“Your unusual fantasy and passion for what you do will guarantee once again that your views on Beethoven are convincing.” —Kurt Masur, Conductor Emeritus, Leipzig Gewandhaus Orchestra, New York Philharmonic

“Comini has crafted a magisterial narrative that begins in Beethoven’s lifetime and culminates in that defining event of Viennese modernism, the Secession Exhibition of 1902. Such an analysis of the construction of a cultural myth has never been so satisfyingly realized.” —Scott Messing, Charles A. Dana Professor of Music, Alma College

“Despite its remarkable scope, this book wears its scholarship lightly. It is eminently readable, and always popular with my students.” —Eric Wen, Chairman of Musical Studies, The Curtis Institute of Music

No composer in the history of music has undergone so many makeovers in the portrayal of his facial features or the interpretation of his cultural legacy as Ludwig van Beethoven. The myth began during his lifetime when few verbal or visual portrayals of the composer adhered strictly to his physical appearance; instead his mannerisms, manners, and moods prevailed. Promoted from peevish recluse to Promethean hero, he was pictured early on as a “genius inspired by inner voices in the presence of nature, with leonine hair writhing wildly in symbolic parallel to the seething turbulence of creativity,” according to the author.

In this unique study of the myth-making process across two centuries, Alessandra Comini examines the contradictory imagery of Beethoven in contemporary verbal accounts and in some 200 paintings, prints, sculptures, and monuments. With a witty yet penetrating narrative, she moves through these images to construct a collective image of the composer that reflects the many differing impressions left by devoted “myth makers” ranging from Wagner, Nietzsche, Berlioz, and Brahms to Rolland, D’Annunzio, and Jenny Lind.

University Distinguished Professor of Art History Emerita at Southern Methodist University, Alessandra Comini is the author of eight books, one of which was nominated for the National Book Award (Egon Schiele’s Portraits). The Republic of Austria extended her its Grand Decoration of Honor in 1990, the National Women’s Caucus for Art gave her a Lifetime Achievement Award in 1995, and a Comini Lecture Series in her honor was founded in Dallas in 2005. She is associate producer of Museum Music’s recording Klimt Musik, featuring composers from Beethoven to Alma and Gustav Mahler.

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Website: http://www.alessandracomini.com
Website: http://books.google.com/books?id=hYBAFG01FOsC&dq=isbn:0865346615
Email: acomini@smu.edu

Hardcover:
8 1/2 X 11
ISBN: 978-1-63293-200-6
496, 222 Illustrations pp.,$60.00

Softcover:
8 1/4 X 11
ISBN: 978-0-86534-661-1
496, 222 Illustrations pp.,$50.00

In the winter of 1964, three weeks after defecting from Poland and the night after playing a flashy holiday performance with the Rockettes at Radio City, Leshek Zavistovski was arrested and faced deportation to a gulag. His troubles started, however, long before he was a fugitive cellist behind bars. As a four-year-old child he was abandoned in a remote Polish village, kidnapped, and swept into the advancing Red Army. Thus his perils began.

Children and Fish Don’t Talk is more than Leshek’s dramatic story. He recounts in thrilling detail his father’s defiance against the Nazis in the Warsaw Uprising, the ghastly deeds of Cossacks and the Soviet KGB, the hilarious antics of a foreigner at the height of McCarthyism, the vibrant world of the Metropolitan Opera in the 1960s, his elderly mother’s foxy attempt to crush the Iron Curtain with homemade posters and glue, and numerous encounters with Polish sausage. It is a breathtaking tale of survival, taking readers from the poverty of post-war Poland to the lavish dinner tables of America’s rich and famous, an adventure as harrowing as it is funny. And that’s because it’s true.

Cellist and sculptor Leshek Zavistovski was born in Warsaw, Poland on the eve of World War II and became the youngest member of the Warsaw National Philharmonic and the Metropolitan Opera Orchestra. Monique Zavistovski is a filmmaker raised on the edge of the Sleepy Hollow woods. Her work has won awards worldwide, including at Sundance and the Emmys. Fulbright scholar and violinist Toni Rapport Zavistovski recorded for Warsaw Radio with W³adys³aw Szpilman, the subject of Roman Polanski’s Oscar-winning film The Pianist, and was Assistant Principal Violin of the Metropolitan Opera Orchestra.

