Addressing the work of a variety of composers, musicians, and performers, Said carefully draws out music's social, political, and cultural contexts and, as a classically trained pianist, provides rich and often surprising assessments of classical music and opera. Maybe we're in a quiescent Gould period now; these pieces Said wrote in the 1980s and 90s, in the years following Gould's death, when he entered the popular culture through books and films. So one may justifiably look forward to reading Said's almost four hundred-page writings, taken mainly from The Nation, where he was the music critic from 1986 on, but also from the New York Times Book Review, Vanity Fair, Harper's and The Observer. The people who have the most insightful things to say about music are, perhaps unsurprisingly, often professional musicians. Daniel Barenboim Bonding Across Cultural Boundaries 41. He repeatedly lauds his rather predictable list of favourite pianists and composers Gould, Pollini; Bach, Beethoven, Wagner and is pretty vicious about his bugbears Rossini, a composer of 'metamusic', and Bartók -- 'half tacky, half schmaltzy'. There is an unnecessary glut of essays on Glenn Gould and brief analyses of Fidelio, full of repeated arguments.
Readers' comments can be found by Google and other search engines. Always eloquent and often surprising, Music at the Limits reinforces Said's reputation as one of the most influential writers of the twentieth century. Edward Said died in September 2003. Addressing the work of a variety of composers, musicians, and performers, Said carefully draws out musics social, political, and cultural contexts and, as a classically trained pianist, provides rich and often surprising assessments of classical music and opera. If so learned and au courant a scholar as Deathridge is daunted by trying to make sense of Wagner research and interpretation, what about the rest of us? Remembrances of Things Played: Presence and Memory in the Pianist's Art3. Richard Strauss ; Wagner and the Met's Ring ; Opera productions Der Rosenkavalier, House of the dead, Doctor Faust ; Style and stylessness Elektra, Semiramide, Katya Kabanova ; Alfred Brendel : words for music review of Alfred Brendel's Music sounded out: essays, lectures, interviews, afterthoughts ; Die tote Stadt, Fidelio, The death of Klinghoffer ; Uncertainties of style The ghosts of Versailles, Die Soldaten ; Musical retrospection ; The bard festival ; The importance of being unfaithful to Wagner ; Music as gesture on Solti ; Les troyens ; Child's play review of Maynard Solomon's Mozart: a life ; 32 short films about Glenn Gould ; Bach's genius, Schumann's eccentricity, Chopin's ruthlessness, Rosen's gift review of Charles Rosen's The romantic generation ; Why listen to Boulez? Cosmic Ambition review of Christoph Wolff's Johann Sebastian Bach: The Learned Musician 43. To give a little hint of the grip exercised by Gould's music making: Glenn Gould met Cornelia Foss, the love of his life, because, her husband Lucas was entranced by the accidental hearing Gould's recording of the Goldberg Variations on a car radio.
This is a collection of writings on music by the late Palestinian-American cultural critic, perhaps best known for his critique of 'orientalism', the consensus western view of the Middle East. Die Tote Stadt, Fidelio, The Death of Klinghoffer23. Said's essays and articles on music. Said faults the Metropolitan Opera in New York for being too conservative and laments the way in which opera superstars like Pavarotti have 'reduced opera performance to a minimum of intelligence and a maximum of overproduced noise. So utterly pointless does the whole exercise seem, so without thought or even care, so without statement or plan is his playing. I have thought this, perhaps unfairly of Vladimir Horowitz and Rudolf Serkin.
However, Said's historical and aesthetic judgement is unfortunately not as precise as it ought to be. For a music critic addressing a purely urban American readership, it is also astounding that he refrains entirely from discussing genuinely American music: Charles Ives, Samuel Barber, Virgil Thomson and Elliott Carter remain marginal figures, as do Copland and Bernstein. He saw music as a reflection of his ideas on literature and history and paid close attention to its composition and creative possibilities. Comments submitted by readers using fantasy names or intentionally false names will not be published. But woe betide Pollini if he dares to leave the well-trodden path years later, having made changes to his repertory and performance style. Alfred Brendel: Words for Music review of Alfred Brendel's Music Sounded Out: Essays, Lectures, Interviews, Afterthoughts 22. Given my obsession with Glenn Gould, it was unnerving to discover that Said was even more obsessed.
