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Download Concerto Conversations: The Charles Eliot Norton Lectures 1997-98 (With a 68-minute CD) fb2, epub

by Joseph Kerman

Download Concerto Conversations: The Charles Eliot Norton Lectures 1997-98 (With a 68-minute CD) fb2, epub

ISBN: 0674006739
Author: Joseph Kerman
Language: English
Publisher: Harvard University Press (December 7, 2001)
Pages: 192
Category: Music
Subcategory: Art
Rating: 4.4
Votes: 932
Size Fb2: 1223 kb
Size ePub: 1297 kb
Size Djvu: 1680 kb
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The concerto has attracted relatively little attention as a genre, Joseph Kerman observes, and his urbane and . The CD of concerto movements that comes with this book is, of course, useless until you convert it to MP3 files.

The concerto has attracted relatively little attention as a genre, Joseph Kerman observes, and his urbane and wide-ranging Norton Lectures fill the gap in a way that will delight all music listeners. Kerman addresses the full range of the concerto repertory.

The concerto has attracted relatively little attention as a genre, Joseph Kerman observes . Series: Charles Eliot Norton Lectures (Book 1997). In typical fashion, Kerman begins not with a preface of introduction but with a chapter on beginnings. There is a general division of the dynamic between soloist and orchestra into the concepts of "reciprocity" versus "polarity," but the book is really more a collection of highly individual observations about specific concertos.

The Charles Eliot Norton Professorship of Poetry at Harvard University was . Concerto Conversations.

The Charles Eliot Norton Professorship of Poetry at Harvard University was established in 1925 as an annual lectureship in "poetry in the broadest sense" and named for the university's former professor of fine arts. Distinguished creative figures and scholars in the arts, including painting, architecture, and music deliver customarily six lectures.

Concerto Conversations book The concerto has attracted relatively little attention as a genre, Joseph Kerman observes, and his urbane and wide-ranging Norton Lectures fill.

Concerto Conversations book. Start by marking Concerto Conversations: With a 68-Minute CD as Want to Read: Want to Read savin. ant to Read. The concerto has attracted relatively little attention as a genre, Joseph Kerman observes, and his urbane and wide-ranging Norton Lectures fill the gap in a way that will delight all music listeners. Kerman addresses the full range of the concerto repertory, treating both the general and the particular.

Concerto Conversations: With a 68-minute CD (Charles Eliot Norton Lectures).

Series: Charles Eliot Norton Lectures (1997-1998). The concerto has attracted relatively little attention as a genre, Joseph Kerman observes, and his urbane and wide-ranging Norton Lectures fill the gap in a way that will delight all music listeners

Series: Charles Eliot Norton Lectures (1997-1998). Kerman addresses the full range of the concerto repertory, treating both the general and particular.

Concerto Conversations Joseph Kerman The concerto has attracted relatively . Charles Eliot Norton Lectures 7 x 91/4 47 musical examples, 10 halftones, 4 diagrams 192 pp. keywords.

Concerto Conversations Joseph Kerman The concerto has attracted relatively little attention as a genre, Joseph Kerman observes, and his urbane and wide-ranging Norton Lectures fill the gap in a way that will delight all music listeners. The CD packaged with the book contains movements from works that Kerman treats most intensively – by Bach, Mozart, Beethoven, Liszt, Tchaikovsky, Bartók, Stravinsky, and Prokofiev.

Charles Eliot Norton Lectures. Template:Distinguish2 The Charles Eliot Norton Professorship of Poetry at Harvard University was established in 1925 as an annual lectureship in "poetry in the broadest sense" and named for the university's former professor of fine arts. Many but not all of the Norton Lectures have subsequently been published by the Harvard University Press. The following table lists all the published lecture series, with academic year given and year of publication, together with unpublished lectures as are known. Titles under which the lectures were published are not necessarily titles under which they were given.

Great Courses The Concerto Guidebook AUDIO CD Lectures Teaching Company.

The Great Courses, The Concerto, Complete 24 CD Set & 3 Guide Books. Great Courses The Concerto Guidebook AUDIO CD Lectures Teaching Company.

Concerto Conversations: With a 68-minute CD (Charles Eliot Norton Lectures): ISBN 9780674158917 .

