Music of the Classical Era to the present featuring: new works, improved editions, integrated commentary, improved cross-referencing to text and recordings, and internal trackings keyed to recordings.

• Two volumes of anthologies are available for this text.  Volume I covers Antiquity through the Baroque Era; Volume II covers music of the Classical Era to the present. 
• The works in the anthologies have been carefully selected to represent the developments in music history discussed in the text.  Every selection in the Anthology of Scores is discussed in the text.
• NEW!  New works-New selections illustrating 19th-century virtuosity, 19th-century nationalism, and 20th-century jazz have been added.
• NEW!  Improved editions-New editions of selected works have been provided as needed.  The excerpt from Lully's Armide, for example, now comes from the new (2003) edition of the composer's complete works.  Selected elements of the plain-chant Mass ordinary, in turn, are presented in the modern chant notation of the Liber usualis, providing students with exposure to a different (but widely-used) notational system for this repertory.
• NEW!  Integrated commentary-Excerpts from the text are now integrated into the score anthology at the end of each selection, providing students iwth basic information and a brief discussion of every work.
• NEW!  Improved cross-referencing to text and recordings.  Each selection in the anthology opens with a clear cross-reference to the recorded version of the work (disc and track number) and to the discussion of the work within the text with page number.  In addition, the score and recordings in the anthology now correspond exactly within their chronological span (Volume I of each through the Baroque Era; Volume II of each since the Classical Era).
• NEW!  Internal trackings keyed to recordings. Most longer works now have internal tracks on the recordings; these points are clearly indicated throughout the anthology for each of use by students and instructors alike.