“Leshek Zavistovski's searing memoir is not just the testament of a young man's survival. It powerfully shows how Leshek transcended the extreme circumstances of his existence . . . a brilliantly crafted love story to the human spirit (his!).” —Bruce C. McKenna, writer, Band of Brothers; Emmy Award-winning creator, writer, executive producer, The Pacific

“Children and Fish Don’t Talk is excellent and polished.” —Connie Martinson, writer, host of syndicated television show Connie Martinson Talks Books

“His is a path of movie-worthy, epic struggle. I was agape from the beginning to the end of this book!” —Susan Graham, internationally-renowned opera star

“Leshek Zavistovski has led a remarkable life and he writes about it vividly and passionately. His survival as a child, separated from his parents by war, and his subsequent career as a musician, should be the stuff of legends.” —Jerry Adler, senior editor, Newsweek (retired)

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Hardcover:
6 x 9
ISBN: 978-0-86534-957-5
322 pp.,$45.00

Softcover:
6 x 9
ISBN: 978-0-86534-958-2
322 pp.,$29.95

The memoirs of a performing musician telling how she developed an understanding of her own life as a woman, musician, and writer.

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In this collection of personal essays, clarinetist Ann McCutchan uses the metaphor of circular breathing to animate her understanding of her own life as a woman, musician, and writer. Circular breathing is a technique for wind instrument playing in which fresh air is drawn in through the nose at the same time that stored air in the lungs is released by mouth through the instrument. The process allows the player to produce a continuous line of music without breaking the curve of a melody to inhale.

The questions McCutchan grapples with have universal implications. For example, how does one come to be called to a life’s work? For McCutchan, who grew up in central Florida in the 1960s, the call grew out of twin desires: to exercise a physical voice and to develop an interior one. Bringing both to fruition meant abandoning roles expected of young women in that time and place, and learning to live ever after with the conflicting claims of art and life. Questions of familial loss lie at the heart of this collection, as well. With a sure, delicate hand, McCutchan examines the impact of her parents’ untimely deaths, her inability to bear children, and the foundering of her two marriages. Art may not deliver one from sorrow, she discovers, but it may console—deeply. Finally, there are the questions that arise when one can no longer fulfill the physical demands of an art. Can a musician trade in her instrument, and a world that defined her for decades, for something else? Here, McCutchan charts her journey from the stage to the page, exploring the ways both worlds feed each other.

Ann McCutchan is the author of Marcel Moyse: Voice of the Flute, and The Muse That Sings: Composers Speak About the Creative Process. Her work has appeared in numerous literary journals and in The Best American Spiritual Writing. She teaches creative writing at the University of North Texas.

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Website: http://www.annmccutchan.com
Website: http://books.google.com/books?id=Y5JVavBDW6MC&printsec=frontcover&dq=9780865347496&hl=en&ei=_B7QTu3-

Softcover:
6 x 9
ISBN: 978-0-86534-749-6
158 pp.,$16.95

eBook:
ISBN: 978-1-61139-026-1
158 pp.,$9.99

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The many thoughts and gratifying memories recounted in this volume began in 1924 and ended in 2013. The memories are of the author’s development as a songwriter and the many talented and likeable people he got to know. The locale is mainly New York City, with important time spent as a composer at a Catskill Mountain resort. Many of the thoughts are about the changing popular music scene in America.

Robert W. Miles has a master’s degree in English, a library science degree, and many years experience in writing the music for musical theater works that have been produced in regional theaters throughout the United States. He has published many reviews of books about music in The Sewanee Review and has published articles on music in The New Republic. He is also the author of Bootleg Music and Other Stories from Sunstone Press. Miles is the son of the late Reverend Robert Whitfield Miles, DD, twenty-five of whose sermons were published by Sunstone Press under the title Eyes Forward: Messages for Today from Yesterday. He lives in Santa Fe, New Mexico.

