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This volume gathers together a wide-ranging collection of pieces from leading musical commentators and critics. Included are candid and revealing interviews with the composer himself, as well as eloquent essays by Alex Ross - music critic for the "New Yorker". The author has grouped this collection into four sections: profiles of the composer, including a fascinating study of his early years; detailed essays on his major works; interviews with Adams's leading collaborators and interpreters; and critical receptions of his works.

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Rather than wage a price war, Leslie Boosey and Ralph Hawkes chose to
merge their rival businesses in 1930, expanding from their London base
to build a worldwide operation. Signing Bartók and Strauss and investing
in young composers like Britten and Copland, the company fully came of
age with the acquisition of Serge Koussevitzky’s Russian catalogue with
its masterpieces by Stravinsky, Rachmaninoff and Prokofieff. Journalist and broadcaster Helen Wallace charts the company’s progress through boom years and unexpected financial threats, drawing on archive correspondence, press reports and interviews with composers and employees, past and present.

"Rivalry, romance, jealousy, generational change: the Boosey story is a ripping yarn worthy of a novel, if not a grand opera… Wallace's racy digest shows us how backroom businessmen continue to shape musical history."
Financial Times Magazine

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In 1955 Diana McVeagh published a pioneering study of Edward Elgar. In Elgar the Music Maker she harvests five decades of thoughts about his music, scrutinizing the biographical details that have since been discovered. Each of Elgar's works is discussed, balancing information and appraisal, from his juvenilia to his unfinished Third Symphony.

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L’Association des amis d’André Jolivet vous informe de la parution des écrits du compositeur. Les textes, rédigés entre 1921 et 1974, ont été transcrits, présentés et annotés par Christine Jolivet-Erlih.

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When he left Russia following the 1917 Revolution, his diaries were recovered from the family flat in Petrograd and later hidden. The later diaries, written in the West, were brought back by legal decree after the composer’s death, to be kept in a special, closed section of the Russian State Archive. Eventually Prokofiev’s son Sviatoslav was allowed to transcribe the voluminous contents. Volume 1 covers the bulk of Prokofiev’s years at the St. Petersburg Conservatoire ending with his triumphant graduation. Taken as a whole, the Diaries constitute both an indispensable and an entertaining source of reference for all scholars and lovers of Prokofiev’s music.

> Further information on Serge Prokofieff