He also reflects on the censorship of Wagner in Israel; the worrisome trend of proliferating music festivals; an opera based on the life of Malcolm X; the relationship between music and feminism; the pianist Glenn Gould; and the works of Mozart, Bach, Richard Strauss, and others. Columbia University Press Edward W. Said's use of jargon is overly chummy and thus incompatible with precise musical descriptions, soon becoming irritating through its frequency. A decent tightening up, abbreviation and critical inspection would have done the collection good. We regularly check this is a fully automatic process the availability of servers, the links to which we offer you.
As music essays, they are not. Always eloquent and often surprising, Music at the Limits reinforces Said's reputation as one of the most influential writers of the twentieth century. For not only was Wagner both contemptuous of history in general and constant re-maker of his own history, but the enormous range of materials that have survived him including, of course, his 15 operas has made almost any relatively straightforward approach to him impossible. While the focus of the work is highly attuned to piano and operatic works, his erudition and genuine passion for the repertoire was refreshing and insightful. Said was one' Daily Telegraph 'The sheer eloquence of Said's writings reminds us that with his untimely death we have lost one of our most distinguished music critics. Music at the Limits brings together three decades of Edward W. The Music Itself: Glenn Gould? While the focus of the work is highly attuned to piano and operatic works, his erudition and genuine passion for the repertoire was refreshing and insightful.
I really don't care about all the peripheral stuff; I'm only interested in the music he makes, and the interpretations he decides on. As spontaneously written brief characterisations under the immediate impression of the concert itself, these pieces may perhaps be just about acceptable. Addressing the work of a variety of composers, musicians, and performers, Said carefully draws out music's social, political, and cultural contexts and, as a classically trained pianist, provides rich and often surprising assessments of classical music and opera. And the mantra-like demonisation of the New York Met soon becomes tiresome. It was, nevertheless, as insightful as a self-professed amateur pianist could be. Besides being an academic, Said also was an accomplished pianist, and, with Barenboim, co-authored the book Parallels and Paradoxes: Explorations in Music and Society 2002 , a compilation of their conversations about music. Columbia University Pressby contemporary composers.
The Vienna Philharmonic: The Complete Beethoven Symphonies and Concertos10. Edward Said died in September 2003. German readers can probably do without tedious summaries of Wagner's Ring, to give another example. Of the several pieces on Gould here, one is on Gould the intellectual, relating him to Adorno. Uncertainties of Style The Ghosts of Versailles, Die Soldaten 24.
Ned Rorem is not mentioned at all and Paul Bowles appears only in a list, albeit misspelled. I think the worst one I saw was essential spelled essennal. Addressing the work of a wide variety of composers and performers, Said analyses music's social and political contexts, and provides rich and often surprising assessments. Addressing the work of a wide variety of composers and performers, Said analyses music's social and political contexts, and provides rich and often surprising assessments. The review of the book in the Economist was favorable, so I trotted off to buy the book. Said wrote his incisive critiques as both an insider and an authority.
The music itself : Glenn Gould's contrapuntal vision ; Remembrance of things played : presence and memory in the pianist's art ; Pomp and circumstance on musical festivals ; On Richard Strauss ; Die Walküre, Aida, X ; Music and feminism ; Maestro for the masses review of Understanding Toscanini ; Middle age and performers ; The Vienna Philharmonic : the complete Beethoven symphonies and concertos ; The Barber of Seville, Don Giovanni ; Glenn Gould at the Metropolitan Museum ; Giulio Cesare ; Bluebeard's Castle, Erwartung ; Extreme occasions on Celibidache ; Peter Sellars's Mozart ; András Schiff at Carnegie Hall -- pt. Most of the contributions on set design of musical styles those of singers as well as conductors are fascinating as a compendium of scholarly uncertainties allied with confident, sometimes overbearing brashness. Third-party sites are multimedia services that allow you to read and download e-books. In 1999, with his friend Daniel Barenboim, Said co-founded the West—Eastern Divan Orchestra, based in Seville, which comprises young Israeli, Palestinian, and Arab musicians. Eloquent and surprising, Music at the Limits preserves an important dimension of Saids brilliant intellectual work and cements his reputation as one of the most influential and groundbreaking scholars of the twentieth century. Music at the Limits offers both a fresh perspective on canonical pieces and a celebration of neglected works by contemporary composers.