Softcover:
6 X 9
ISBN: 978-0-86534-268-2
124 pp.,$19.95

eBook:
ISBN: 978-1-61139-252-4
124 pp.,$4.99

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Cloggers and sopranos, contortionists, Indian Club Swingers, ticket-of-leave men and ladies of the night, shepherds, saints, and devils—these are a few of the characters portrayed in the early amateur theatrical productions of Las Vegas, New Mexico, and nearby Fort Union. Between 1871 and 1899, this area hosted no fewer than eleven amateur acting troupes, an opera company, and an oratorio society. These home grown thespians performed both secular and non-secular plays in Spanish and English as well as musicals, variety acts, passion plays, and light operas. They played in courthouses, private salas, grand opera houses, and performance halls that were occasionally stocked with hay and grain. The amateur troupers strutted their stuff before farmers, outlaws, hooligans, soldiers, and the local aristocracy.

Between 1883 and 1886, the enlisted men of Fort Union formed several amateur companies and performed at the garrison. One group took its show on the road and played to Las Vegas audiences. During this brief period, fierce loyalties arose and a vicious rivalry played out in the pages of the Las Vegas newspapers. Entertainment of all sorts was an integral part of the booming western frontier. Although professional traveling troupes came by wagon and train, the homegrown companies—made up of butchers, seamstresses, homemakers, business leaders, and politicians—always drew large audiences. Footlights in the Foothills provides an overview of these amateur theatrical companies—the players, the plays, and the venues—in addition to stories of the social ties formed by the people who offered their talents and bared their egos to the audiences of "one of the hottest towns in the country."

Edwina Portelle Romero first researched the amateur acting companies of Las Vegas in 1982 when writing publicity for The Las Vegas Players, a community theatre group. Since then, she earned a Master's Degree from New Mexico Highlands University and a Doctorate from The University of New Mexico. She has published personal and scholarly essays, short fiction, and historical articles. Once an amateur performer, Romero experienced, first hand, the camaraderie and support such groups offer their members.

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Softcover:
6 x 9
ISBN: 978-0-86534-826-4
98 pp.,$16.95

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No business plan, focus group, or grant request preceded the birth of the Santa Fe Community Orchestra. A couple of amateur musicians, who didn’t know that starting an orchestra might be difficult, found a willing conductor, recruited a few friends, and made it work. Over the course of 25 years the orchestra has played a hundred concerts and found a place in the musical life of Santa Fe. This is its story.

Like most members of the Santa Fe Community Orchestra (SFCO), Jim Preus’s avocation has been music. And like other members, music is a very important part of his life. His instrument, the bassoon, is not a party instrument or one to entertain around a campfire; it requires the interaction with other instrumentalists, most appropriately in a symphony orchestra. That makes the SFCO a very important organization to him and the other members of the orchestra.

Jim has an undergraduate degree in music education and a Ph.D. in counseling psychology from the University of Minnesota. Now retired, for most of his professional life he was an administrator at the University of Minnesota. Playing in an orchestra, in musicals, and in chamber music were all part of his avocational life. The availability of a community orchestra was a factor in moving to Santa Fe, and so this book is payback for the existence of that opportunity.

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Website: http://books.google.com/books?id=pCgfqLoLTCYC

Softcover:
6 X 9
ISBN: 978-0-86534-659-8
136 pp.,$16.95

In the film “De-Lovely,” Cole Porter admonishes the chorus of “Kiss Me Kate” to snap out their consonants. This book is not only about consonants, but also about vowels, breathing, round sounds and head tones--just a few of the many techniques discussed that will improve your singing in a choir or chorus or any group. It is written with the amateur in mind, but it is just as valuable for the professional. A brief history of choral singing from prehistory to the 21st Century is included.

GERALD G. HOTCHKISS has sung in Christian and Jewish choirs, choruses, in octets, quartets, duets, barbershop, madrigals and Broadway reviews under many of the finest conductors in the United States as an amateur for more than sixty years.

Website: http://books.google.com/books?id=IRM_woq6bSQC

Softcover:
6 X 9
ISBN: 978-0-86534-449-5
108 pp.,$18.95

eBook:
ISBN: 978-1-61139-490-0
108 pp.,$3.99

See "PRAISE FOR THIS BOOK" below.

