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Here, Holmboe discusses many issues facing the composer, performer and listener, giving especial attention to the most basic questions about musical experience.

Vagn Holmboe [1909-96], was one of the most important composers of his era, and arguably the most important Danish composer after Carl Nielsen. A composer for over 60 years, and a teacher for more than 30, he wrote over 300 compositions in nearly every musical genre, music criticism, many other articles and two other books. Here, in a volume intended for the general reader, he discusses the nature of music, from the point of view of the composer, the performer and the listener. Where do musical ideas come from? What are composers' working methods, and how much are they really aware of them? What is the role of performers, and what sort of freedom do they have in interpreting music?What do listeners do in listening to music? What, essentially, is the musical experience?

Professor Paul Rapoport contributes a lengthy introduction to this book, although, as he points out, `this is not a book about Vagn Holmboe nor a book addressed solely to musicians ... Holmboe's prose, like his music, is addressed to his fellow human beings, whoever and wherever they may be'.

First full-length study of the composer George Enescu [1881-1955].

The Romanian composer George Enescu (1881-1955] is one of the neglected giants of the twentieth century. Prodigiously gifted, he became best known in America as a conductor (where he was considered as a successor to Toscanini in New York) and in Europe as one of the greatest violinists of the century. But he was first and foremost a composer; and, tragically, his mature works - works of extraordinary emotional depth and intricate beauty - remain almost unknown outside Romania. This, the first full-length study of Enescu and his music to be written in the West, tells the story of his life and development as a composer. All of Enescu's published compositions, and many unpublished works, are discussed, and there is a detailed list of Enescu's compositions and a list of all his known recordings as conductor, violinist and pianist. The book is intended for the non-specialist reader as well as the musicologist.

NOEL MALCOLM, the historian, philosopher and journalist, is the leading authority on Enescu.

Best known as a prolific composer of symphonies, this volume pulls together Brian's much less known vast journalistic output and explores personal insights and reminiscence.

This first volume of selections of his writings brings together many of Brian's principal writings on the composers and events of the British Musical Renaissance from polemical articles written when actively campaigning for his fellow-composers in the Midlands before World War I to more considered appraisals of the inter-War period. As well as discussing a wide range of composers, from Elgar and Delius to Britten and Billy Mayerl, he can be found here reviewing festivals, adjudicating at brass-band championships at the Crystal Palace [and watching the Palace burn down in 1936], proposing schemes for the encouragement of orchestral music, and casting a critical eye on the burgeoningpower and influence of the B.B.C.

Malcolm MacDonald's substantial introduction and annotations make this book both a work of scholarship and an important historical source for an understanding of the British music of the early twentieth century.

Investigation of unjustly neglected opera.

Hans Pfitzner's `musical legend' Palestrina is considered in the German-speaking countries to be one of the supreme masterpieces of music, and yet it is all but unknown elsewhere. The opera, first performed in 1917, tells the story of the composer Palestrina, his struggle to compose following the death of his wife and in the face of anti-musical decrees from the Church, and his eventual composition of the Missa Papae Marcelli, which, it is said, wasdictated to him by angles and reconciled the Church to contrapuntal music. The story, set against the historical background of the Council of Trent, is an allegory of the individual artist in society, as well as a statement of Pfitzner's own beliefs about the musical climate of his time.

Toller discusses the music and the dramatic structure, and presents a comprehensive introduction to the background material in the many diverse fields encompassed by the opera.

OWEN TOLLER is Head of Mathematics at Merchant Taylor's School; he is a member of the London Symphony Chorus and sings with a number of other groups. His interest in Pfitzner began when he sang in the first British performance of Palestrina, a semi-professional production by Abbey Opera in London in 1979.

This first volume of a projected two volume study of the music of John Jenkins concentrates exclusively on his consorts for viols.

John Jenkins (1592-1678) was both the most prolific and most esteemed of English composers between the death of Byrd and the rise of Purcell. During his long life he was employed as a resident musician in East Anglian noble households and became a court musician to Charles II in his later years.

This is the first in a two-volume study of Jenkins and his music. It presents a biographical introduction to the composer then concerns itself exclusively with the superb consorts for viols which dominate the early part of the composer's career. It is profusely illustrated with music examples and discusses virtually every work in this form.

ANDREW ASHBEE is an internationally renowned expert on C17th English instrumental music, has edited a number of volumes of music from the period, and is an author, broadcaster and lecturer.

This is the first in a two-volume study of Jenkins and his music. It concerns itself exclusively with the superb consorts for viols which dominate the early part of the composer's career.

First survey of Copland's entire output for some 30 years - a period seeing some of his most important works.

Aaron Copland was one of the twentieth century's most popular and distinguished composers. Copland was born in 1900 in Brooklyn, where he began his musical career, before moving to the Paris in the 1920s, where Stravinsky, Prokofiev and Les Six were the centre of attention. On his return to the United States at the end of the decade he began to produce a series of works which could leave no one in any doubt that American composers were capable of writing music equal to the best of their European contemporaries.

This chronological survey of Copland's work discusses ever one of his compositions and examines his influential writings on music. Profusely illustrated with musicexamples and photographs, it includes a conversation on the piano music with Aaron Copland and Leo Smit and also features sketches of Copland in rehearsal by Milein Cosman.

NEIL BUTTERWORTH was formerly Head of Music atNapier College, Edinburgh.

Presents for the first time the complete surviving correspondence of the outstanding Brazilian composer Heitor Villa-Lobos [1887-1959], one of the most colourful figures in twentieth-century music.

This complete edition of the letters of the Brazilian composer Heitor Villa-Lobos, collected for the first time in any language, details his stay in the Paris of the 1920s, his work in Brazil and the 1930s and `40s and his international travels as conductor of his own music. The letters also discuss commissions for ballets, concertos and other works. Lisa M. Peppercorn, who knew Villa-Lobos, is the acknowledged expert on the life and music of this colourful figure, and she gives a detailed commentary on the events giving rise to the letters. A chronology gives a detailed account of Villa-Lobos' life, which is thoroughly illustrated with photographs of the persons and places associated with Villa-Lobos, facsimiles of works and concert programmes, and so on. The letters thus form a guide to the most productive years of his life.

The first study of the life and music of the composer George Butterworth [1885-1916], including some of his own writings on music.

The career of the composer George Butterworth was cruelly cut short by a sniper's bullet at the Somme. His name is kept alive by the popularity of his orchestral tone-poems, such as The Banks of Green Willow and A Shropshire Lad, and his songs. In this book, the first full-length study of Butterworth, Michael Barlow traces his brief life: from preparatory school through Eton and Oxford, a teaching post at Radley, study at the Royal College ofMusic, a period as a music critic for The Times - and his enlisting in August 1914 which, two years later, led to his heroic death at the Somme. All of Butterworth's surviving compositions are discussed, and important chapters examine his Housman settings and his friendship with Vaughan Williams. Butterworth was also prominent in the folksong revival, and chronicled here for the first time are his extensive activities as a folksong and dance collector. The book also includes some of Butterworth's own writings on music.