Oxford-University-Press

SKU: OU.9780193355439

ISBN 9780193355439. 12 x 8 inches.

For small two-part choir (sopranos and basses), accordion, and piano The work is a setting of a text by William McGonagall which provides a miniature tour of London, from London Bridge to the Tower, St Paul's, Trafalgar Square, and Petticoat Lane. Moods and impressions are as important as the sights themselves. The unsynchronised accompaniment gives a street music flavour.

SKU: OU.9780193524323

ISBN 9780193524323. 10 x 7 inches.

For SATB unaccompanied This tender setting is a partner antiphon to Bednall's Ave Regina caelorum. In turn, this pair compliments Howells's setting of the other Marian antiphons (Salve Regina and Regina Caeli). Triplet movement and changing metre create ebb and flow, and harmonic and melodic interest bring a sense of peaceful expectancy.

SKU: OU.9780193361140

ISBN 9780193361140. 12 x 8 inches.

For alto and tenor soloists, SATB chorus, and organ. Both the texts, an anonymous one from the 14th century and one attributed to Pope Clement XI, are prayers. Very simple choral sections, using sustained drones, alternate with more florid solos. The music is almost entirely modal and the textures are designed to 'resonate'.

SKU: BR.BV-385

ISBN 9783765103858. 6.5 x 9.5 inches.

Exiled from Nazi Germany, the composer Hanns Eisler moved to Los Angeles in April 1942 to make a living in the Hollywood film industry. After some time of struggling, he finally was commissioned to compose the music for Fritz Lang's anti-Nazi film Hangmen Also Die , whose script was in large part written by Bertolt Brecht. Following this, Eisler worked together with Theodor W. Adorno on the book Composing for the Films . Completed in 1944, it was not until 1947 that an English version of the book was published by Oxford University Press. Shortly before the book went into print, Adorno withdrew his co-authorship in order to avoid attracting the attention of the House Committee on Un-American Activities. The study provides detailed analyses and correlations of the book Composing for the Films and the soundtrack of Hangmen Also Die. The reflections on Adorno's and Eisler's book outline the complex textual history, problems arising in connection with the co-authorship, and essential views and theses, not least in view of the aspect of the Composition for the Hollywood Film. The part on the film music of Hangmen Also Die focuses mainly on its in-depth analysis. The study is based on extensive archive research and contributes not only to explore Eisler's life and oeuvre but also to the research of Adorno and Brecht as well as general music in exile and film music.