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More than forty verses, games and stories of Spanish childhood folklore have been collected by the author from research based largely on archival materials gathered by WPA writers in the 1930s and in current interviews. A number of the pieces can be traced directly to Spain and were brought to America by early explorers and settlers. They serve as a link between the old and new worlds—a way to retain cultural and historical memory and transmit it to succeeding generations. Many interesting variations have occurred over the centuries, always the way with true folklore, as children have played the games and the stories have been told and retold. Literal translations, rules for playing the games and music for some of them are included.

“…a delightful little manual for persons who want to keep a culture alive with joyous song and gentle mystery.” —Books of the Southwest

The author, a native of New Mexico, was raised by homesteader grandparents who came to the territory soon after 1900. She early developed an appreciation for the history and folklore of the American Southwest and her collection of legends and lore began with the “cowboy/frontiersman” culture of Quay County where she grew up. She is also the author of Aguinaldos, Christmas Customs, Music and Foods of the Spanish-speaking Countries of the Americas from Sunstone Press.

Website: http://books.google.com/books?id=asxCR48hVyAC

Softcover:
5 1/2 x 8 1/2
ISBN: 978-0-86534-175-3
80 pp.,$8.95

eBook:
ISBN: 978-1-61139-875-5
64 pp.,$5.99

Illustrated with things to color, word games, puzzles, and cut-outs.

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This introduction to Mozart and his operas is ideal for children of all ages. The book includes musical games and puzzles as well as pages to color. Readers will learn about opera, music, the orchestra, opera singers, and especially about Wolfgang Amadeus Mozart. There are pages devoted to each of Mozart’s operas, a diagram showing the instruments in an orchestra, and a page with the notes to his “Minuet in G” that he composed in 1761 at the age of five. Ideal for teachers and all readers.

Website: http://books.google.com/books?id=I5U9AuPTMkcC

Softcover:
8 1/2 x 11
ISBN: 978-0-86534-092-3
30 pp.,$12.95

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A quality piano is one of the most expensive investments you will ever make. Yet most people know little about it. Have you ever wondered:
• Why does a piano go out of tune?
• How do I clean my piano?
• How do I fix a sticky key?
• How do I protect my piano from moths, humidity, and climate changes?

A piano technician with over thirty-five years experience now unveils the mystery of the piano and shares his secrets with you. In this simple guide and reference, you will discover how to protect your investment and save money by doing simple repairs yourself. There are easy to follow step-by-step instructions for piano maintenance and twenty-one easily understood illustrations drawn with the layman in mind.

A MUST for every piano owner, to be kept and used for generations.

STEVEN R. SNYDER has tuned, repaired, rebuilt, and refurbished pianos for over thirty-five years. He began working on pianos as a child, helping his father, a qualified piano technician. Steven financed his college education tuning pianos and after graduating from Boston University moved to New York City where he became one of the top technicians at Steinway & Sons Piano Company. In addition to concert work, he continued to perform piano service for many concert artists and Manhattan recording studios including CBS, Town Hall, and Carnegie Hall, as well as Lincoln Center.

During this time, Snyder was contracted by recording artist Stevie Wonder as his exclusive piano tuner-technician and when Mr. Wonder moved his recording studios from midtown Manhattan to Los Angeles in 1977, Steven relocated to Los Angeles and continued working with Mr. Wonder for the next ten years. During this time, Snyder also tuned, voiced, regulated, and reconditioned pianos for hundreds of professional clients including Bob Dylan, Dave Brubeck, Burt Bacharach, Garrick Ohlsson, and Mehli Mehta, conductor of the UCLA Youth Symphony Orchestra. Concert work spanned the Hollywood Bowl, the Mark Taper Forum, and the Dorothy Chandler Pavilion. Studio work covered Paramount Studios, Universal Studios, and 20th Century Fox Music, as well as many other concert venues across the country.

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Website: http://books.google.com/books?id=6HrjHWkISr0C

Softcover:
8 1/4 X 11
ISBN: 978-0-86534-514-0
96 pp.,$20.95

SEE PRAISE FOR THIS BOOK BELOW.

