On Music: Essays and Diversions 1963-2003This collection of essays contains some of the most exciting and original analyses of the Wagner operas from music critic and composer Robin Holloway, who is known for his trenchant style and impassioned thinking. These essays provide sustained, meditative, and illuminating accounts both of the masterpieces of the romantic era and of the classical tradition from which they derive. Holloway persuades listeners that music matters, that there is a real difference between good and bad, great and trivial, and sincere and sentimental, and that one's enjoyment can only be enhanced by the habit of critical study.> |
Què en diuen els usuaris - Escriviu una ressenya
No hem trobat cap ressenya als llocs habituals.
Continguts
Two on Bach performances | 3 |
the musicians musician | 7 |
redundant genius | 18 |
Schuberts songs recorded | 20 |
A noble nature | 24 |
Some thoughts about Tristan and abstract nouns | 27 |
Motif memory and meaning in Twilight of the Gods | 32 |
Experiencing music and imagery in Parsifal | 53 |
Splendid but silly | 237 |
Remembering two composers | 241 |
towards a critique | 244 |
Knussen at fifty | 248 |
Two on Chabrier | 251 |
Two on Fauré | 255 |
Three on Debussy | 264 |
Two on Ravel | 271 |
53 | 54 |
Humanising Wagner | 68 |
Two on Bruckner | 70 |
Two on Brahms | 77 |
Gingerbread artistry | 85 |
Unobtrusive conservative | 87 |
Mahlers tragic friend | 89 |
A Dutch Mahlerian | 91 |
Mahler 10 | 93 |
two pieces on the fiftieth anniversary of his death | 103 |
art or kitsch? | 107 |
a critical interpretation | 122 |
Die Frau ohne Schatten | 138 |
Strausss last opera | 142 |
StraussStravinskySchoenberg | 150 |
The great mutilator | 155 |
Lulu | 157 |
Schoeck the evolutionary | 173 |
Two on Weill | 180 |
Henzes law | 186 |
Stockhausens Inori | 188 |
Purcells diligent muse | 193 |
Elaborating Elgars Third | 196 |
Fairest Isle | 199 |
Waltons centenary | 202 |
the sentimental sublime | 204 |
Memorial piece | 209 |
Strange victory | 211 |
limits and renewals | 220 |
Brittens tenorman | 230 |
Britten twentyfive years on | 233 |
Fertile masterpiece | 235 |
Saties Socrate | 277 |
Two on Poulenc | 279 |
Sugar and spice | 285 |
Scriabins Poem of Ecstasy | 292 |
Beware the pitfalls of sincerity | 294 |
Puzzled by Shostakovich | 297 |
Appalled by Schnittke | 300 |
Russian jamboree | 302 |
Stravinskys selfconcealment | 304 |
Stravinskys spiritual son | 315 |
Customised goods | 322 |
Complex Oedipus | 342 |
Expressive sources and resources in Janáčeks musical language | 344 |
Use your ears like a man | 358 |
But is it art? Gershwin in a classical context | 360 |
Aaron Copland | 361 |
Aaron Copland | 365 |
Ralph Shapeys Trilogy in Chicago | 376 |
Two on David Del Tredici | 379 |
The search for a sound aesthetics | 389 |
Business as usual | 401 |
Tovey | 414 |
hab Dank | 424 |
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Frases i termes més freqüents
achievement actual already appears artistic bars beautiful become beginning Brahms Britten called cellos character chords close comes comparable complete composer compositional continues course culture death detail direct early effect emotional equally everything expression feeling final followed four further gives hand harmony heard heart horns human inspired intensity late later less letter lies listeners living Mahler major master material means melody minor motif move movement nature never notes once opening opera orchestral original passage performance Peter Grimes piano pieces play present produces realised remains result ring scene Schoenberg score seems sense shows Siegfried sometimes songs soprano sound stand story Strauss Stravinsky strings style surely Symphony theme things third touch true turn utterance voice Wagner whole writing