OPERA & THE MORBIDITY OF MUSIC(I***N=9781590172650) 下载 pdb txt pdf 百度云 kindle umd 夸克云

　　The death of classical music, the distinguished critic and

musicologist Joseph Kerman declares, is “a tired, vacuous concept

that will not die.” In this wide-ranging collection of essays and

reviews, Kerman examines the ongoing vitality of the classical

music tradition, from the days of Guillaume Dufay, John Taverner,

and William Byrd to contemporary operas by Philip Glass and John

Adams.

Here are enlightening investigati*** of the lives and works of

the greatest composers: Bach and his Well-Tempered Clavier,

Mozart’s and Beethoven’s piano concertos, Schubert’s songs,

Wagner’s and Verdi’s operas. Kerman discusses The Magic Flute as

well as producti*** of the Monteverdi operas in Brooklyn and the

Ring in San Francisco and Bayreuth. He also includes remembrances

of Maria Callas and Carlos Kleiber that make clea***hy they were

such extraordinary musicians.

Kerman argues that predicti***—let alone assumpti***—of the

death of classical music are not a new development but part of a

cultural transformation that has long been with us. Always alert to

the significance of historical changes, from the invention of music

notation to the advent of recording, he proposes that the place to

look for renewal of the classical music tradition in America today

is in opera—in a flood of new works, the rediscovery of

long-f***otten ones, and innovative producti*** by companies large

and small. Written for a general audience rather than for experts,

Kerman’s essays invite readers to listen afresh and to engage with

his insights into how music works. “His gift is so uncommon as to

make one sad,” Alex Ross has said.

PREFACE

Classical Music: Rise and Fall, and Rise

Opera and the Morbidity of Music

Two Cheers for Rach 3

Labyrinth Music

William Byrd and the Catholics

The Operas of Monteverdi

Bach: A Short Life

A Guide to The Well-Tempered Clavier

Wilfrid Mellers on Bach

Mozart: Four Biographies

Mozart's Last Year

Playing Mozart: The Piano Concertos

The Magic Flute

Sonata Forms

Beethoven: Works and Life

Beethoven Hero

Text and Act: Beethoven's Concertos

Three Riffs on the Ninth

The Romantic Generation

Schubert's Songs

Berlioz: A Life

Reading Opera

Verdi: A Life

Verdi: The Late Operas

Wagner and Wagnerism

A Ring for San Francisco

Bayreuth, 2001

The Art of the Program Note

Maria Callas (1923-1977)

Carlos Kleiber (1930-2004)

SOURCES

INDEX

　　Joseph Kerman is emeritus professor of music at the University

of California, Berkeley. He began writing music criticism for The

Hudson Review in the 1950s, and is a longtime contributor to The

New York Review of Books and many other journals. His books include

Opera as Drama (1956; new and revised edition 1988), The Beethoven

Quartets (1967), Contemplating Music (1986), Concerto Conversati***

(1999), and The Art of Fugue (2005).

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书籍介绍

The death of classical music, the distinguished critic and musicologist Joseph Kerman declares, is “a tired, vacuous concept that will not die.” In this wide-ranging collection of essays and reviews, Kerman examines the ongoing vitality of the classical music tradition, from the days of Guillaume Dufay, John Taverner, and William Byrd to contemporary operas by Philip Glass and John Adams.

Here are enlightening investigati*** of the lives and works of the greatest composers: Bach and his Well-Tempered Clavier, Mozart’s and Beethoven’s piano concertos, Schubert’s songs, Wagner’s and Verdi’s operas. Kerman discusses The Magic Flute as well as producti*** of the Monteverdi operas in Brooklyn and the Ring in San Francisco and Bayreuth. He also includes remembrances of Maria Callas and Carlos Kleiber that make clea***hy they were such extraordinary musicians.

Kerman argues that predicti***—let alone assumpti***—of the death of classical music are not a new development but part of a cultural transformation that has long been with us. Always alert to the significance of historical changes, from the invention of music notation to the advent of recording, he proposes that the place to look for renewal of the classical music tradition in America today is in opera—in a flood of new works, the rediscovery of long-f***otten ones, and innovative producti*** by companies large and small. Written for a general audience rather than for experts, Kerman’s essays invite readers to listen afresh and to engage with his insights into how music works. “His gift is so uncommon as to make one sad,” Alex Ross has said.