Born blind, Elizabeth Garrett overcame many handicaps to become self-sufficient and a nationally-known musician, singer and composer. In an age when women were still strugglng for their independence, she developed a career that took her around the country. She neither sought nor accepted pity but, using her own resources, created a life and a philosophy that became a source of wonder to all who knew her. Daughter of controversial and famed frontier sheriff Pat Garrett (who was noted for successfully ending the career of Billy the Kid) and a Hispanic mother, Elizabeth successfully bridged the time gap between the still lawless days of early New Mexico and the transitions brought about by World War II. A New Mexican who loved her native state, she was able to write of its beauties without ever having seen them. She wrote "O Fair New Mexico," the state song, and was the state's first women's liberation advocate. Photographs, illustrations, bibliography.

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Hardcover:
5 1/2 X 8 1/2
ISBN: 978-1-63293-648-6
174 pp.,$34.95

Softcover:
5 1/2 X 8 1/2
ISBN: 978-0-91327-068-4
174 pp.,$19.95

eBook:
ISBN: 978-1-61139-895-3
174 pp.,$3.99

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Honoring the fiftieth anniversary of the Santa Fe Opera, this is a portrait of a pioneering American company that is recognized as one of today’s most important international festivals. The Santa Fe Opera was founded with the idea of establishing an American style of opera. From the beginning, the company was forward-looking and modern in spirit, championing young American singers and new operas, and focusing on innovative repertory and theatrically-driven productions. With its stunning open-air theater set in the spectacular landscape of northern New Mexico’s high mountain desert, it has become a place of pilgrimage--a destination for performers and audiences alike. The Santa Fe Opera’s commitment to the operas of our own time was launched the very first season, when it began a close relationship with Igor Stravinsky. Over the years, it has given the American premieres of major landmarks, including Alban Berg’s Lulu, six operas by Richard Strauss, Janacek’s The Cunning Little Vixen, works by Heitor Villa-Lobos and Dmitri Shostakovich, six new operas by Hans Werner Henze, and Kaija Saariaho’s award-winning L’amour de loin. It commissioned Luciano Berio’s avant-garde classic, Opera, and Tobias Picker’s Emmeline. Some of the most celebrated singers of the past half century began their careers in Santa Fe, many of them emerging from its ground-breaking apprentice program, which has trained a new generation of opera stars. This is the story of a trailblazing company that, in just fifty years, has changed the musical map of America.

PHILLIP HUSCHER has been the program annotator for the Chicago Symphony Orchestra since 1987. He studied piano at the Aspen School of Music and music history at the University of Chicago. A former music critic, he was a contributing editor for "Chicago" magazine for more than a decade. He has written liner notes for Grammy® Award-winning recordings, scripts for PBS concert telecasts, and program notes for many organizations, including the Santa Fe Opera.

Website: http://www.santafeopera.org

Hardcover:
10 1/2 X 10 1/2
ISBN: 978-0-86534-550-8
200 pp.,$45.00

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Settling Scores: A Life in the Margins of American Music details one life lived in the margins of America’s musical consciousness. From a working-class background in gritty North Philadelphia to the sanctity of European concert stages, from imagined dangers lurking along the waterfronts in mysterious Asian cities to the real dangers lurking in the narrow minds of those who uphold the status quo in American music, this book reveals the life of one who embraced change, and, in the process, gained political leverage and intellectual freedom. It is the story of Joseph Franklin and a legion of collaborators, and it is a snapshot view of a slice of America’s musical landscape in the final quarter of the 20th century, including a history of Relâche and The Relâche Ensemble.

Born in Philadelphia, JOSEPH FRANKLIN is a graduate of the Philadelphia Musical Academy and Temple University’s Graduate School of Music. He has composed works for mixed instrumental/vocal ensembles, film, video, theater and dance. In 1977 he co-founded The Relâche Ensemble, which evolved into Relâche, Inc. a presenting and producing organization in support of the Relâche Ensemble. He served as founding executive and artistic director of Relâche until 1998. Independently, and as Director of Relâche, he has been a producer of concerts, festivals, recordings, radio programs, residency programs, international tours and other related music events, including the NEW MUSIC AMERICA 1987 Festival, NEW MUSIC AT ANNENBERG at The University of Pennsylvania and MUSIC IN MOTION, a nationwide audience development project. He formerly served as Artistic Director for Helena Presents--The Myrna Loy Center, a performing arts and film center located in Helena, Montana. He has published criticism and book reviews in the Philadelphia Inquirer and Philadelphia City Paper. While living in Louisiana he developed and taught courses in arts administration and an overview of 20th century music at the University of New Orleans while serving as an independent consultant to arts organizations. He currently serves as executive director for Chamber Music Albuquerque, a presenting organization dedicated to presenting world-class chamber music ensembles in concert.