Part Four The Classical Era     1

99   Symphony in B Major, first movement (ca. 1740)

Georg Matthias Monn (1717—1750) 1

100  Sonata in D Major, K. 492 (ca. 1750?) Domenico Scarlatti

(1685—1757)     4

101  Symphony in D Major, Op. 3, No. 2, first movement

(ca. 1752—1755) Johann Stamitz (1717—1757) 6

102  Sonata in D Major, Op. 5, No. 2, first movement (1766)

Johann Christian Bach (1735—1782)    10

103  Fantasia in C minor (finale of Keyboard Sonata, Wq. 63/6)

(1753) Carl Philipp Emanuel Bach (1714—1788)    13

104  Piano Sonata in C minor, Hob. XVI:20, first movement (1771)

Joseph Haydn (1732—1809)   17

105  String Quartet in C Major, Op. 33, No. 3 (1781) Haydn 20

106  Symphony No. 103 in Eb Major, first movement (1795) Haydn  29

107  Piano Concerto in D Major, K. 107, No. 1, first movement (1772)

Wolfgang Amadeus Mozart (1756—1791)  38

108  Piano Concerto in Eb Major, K. 271, first movement (1777)

Mozart     45

109  La serva padrona: “Aspettare e non venire” (1733)

Giovanni Battista Pergolesi (1710—1736)    62

110  Alceste, Act II, Scene 3 (excerpt) (1767; revised 1776)

Christoph Willibald Gluck (1714—1787) 66

111  Don Giovanni, K. 527, Act I, Scenes 1—5 (1787) Mozart 76

112  Requiem, K. 626, Introit (1791) Mozart     98

113  Kennst du das Land (1796) Carl Friedrich Zelter

(1758—1832)     102

114  Wake Ev’ry Breath: A Canon of 6 in One with a Ground

(1770) William Billings (1746—1800)  104

Part Five The 19th Century 106

115  Symphony No. 3 in Eb Major (“Eroica”), Op. 55 (1803)

Ludwig van Beethoven (1770—1827)     106

     115a First Movement   106

     115b Second Movement (Marcia funebre) 122

116  Symphonie fantastique, fifth movement (finale) (1830)

Hector Berlioz (1803—1869)      132

117  Overture to A Midsummer Night’s Dream (1826)

Felix Mendelssohn (1809—1847)   159

118  Piano Concerto No. 4 in G Major, Op. 58, second movement

(1806) Beethoven     187

119  Piano Sonata in C Major, Op. 53 (“Waldstein”), first movement

(1804) Beethoven     189

120  String Quartet in Bb Major, Op. 130 (excerpts) (1826) Beethoven 195

121  Three Lieder, Franz Schubert (1797—1828)   204

     121a Erlkönig, D. 328 (1815)     204

     121b Prometheus, D. 674 (1819)   207

     121c Wanderers Nachtlied, D. 768 (1824)    210

122  Three Settings of Goethe’s Kennst du das Land   211 

     122a Kennst du das Land (Mignons Gesang), D. 321

(1815) Schubert      211 

     122b Kennst du das Land (Mignon) (1849) Robert Schumann (1810—1856)   213

     122c Mignon (1888) Hugo Wolf (1860—1903)   215 

123  Liebst du um Schönheit (1841) Clara Wieck Schumann

(1819—1896)     219

124  Beautiful Dreamer (1862) Stephen Foster (1826—1864) 221

125  V chetyrjokh stenakh (“In Four Walls”), from the song cycle

Bez solnca (“Sunless”) (1874) Modeste Mussorgsky (1839—1881) 222

126  Lieder ohne Worte: Op. 30, No. 3 (1837) Mendelssohn  224

127  Mazurka in A minor, Op. 17, No. 4 (1833) Frédéric Chopin

(1810—1849)     224

128  Preludes, Op. 28, Nos. 1—4 (1839) Chopin   227

129  Ballade No. 1 in G minor, Op. 23 (1835) Chopin 230

130  Galop de bal (ca. 1840) Franz Liszt (1811—1886)      237

131  Carnaval, Op. 9 (excerpts) (1835) Robert Schumann    238

132  Nuages gris (1881) Liszt   241

133  Caprices, Op. 1, No. 24, in A minor (ca. 1810) Niccolò Paganini

(1782—1840)     242

134  Etudes d’exécution transcendante, No. 1 in C Major

(1838; revised 1851) Liszt (1811—1886)     244

135  The Banjo (1855) Louis Moreau Gottschalk (1829—1869) 245

136  Il Barbiere di Siviglia (1816) Gioacchino Rossini (1792—1868)   252

     136a Act 1, Scene 2, cavatina (Figaro): “Largo al factotum”    252

     136b Act 1, Scene 5, cavatina (Rosina): “Una voce poco fa”     257

137  Rigoletto (1851) Giuseppe Verdi (1813—1901)     261

     137a Act I (excerpts)      261

     137b Act III, Scene 3 (Quartetto: “Un dì, se ben rammentomi”) 302

138  Tristan und Isolde (1859) Richard Wagner (1813—1883) 315

     138a Prelude     315

     138b Act II: end of Scene 1 and beginning of Scene 2  322

139  The Pirates of Penzance (1879) William S. Gilbert

(1836—1911) and Arthur Sullivan (1842—1900)     334

140  Virga Jesse floruit (1885) Anton Bruckner (1824—1896) 340

141  An der schönen blauen Donau, Op. 314 (On the Beautiful

Blue Danube) (Original orchestral version reduced for piano)

