct progression of parts; and other similar problems.The first chapter is a general review of orchestral groups, with an instrument-by-instrument breakdown and material on such technical questions as fingering, range, emission of sound, etc. There follows two chapters on melody and harmony in strings, winds, brasses, and combined groups. Chapter IV, Composition of the Orchestra, covers different ways of orchestrating the same music; effects that can be achieved with full tutti; tutti in winds, tutti pizzicato, soli in the strings, etc.; chords; progressions; and so on. The last two chapters deal with opera and include discussion of solo and choral accompaniment, instruments on stage or in the wings, technical terms, soloists (range, register, vocalization, vowels, etc.), voices in combination, and choral singing.Immediately following this text are some 330 pages of musical examples drawn from "Sheherazade," the "Antar Symphony," "Capriccio Espagnol," "Sadko," "Ivan the Terrible," "Le Coq d'Or," "Mlada," "The Tsar's Bride," and others of Rimsky-Korsakov's works. These excerpts are all referred to in the text itself, where they illustrate, far better than words, particular points of theory and actual musical practice. They are largely responsible for making this book the very special (and very useful) publication it is.This single-volume edition also includes a brief preface by the editor and extracts from Rimsky-Korsakov's 1891 draft and final versions of his own preface, as well as an appendixed chart of single tutti chords in the composer's works.

Two great novels: definitive fictionalization of mutated superman and an alien intelligence finds himself in an all too "human" world.

Volume 1 of famous early 17th-century collection of keyboard music. Features 300 works by Morley, Byrd, Bull, Gibbons, etc. Modern notation.