{"product_id":"maud-powell-favorites-maud-powell","title":"Maud Powell Favorites","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: Maud Powell (1867-1920)\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: Rachel Barton Pine\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Books \u0026amp; CD\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003eViolin\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.8\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e43 rare masterworks for the violin\u003c\/p\u003e\n\u003cp\u003eContents:\u003c\/p\u003e\n\u003cp\u003eVolume One\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHistorical Introduction and Annotations\u003c\/li\u003e\n\u003cli\u003ePreface\u003c\/li\u003e\n\u003cli\u003eAcknowledgments\u003c\/li\u003e\n\u003cli\u003eA Word about Sources\u003c\/li\u003e\n\u003cli\u003eKey to Abbreviations\u003c\/li\u003e\n\u003cli\u003eBibliography\u003c\/li\u003e\n\u003cli\u003eMaud Powell, \"The Grand Woman of American Music\"\u003c\/li\u003e\n\u003cli\u003eMaud Powell's Letter Concerning Herself as a Musician\u003c\/li\u003e\n\u003cli\u003ePioneering the Violin Recital in America\u003c\/li\u003e\n\u003cli\u003eRecital Programming\u003c\/li\u003e\n\u003cli\u003eThe Role of Transcriptions\u003c\/li\u003e\n\u003cli\u003eRecordings\u003c\/li\u003e\n\u003cli\u003eProgram Notes\u003c\/li\u003e\n\u003cli\u003eCharacteristics of Maud Powell's Transcriptions\u003c\/li\u003e\n\u003cli\u003eMissing Transcriptions\u003c\/li\u003e\n\u003cli\u003eMaud Powell's Legacy through the Violin Recital\u003c\/li\u003e\n\u003cli\u003eChampioning Music by American Composers\u003c\/li\u003e\n\u003cli\u003eCommentary on the Music, Parts I–VI\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eVolumes Two, Three and Four\u003c\/p\u003e\n\u003cp\u003eMusic\u003c\/p\u003e\n\u003cp\u003ePart I. Maud Powell's Transcriptions of European Music\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLudwig van Beethoven (1770–1827) \/ Maud Powell\nMinuet in G Major, WoO 10, No. 2\u003c\/li\u003e\n\u003cli\u003eLuigi Boccherini (1743–1805) \/ Maud Powell\nSix Quintets, Op. 11, String Quintet No. 5 in E Major, G. 275, III:\nMinuet\u003c\/li\u003e\n\u003cli\u003eFrédéric Chopin (1810–1849) \/ Maud Powell\nWaltz No. 6 in D-flat Major, Op. 64, No. 1, \"Minute\"\u003c\/li\u003e\n\u003cli\u003eFrançois Couperin (1668–1733) \/ Maud Powell\nPièces de clavecin, Book I, Première Ordre in G Minor, No. 17:\nLa fleurie ou La tendre Nanette \/ La Fleurie\u003c\/li\u003e\n\u003cli\u003eAntonín Dvořák (1841–1904) \/ Fritz Kreisler \/ Revised and adapted by Maud Powell\nEight Humoresques, Op. 101, No. 7:\nHumoresque in G-flat Major\u003c\/li\u003e\n\u003cli\u003eAntonín Dvořák (1841–1904) \/ Maud Powell\nZigeunermelodien (Gypsy Melodies), Op. 55, IV:\nAls die alt Mutter \/ Songs My Mother Sang\u003c\/li\u003e\n\u003cli\u003eChristoph W. Gluck (1714–1787) \/ Maud Powell\nOrphée et Eurydice, Act II, Scene ii:\nDance of the Blessed Spirits \/ Melody\u003c\/li\u003e\n\u003cli\u003eAdolf Jensen (1837–1879) \/ Maud Powell\nSerenade (Ständchen), Op. 32, No. 9 \/ Serenata\u003c\/li\u003e\n\u003cli\u003eJean-Paul-Gilles Martini (1741–1816) \/ Maud Powell\nLove's Delight (Plaisir d'amour)\u003c\/li\u003e\n\u003cli\u003eJules Massenet (1842–1912) \/ Maud Powell\nPoèmes pastorale, No. 4:\nCrépuscule \/ Twilight\u003c\/li\u003e\n\u003cli\u003eSelim Palmgren (1878–1951) \/ Maud Powell\nKevät (Spring), Op. 27, No. 4:\nKevätyö (May Night)\u003c\/li\u003e\n\u003cli\u003eNikolay A. Rimsky-Korsakov (1844–1908) \/ Maud Powell\nSadko: Song of the Indian Trader\nChanson Indoue (Song of India)\u003c\/li\u003e\n\u003cli\u003eJean Sibelius (1865–1957) \/ Maud Powell\nKing Christian II Suite, Op. 27, III:\nMusette\u003c\/li\u003e\n\u003cli\u003eJean Sibelius (1865–1957) \/ Friedrich Hermann \/ Revised and adapted by Maud Powell\nValse Triste, Op. 44, No. 1\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003ePart II. Maud Powell's Transcriptions of American Music\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStephen Collins Foster (1826–1864) \/ Luke Schoolcraft (1847–1893) \/ Henry Clay Work\n(1832–1884) \/ Maud Powell\nPlantation Melodies: My Old Kentucky Home (Foster); Shine On (Schoolcraft);\nOld Black Joe (Foster); Kingdom