By Michael Steinberg
The single prerequisite for taking part in this publication is that you just truthfully love classical song. each one of those tremendous essays exhibit deep appreciation and reverence for the song. They search to grasp extra and to aim more durable to understand the complexities in their topics. There are numerous reports that stand out for me. Larry Rothe's discourse on Erich Korngold exposed a lot new info and is a masterfully written piece of labor. different memorable contributions through Rothe comprise essays on J.S. Bach, Sigmund Spaeth, Brahms and a really interesting one known as "Music, precise or False".
The overdue Michael Steinberg was once a grasp at his craft. An annotator of live performance courses for the BSO, SFO and big apple Philharmonic, his books, notes and demanding research are in demand by way of the various maximum musicians and creators within the classical song global. Essays on Lou Harrison, Rachmaninov, Stravinsky and Schumann are very good. His salute to Theodore Thomas is particularly illuminating. Thomas was once a pioneering maestro who was once principally chargeable for debuting many nice works in the United States. among the years 1854 and 1904 he proved to be a tireless suggest for nice tune within the United States.
The booklet is stuffed with historic references that supply historical past for plenty of of the essays. clever observations abound. final analysis: As I acknowledged in my commencing, when you in truth love classical song, this booklet presents a wealth of perception to what makes it nice. it's a salute to those who search to appreciate its profound mysteries, written through actual believers. Kudos to Larry Rothe and lengthy stay Michael Steinberg!
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Extra info for For The Love of Music: Invitations to Listening
Hi s rhythms are all his own. He likes ambiguous, even deceptive beginnings—where is the downbeat? Beside s th e Davidsbiindlertdnze, th e Fourt h Symphon y an d hi s greatest orchestra l piece , th e Manfred Overture , offe r prim e examples. Th e ends o f hi s pian o piece s ar e sometime s strangel y unfinal . Melodie s floa t independent o f beat . Ho w mysterious , even uncanny , i t i s when i n th e seventeenth of the Davidsbiindlertdnze w e suddenly find ourselves back in th e midst o f the hauntin g phrase s of th e second .
Hearing the familiar symphonies and concertos will be a richer experience when you revisit them from the perspective of the piano cycles and the songs. If this is territory new to you, begin with Camaval and Dichterliebe. Then, if they spea k t o you , go o n t o Kreisleriana, th e Davidsbiindlertdnze, an d th e wonderful feas t o f spook, nostalgia, an d joy , the Eichendorf f Liederkreis, op . 39. By sheer chance, the firs t piece of Schumann's I ever heard (asid e from my own clattering through The Happy Farmer) wa s Bird as Prophet fro m the rathe r late Waldszenen i n a haunting recorded performance by Alfred Cortot .
No composer was more joyfu l and ebullient, the music swept along on irresistible physical energy. No composer was ever possessed by such deep sadness. Neither Mahler nor Elgar could follow him into those dark places; Schubert, yes, his beloved Schubert, whom he was one of the first to appreciate fully—but only Schubert, no one else. " Hi s rhythms are all his own. He likes ambiguous, even deceptive beginnings—where is the downbeat? Beside s th e Davidsbiindlertdnze, th e Fourt h Symphon y an d hi s greatest orchestra l piece , th e Manfred Overture , offe r prim e examples.