On Music: Essays and Diversions 1963-2003A&C Black, 01/01/2003 - 438 من الصفحات This 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.> |
المحتوى
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 |
36 | 220 |
37 | 230 |
Britten twentyfive years on | 233 |
Fertile masterpiece | 235 |
40 | 237 |
Remembering two composers | 241 |
42 | 244 |
Knussen at fifty | 248 |
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 |
The Others | 191 |
Purcells diligent muse | 193 |
Elaborating Elgars Third | 196 |
31 | 199 |
Waltons centenary | 202 |
the sentimental sublime | 204 |
34 | 209 |
Strange victory | 211 |
44 | 251 |
Two on Fauré | 255 |
46 | 264 |
47 | 271 |
48 | 277 |
Two on Poulenc | 279 |
50 | 285 |
51 | 292 |
Beware the pitfalls of sincerity | 294 |
Puzzled by Shostakovich | 297 |
Appalled by Schnittke | 300 |
Russian jamboree | 302 |
Stravinskys selfconcealment | 304 |
57 | 315 |
58 | 322 |
659 | 342 |
Expressive sources and resources in Janáčeks musical language | 344 |
61 | 358 |
But is it art? Gershwin in a classical context | 360 |
63 | 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 |
436 | |
عبارات ومصطلحات مألوفة
achievement actual aesthetic Amfortas artistic Bach bars bass basset horns beautiful become Beethoven Brahms Britten Bruckner Brünnhilde Capriccio character chords clarinet classical climax colour complete composer composer's compositional Concerto course culture Curlew River curse dance death Debussy Debussy's Elektra emotional everything expression Fauré feeling final genius genre Hagen harmony Haydn heard horns inspired intensity Janáček later leitmotivic listener Lulu Lulu's lyric Mahler master masterpiece material means melody motif movement Mozart never norm œuvre once opera orchestral Parsifal passion Peter Grimes Petrushka phrase piano pieces play polyphony Poulenc quartet Ravel realised remains Richard Strauss ring Salome scene scherzo Schoenberg Schubert score seems sense sheer Siegfried Siegfried's solo Sonata songs sonorous sound spirit Strauss Stravinsky strings style Symphony Tarnhelm Taruskin Tchaikovsky texture theme things tion touch Tovey Tovey's utterance violin voice Wagner Wagner tubas War Requiem whole words work's writing