By Michael Steinberg
The single prerequisite for playing this publication is that you just in truth love classical song. each one of those excellent essays exhibit deep appreciation and reverence for the track. They search to understand extra and to aim more durable to understand the complexities in their matters. There are a number of reports that stand out for me. Larry Rothe's discourse on Erich Korngold exposed a lot new details and is a masterfully written piece of labor. different memorable contributions by means of Rothe comprise essays on J.S. Bach, Sigmund Spaeth, Brahms and a truly wonderful one referred to as "Music, precise or False".
The overdue Michael Steinberg used to be a grasp at his craft. An annotator of live performance courses for the BSO, SFO and ny Philharmonic, his books, notes and important research are trendy by means of a few of the maximum musicians and creators within the classical song international. Essays on Lou Harrison, Rachmaninov, Stravinsky and Schumann are first-class. His salute to Theodore Thomas is particularly illuminating. Thomas used to be a pioneering maestro who was once principally chargeable for debuting many nice works in the US. among the years 1854 and 1904 he proved to be a tireless suggest for excellent tune within the United States.
The ebook is filled with ancient references that supply heritage for lots of of the essays. clever observations abound. base line: As I said in my establishing, in the event you in truth love classical song, this booklet offers a wealth of perception to what makes it nice. it's a salute to those that search to appreciate its profound mysteries, written by means of real believers. Kudos to Larry Rothe and lengthy dwell Michael Steinberg!
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Additional resources for For The Love of Music: Invitations to Listening
The correct answer was Beethoven. Then i n th e las t quarte r of the twentiet h centur y we made Beethove n rol l over to allow room for Mahler, thus adding heterogeneity, unrestrained pathos, actually uninhibited everything, an d not least, extreme vulnerability. And now we have added Mozart—yes, always admired, always in the repertory, but never so fully a s now. We don't need t o castrate him, to make him into the innocent child he was not. His songs are songs of experience. Perhaps it does after all make a difference that he was not born in 1791 , that he lived and worked before Beethoven ha d made heroics an d the heroic ambitio n part of the common musical language.
Let m e spea k i n specific s b y lookin g a t th e composer s represente d i n Celebrations o f the Sacred and Profane, and their attempts to discern the fin e line between spiritual calamity and salvation. Salvation becam e necessar y whe n damnatio n becam e a fac t o f huma n existence. In words less loaded with theological baggage, we invented th e sacred to save us from th e profane , or vice versa. We are made of dust and spirit, and no one knew this better tha n Mozart. Here i s a man who set both the sacred and th e profan e to music.
In his later years, he tended eac h sprin g to fall int o severe depression that paralyze d his ability to compose. Most of all, Schubert distresse d his friends b y the recklessnes s with whic h he stilled his gigantic sexual appetite. Here again , we are dealing with veiled language, but wha t emerge s is that Schuber t contracte d syphili s toward th e end of 1822, that by 1828 the diseas e had entered it s tertiary stage, and that , his system catastrophically weakened by alcohol and nicotine , he die d fro m the effects of that disease, aggravated by some form of typhoid fever.
For The Love of Music: Invitations to Listening by Michael Steinberg