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Website: http://www.cma-abq.org/index.php?option=com_content&task=view&id=19&Itemid=48
Website: http://books.google.com/books?id=USV5oAdzsecC

Hardcover:
6 X 9
ISBN: 978-0-86534-478-5
310 pp.,$29.95

Softcover:
6 X 9
ISBN: 978-0-86534-477-8
310 pp.,$24.95

“An absolutely fascinating and very special ‘time-lost’ treasure, this is a unique and unreservedly recommended addition to personal, professional, community, and academic library American Music History collections in general, and Hispanic/American music supplemental studies reading lists in particular.” —The Midwest Book Review

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In 1933, newly elected President Franklin Delano Roosevelt summoned ideas that might allay the financial calamity that characterized the Great Depression of the 1930s. Among the myriad programs Roosevelt initiated was the WPA, the Works Progress Administration (later re-named the Work Projects Administration) that was created to provide meaningful work to the unemployed millions throughout America. Thanks to New Mexico Governor Clyde Tingley, a masterful politician who wended his way into Roosevelt’s good graces, New Mexico became the recipient of a significant proportion of federal WPA funding that supported thousands of otherwise unemployed men and women. One of the great programs to emerge was in support of the arts, and many painters, writers and musicians were employed to pursue their respective art forms.

Helen Chandler Ryan was appointed director of the Federal Music Project (FMP) in New Mexico that lasted from 1936 to 1943. In 1939, it was re-named the New Mexico Music Project, and by 1942, the name was changed yet again to War Services Program—Music Phase. The focus of this project was “music education, performance, and preserving of local musical heritage, especially Hispanic [Hispano] folk music.” Under Ryan’s direction and that of her co-administrators, musicians and folklorists collected songs and other material that otherwise might have been lost.

The transcribed folk songs were mimeographed and distributed to teachers who taught both singers and instrumentalists who then presented the music in public performances. This music project not only funded fieldworkers, it also brought music to the people of the villages of New Mexico in a time when little else was available to lift the hearts of la gente.

In this book, materials collected between 1936 and 1941 are assembled in five separate units. Units 1, 2, and 3 are comprised of a series of Hispano folk songs with transcribed melodies and English translations of lyrics. Unit 4 is a collection of thirty Hispano dance songs, some of which remain popular even now. Unit 5 is entitled “Guitar Arrangements of Spanish American Folk Songs.”

We are fortunate to have this taste of Hispano music of New Mexico from the early twentieth century now available to all. It is integral and vital to the repertoire of musical lore that greatly enhances New Mexico’s heritage.

On the Cover: “Leisure Hour” by Joseph Fleck from A More Abundant Life, New Deal Artists and Public Art in New Mexico by Jacqueline Hoefer, published by Sunstone Press.

Hardcover:
8 1/2 X 11 Illustrated
ISBN: 978-1-63293-181-8
222 pp.,$34.95

Softcover:
8 1/2 X 11 Illustrated
ISBN: 978-1-63293-180-1
222 pp.,$24.95

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As both a producer and director, Merrill Brockway pioneered dance on television on the Emmy Award-winning PBS series, Dance in America. Through this series and CBS’ Camera 3, Brockway brought the performing arts to the “vast wasteland” of television in its early years. Working with the greatest artists of the day, including Pierre Boulez, George Balanchine, Martha Graham, Eugene Ormandy, Stella Adler, Agnes de Mille, Ruby Dee, Merce Cunningham and others, Mr. Brockway brought high art into the homes of the average American.

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Softcover:
6 x 9
ISBN: 978-0-86534-748-9
208 pp.,$19.95

eBook:
ISBN: 978-1-61139-028-5
208 pp.,$4.99