Concerto Conversations: With a 68-minute CD (Charles Eliot Norton Lectures): ISBN 9780674158917 (978-0-674-15891-7) Hardcover, Harvard University Press, 1999. E-Book for Listen 7e & 6-CD Set & Companion DVD. ISBN 9780312604059 (978-0-312-60405-9) Bedford/St. Find signed collectible books: 'E-Book for Listen 7e & 6-CD Set & Companion DVD'. Coauthors & Alternates.

The concerto has attracted relatively little attention as a genre, Joseph Kerman observes, and his urbane and wide-ranging Norton Lectures fill the gap in a way that will delight all music listeners. Kerman addresses the full range of the concerto repertory, treating both the general and the particular. His perceptive commentary on individual works--with illustrative performances on the accompanying CD--is alive with enthusiasm, intimations, and insights into the spirit of concerto.

Concertos model human relationships, according to Kerman, and his description of the conversation between solo instrument and orchestra brings this observation vividly to life. What does the solo instrument do when it first enters in a concerto? How do composers balance claims of solo-orchestra contrast and solo virtuosity? When do they deploy the sumptuous musical textures that only concertos can provide? Kerman's unexpected answers offer a new understanding of the concerto and a stimulus to enhanced listening.

In language that the Boston Globe's Richard Dyer calls "always delightfully vivid," Kerman conducts readers and listeners into the conversations that concertos so eloquently enact. Amid the musical forces at play, he renews the dialogue of music lovers with the language of the concerto--the familiar, the lesser-known, the cherished, and the undervalued. The CD packaged with the book contains movements from works that Kerman treats most intensively--by Bach, Mozart, Beethoven, Liszt, Tchaikovsky, Bartók, Stravinsky, and Prokofiev.

Comments:

Cobandis
Given the popularity of the concerto -- it isn't easy to attend a symphony concert that doesn't have one on the program -- you'd think there'd be a wider-ranging conversation in print about the musical relationships between soloist(s) and orchestra that doesn't just stop at all-purpose words like "dramatic." It's useful, though, to keep the metaphor of drama in mind as we listen, for as Joseph Kerman argues in these lectures, there's a good deal of roleplaying going on in concertos.

But first, in describing the kinds of duality we hear in them, Kerman suggests the terms "polarity," "reciprocity" and "diffusion." Polarity, in which orchestra and solo play different musical material without sharing it, is typical of the early 18th century; reciprocity, in which the concerto agents share musical material between them, is typical of the Classical and Romantic eras; and diffusion witnesses the integration of soloist and orchestra in much post-Romantic music.

Within these modes, Kerman anthropomorphises solo and orchestra into any number of roles the music suggests: "EAVESDROPPER, TEASE, SURVIVOR, VICTIM, MOURNER, MINX, LOVER, CRITIC, EDITOR..." It's fun, for example, to read of piano and orchestra in the third movement of Mozart's D minor concerto locked together like pitbulls, or to see Chaikovsky's (yes, Kerman spells it that way) violin concerto described as the quasi-narrative of a mistress whose servant, the orchestra, evolves into her critic and equal partner.

Speaking of critics, in particular those who seem embarrassed by virtuoso display, Kerman construes virtuosity to encompass bravura (chops), mimesis (mimicry, especially vocal), and spontaneity, and argues that in the absence of display, you don't have a concerto; you have a symphony with an obbligato solo part. Spontaneity (or the ability to make through-composed music sound spontaneous) is the essence of virtuosity. He praises the Liszt piano concertos ("a hard sell," he admits) and leaves us with the wonderful reminder that "listening to flawed virtuosity is like watching college football -- a site of empathy and rapture for fans and alumni, but noplace on the scale of aesthetic experience."

The CD of concerto movements that comes with this book is, of course, useless until you convert it to MP3 files. How else are you gonna cue up those musical examples when you're reading on the go?
Iaiastta
This is an exceptional book. Kerman mixes just the right amount of scholarship and anecdote to satisfy a reader who prefers either approach. His metaphor of concerto as part of an ongoing musical conversation, not just between orchestra and solo instrument but also from composer to composer and epoch to epoch, lets the reader become part of a tradition known almost exclusively to composers of concerti. By the end of this book, one has certainly cultivated something important with regards to music appreciation of concerti, be they nudge or virtuoso. I even found myself "rooting" for this musical form in the end, hoping that composers today keep the conversation alive--and before this book, I was indifferent to the whole tradition.

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