Comin' (Work)\u003c\/li\u003e\n\u003cli\u003eDan Emmett (1815–1904) \/ Maud Powell (1867-1920) after Herman Bellstedt Jr. (1858–1926)\nCaprice on Dixie, for Violin (unaccompanied) Includes annotation for No. 26\u003c\/li\u003e\n\u003cli\u003eH(art) P(ease) Danks (1834–1903) \/ Maud Powell\nSilver Threads Among the Gold\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003ePart III. Maud Powell's Transcriptions of African-American Music\u003c\/p\u003e\n\u003cp\u003eIntroduction\n18. Samuel Coleridge-Taylor (1875–1912) \/ Maud Powell\nTwenty-Four Negro Melodies, Op. 59, No. 10:\nDeep River\n19. J(ohn) Rosamond Johnson (1873–1954) \/ Maud Powell\nNobody Knows the Trouble I See\u003c\/p\u003e\n\u003cp\u003ePart IV. Maud Powell's Original Cadenza for the Brahms Violin Concerto\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMaud Powell (1867–1920)\nCadenza for the first movement of the Brahms Violin Concerto in D Major, Op. 77\nManuscript facsimile\u003c\/li\u003e\n\u003cli\u003eMaud Powell (1867–1920)\nCadenza for the first movement of the Brahms Violin Concerto in D Major, Op. 77\nEdited by Rachel Barton Pine\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003ePart V. Music Analyzed or Edited by Maud Powell\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMaud Powell's Story and Analysis of Henri Vieuxtemps' Arkansas Traveller\nHenri Vieuxtemps (1820–1881)\nBouquet américain, Op. 33, No. 6:\nArkansas Traveller and Banjo Tune\u003c\/li\u003e\n\u003cli\u003eHenryk Wieniawski (1835–1880)\nLégende for violin and piano, Op. 17\nEdited and with an analytical lesson by Maud Powell\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003ePart VI. Original Music and Transcriptions Dedicated to,\nCommissioned by, or Closely Associated with Maud Powell\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMarion Eugenie Bauer (1882–1955)\nUp the Ocklawaha, Op. 6\u003c\/li\u003e\n\u003cli\u003eMrs. H. H. A. Beach (Amy Marcy Cheney Beach) (1867–1944)\nRomance for Violin and Piano, Op. 23\u003c\/li\u003e\n\u003cli\u003eHerman Bellstedt Jr. (1858–1926)\nCaprice on Dixie, for Violin (unaccompanied)\nSee annotation for No. 16\u003c\/li\u003e\n\u003cli\u003eCecil Burleigh (1885–1980)\nFour Rocky Mountain Sketches, Op. 11:\nAt Sunset, The Rapids, Up the Cañon, The Avalanche\u003c\/li\u003e\n\u003cli\u003eHenri Ern (1863–1923)\nMenuet pour Violon et Piano, Op. 39, No. 1\u003c\/li\u003e\n\u003cli\u003eHarry Mathena Gilbert (1879–1964)\nMarionettes (Scherzo)\u003c\/li\u003e\n\u003cli\u003ePercy Aldridge Grainger (1882–1961)\nMolly on the Shore\u003c\/li\u003e\n\u003cli\u003eMolly on the Shore violin part revised by Maud Powell\u003c\/li\u003e\n\u003cli\u003eEdwin A. Grasse (1884–1954)\nScherzo capriccioso, Op. 19\u003c\/li\u003e\n\u003cli\u003eEdwin A. Grasse (1884–1954)\nWellenspiel (Waves at Play)\u003c\/li\u003e\n\u003cli\u003eEdwin A. Grasse (1884–1954)\nin a Row Boat (Im Ruderboot)\u003c\/li\u003e\n\u003cli\u003eEdwin A. Grasse (1884–1954)\nPolonaise No. 1 in C Major\u003c\/li\u003e\n\u003cli\u003eEdvard Grieg (1843–1907) \/ Sol Marcosson (1869–1940)\nTo Spring (An den Früling), Op. 43, No. 6\u003c\/li\u003e\n\u003cli\u003eWilliam Henry Humiston (1869–1923)\nSuite for Violin and Orchestra in F-sharp Minor\u003c\/li\u003e\n\u003cli\u003eHenry Holden Huss (1862–1953)\nRomance\u003c\/li\u003e\n\u003cli\u003eMax Liebling (1845–1927)\nFantasia on Sousa Themes\nViolin part edited by Rachel Barton Pine\u003c\/li\u003e\n\u003cli\u003eArthur Loesser (1894–1969)\nCalifornia (Humoresque) (On a Tune by Paladilhe)\u003c\/li\u003e\n\u003cli\u003eEdward A. MacDowell (1860–1908) \/ Arthur Hartmann (1881–1956)\nWoodland Sketches, Op. 51:\nTo a Wild Rose\u003c\/li\u003e\n\u003cli\u003eEde Poldini (1869–1957) \/ Arthur Hartmann (1881–1956)\nMarionnettes, No. 2:\nPoupée Valsante (Waltzing Doll)\u003c\/li\u003e\n\u003cli\u003eCarl Venth (1860–1938)\nAria\u003c\/li\u003e\n\u003c\/ol\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"The Maud Powell Society","offers":[{"title":"Default Title","offer_id":46345387737167,"sku":"9781885824011","price":169.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/2e939d68e7855ff44908df9648dc175d.jpg?v=1785765520","url":"https:\/\/www.ficksmusic.com\/ja\/products\/maud-powell-favorites-maud-powell","provider":"Ficks Music","version":"1.0","type":"link"}