(1867) Johann Strauss, Jr. (1825—1899)     343

142  King Cotton (Original band version reduced for piano) (1895)

John Philip Sousa (1854—1932)   347

143  The Nutcracker (excerpts) (1892) Peter Ilyich Tchaikovsky

(1840—1893)     349

144  Symphony No. 9 in E minor, Op. 95 (“From the New World”),

Largo (1893) Antonin DvorÇák (1841—1904)   361

145  Symphony No. 4 in E minor, Op. 98, fourth movement (finale)

(1885) Johannes Brahms (1833—1897)   371

146  Symphony No. 1 in D Major, third movement (1888)

Gustav Mahler (1860—1911)  387

Part Six The 20th Century 396

147  Prélude à l’Après-midi d’un faune (1894) Claude Debussy

(1862—1918)     396

148  Préludes, Book 1: “Voiles” (1910) Debussy     412

149  Mikrokosmos, Book 4, No. 101: Diminished Fifth (between 1932

and 1939) Béla Bartók (1881—1945)    414

150  The Cage (1906) Charles Ives (1874—1954)   415

151  The Things Our Fathers Loved (1917) Ives   416

152  The Unanswered Question (1906/1930—1935) (excerpt) Ives    418

153  Le Sacre du printemps (excerpt) (1913) Igor Stravinsky

(1882—1971)     419

154  Maple Leaf Rag (1899) Scott Joplin (1868—1917)  427

155  Children’s Corner Suite: “Golliwog’s Cakewalk” (1908) Debussy 429

156  St. Louis Blues (1914) W. C. Handy (1873—1958)  431

157  It Don’t Mean a Thing (If It Ain’t Got that Swing) (1930)

Duke Ellington (1899—1974)      434

158  Mikrokosmos, Book 6, No. 148: Six Dances in Bulgarian Rhythm,

No. 1 (between 1932 and 1939) Bartók 435

159  Saudades do Brasil (1921) Darius Milhaud (1892—1974) 438

     159a No. 5, “Ipanema”     438 

     159b No. 6, “Gavea” 439

160  The Banshee (1925) Henry Cowell (1897—1965)     440

161  Pierrot lunaire (1912) Arnold Schoenberg (1874—1951) 441

     161a No. 7, “Der kranke Mond” (“The Sick Moon”)    441

     161b No. 14, “Die Kreuze” (“The Crosses”)    442

     161c No. 21, “O alter Duft” (“O Redolence of Old”)      445

162  Five Pieces for String Quartet, Op. 5, No. 4 (1908)

Anton Webern (1883—1945)   447

163  Wozzeck, Act I, Scene 1 (1925) Alban Berg (1885—1935)      448

164  Piano Suite, Op. 25 (1923) Schoenberg      460

     164a Praeludium 460

     164b Menuett     461

165  Lyric Suite, for String Quartet, third movement (1926) Berg     463

166  Classical Symphony, Op. 25, third movement (1917)

Sergei Prokofiev (1891—1953)    474

167  Aufstieg und Fall der Stadt Mahagonny: “Alabama Song”

(1927) Kurt Weill (1900—1950)   478

168  Music for Strings, Percussion, and Celesta, third movement

(1936) Bartók   482

169  Alexander Nevsky, Op. 78, No. 4: “Vstavaite, ludi russkie”

(“Arise, People of Russia”) (1938) Prokofiev 497

170  Appalachian Spring:  Suite (excerpt) (1945) Aaron Copland

(1900—1990)     505

171  Quatuor pour la fin du temps, first movement: “Liturgie de

cristal” (1940) Olivier Messiaen (1908—1992)   525

172  String Quartet No. 8, third movement (1960) Dmitri Shostakovich

(1906—1975)     529

173  Night and Day (1932) Cole Porter (1891—1964)    534

174  Sophisticated Lady (1933) Ellington  536

175  West Side Story: “Tonight” (1957) Leonard Bernstein (1918—1990)     538

176  Threnody for the Victims of Hiroshima (1960)

Krzysztof Penderecki (b. 1933)  547

177  Three Compositions for Piano, No. 1 (1947) Milton Babbitt

(b. 1916)  556

178  49330 (1952) John Cage (1912—1992)   559

179  Roll Over, Beethoven (1956) Chuck Berry (b. 1926)    560

180  Traditional, Tom Dooley Arranged by Charles Seeger

(1886—1979) and Ruth Crawford Seeger (1901—1953)     561

181  In C (1964) Terry Riley (b. 1935)    562

182  Orfeo II (excerpt) (1976) Thea Musgrave (b. 1928)    565

183  Rituál for Piano (1987) Tania León (b. 1943)    570

184  Missa Gaia: Mass for the Earth, first movement

(Introit–“Within the Circles of Our Lives”) (1992)

Libby Larsen (b. 1950)     576

Pearson Higher Education offers special pricing when you choose to package your text with other student resources. If you're interested in creating a cost-saving package for your students contact your Pearson Higher Education representative.