Conductors And Composers Of Popular Orchestral Music
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Conductors and Composers of Popular Orchestral Music by Naomi Musiker,Reuben Musiker Pdf
World-wide in scope and focusing on the second half of the 20th century, this work provides biographies and discographies of some 500 composers and conductors of light and popular orchestral music, including film, show, theatre and mood music. The book is arranged in two sequences: 1) Biographies and select discographies, both arranged alphabetically, of the well-known and better-known conductors and composers. These entries also include a list of suggested reading for those wishing to further their studies; and 2) Select discographies of conductors about whom little or no biographical information is available. The bibliography at the end of the book covers discographical sources, popular music and film music. This is the first time that the lives and recordings of such artists as Kostelanetz, Faith, and Gould as well as the orchestral recordings of such great popular composers as Gershwin, Kern, Porter, Rodgers, Berlin and Coward have been documented and presented in an encyclopedic form.
The Orchestral Conductor: Theory of His Art by Hector Berlioz Pdf
The following book is a unique look into what conducting an orchestra is like from the perspective of a composer and conductor of the French Romantic era, Hector Berlioz. Though he only met occasional success in France as a composer, Berlioz was highly regarded in Germany, Britain, and Russia both as a composer and as a conductor.
"'He is of commanding presence, infinite dignity, fabulous memory, vast experience, high temperament and serene wisdom. He has been tempered in the crucible but he is still molten and he glows with a fierce inner light. He is many things: musician, administrator, executive, minister, psychologist, technician, philosopher and dispenser of wrath. Like many great men, he has come from humble stock; and, like many great men in the public eye, he is instinctively an actor. As such, he is an egoist. He has to be. Without infinite belief in himself and his capabilities, he is as nothing. Above all, he is a leader of men. His subjects look to him for guidance. He is at once a father image, the great provider, the fount of inspiration, the Teacher who knows all ... . He has but to stretch out his hand and he is obeyed. He tolerates no opposition. His will, his word, his very glance, are law.' With this pyrotechnical description of the genus, Harold Schonberg begins his historical survey of the Great Conductors and their art. For the great conductor--from the time-beater of the thirteenth century to the maestro of today--is always the inspired leader who can impose his authority on the musicians who make up his orchestra. Thus it was with Bach, whom Schonberg pictures leading his forces seated at the clavier or with violin at his shoulder, and singing any part that was being wrongly performed. Thus it was with Handel, who threatened to throw a prima donna out of the window if she would not sing the notes as written. Thus it was even with Beethoven, because of his deafness a tragically bad conductor, who nevertheless tried to impose his will on the performers by practically creeping under the desk for pianissimo and jumping high with outstretched arms for the opposite. Before us through the pages of this book march the great conductors of the past and of the present. Schonberg evokes Lully, who beat time on the floor with a cane--so powerfully that he drove it into his foot on one occasion and died of the resulting gangrene. We meet Berlioz, 'in constant motion on the podium, exuding electricity ... who held absolute sway over his troops and played on them as a pianist upon the keyboard,' and Mendelssohn, the gentle, well-mannered aristocrat who ripped up scores and screamed at musicians who showed up drunk and fractious. And so through all the important composer-conductors--Wagner, Liszt, Mahler, Strauss. Then the moderns: the elemental Arturo Toscanini, the loving Bruno Walter, the witty and acrimonious Thomas Beecham--on and on to the youngest to earn a chapter to himself, the phenomenal Leonard Bernstein. With biography, anecdote, vivid description, and more than a hundred well-chosen prints and photographs, Mr. Schonberg gives a striking picture of each of these men, and dozens of others, showing just how and why they influenced the performance of classical music and how they developed a new and modern art--the art of conducting."--Dust jacket.
A History of Orchestral Conducting by Elliott W. Galkin Pdf
Although the bibliography of literature about personalities in the conducting world is extensive, a comprehensive, scholarly study of the history of conducting has been sorely lacking. Georg Schünemann's respected study, published in 1913, was brief and restricted to the procedures of time-beating. No work has attempted to examine the role of the orchestral conductor and to document the evolution of his art from historical, technical, and aesthetic perspectives. Dr. Elliott W. Galkin, musicologist, conductor, and critic-twice winner of the Deems Taylor award for distinguished writing about music-has produced such a work in A History of Orchestral Conducting. The central historical section of the book, which examines chronologically the theories and functions of time-beating and interpretative concepts of performance, is preceded by discussions of rhythm, development of the orchestral medium, and the evolving characteristics of orchestration. Conductors of unusual pivotal influence are examined in depth, as is the increasingly complex psychology of the podium. Critical writings since the time of Monteverdi and the birth of the orchestra are surveyed and compared. Analyses of conducting as an art and craft by musicians from Berlioz to Bernstein and commentators from Mattheson, Bernard Shaw, and Thomas Mann to Jacques Barzun, are described and discussed. A fascinating collection of engravings, wood cuts, photographs and caricatures contributes to the richness of this work.
With a lifetime of experience, profound knowledge and understanding, and heartwarming appreciation, an internationally celebrated conductor and teacher answers the questions: Why should I listen to classical music? How can I get the most from the listening experience? A protégé of Leonard Bernstein--his colleague for eighteen years--and an eminent conductor who has toured and recorded all over the world, John Mauceri helps us to reap the joys and pleasures classical music has to offer. Briefly, we learn the way a musical tradition born in ancient Greece, embraced by the Roman Empire, and subsequently nurtured by influences from across the globe, gave shape to the classical music that came to be embraced by cultures from Japan to Bolivia. Then Mauceri examines the music itself, helping us understand what it is we hear when we listen to classical music: how, by a kind of sonic metaphor, it expresses the deepest recesses of human feeling and emotion; how each piece bears the traces of its history; how the concert experience--a unique one each and every time--allows us to discover music anew. Unpretentious, graceful, instructive, this is a book for the aficionado, the novice, and anyone looking to have the love of music fired within them.
Author : Norman Del Mar Publisher : Univ of California Press Page : 532 pages File Size : 42,6 Mb Release : 1983-12-28 Category : Music ISBN : 0520050622
Before his death in 1994, Norman Del Mar was acknowledged as one of the world's foremost authorities on the orchestra. Anatomy of the Orchestra is written not only for fellow conductors, players, students, and professional musicians, but also for everyone interested in the performance of orchestral music.
An Orchestra Conductor's Guide to Repertoire and Programming by Richard Eldon Yaklich Pdf
This book can be used as a guide for professional conductors, school directors, music libraries and reference libraries. The study details where to find recommendations for repertoire to programme for various types of ensembles, and also to aid in programming. It also contains an annotated bibliography which critiques the numerous books available on orchestra repertoire, major music publishers and lists sample programmes from many orchestras around the United States.
Careers in Classical Music by Institute for Career Research Pdf
YOU WANT TO MAKE BEAUTIFUL MUSIC- classical pieces from the masters like Bach, Chopin, Mozart, Verdi, and Beethoven. What better way than to be a trumpet player for the New York Philharmonic, a violinist for the Boston Pops, a flutist for the Chicago Symphony, or to perform with any of the 1,200 symphony orchestras throughout the United States? A career in classical music does not limit you to just playing a musical instrument. If you have what it takes, you can sing, conduct, or compose your own scores. You must have a love of classical music, a real passion for it, and of course, you must have talent. If you are thinking about a professional career in classical music, you have probably devoted a good part of your early life to playing an instrument, training your voice, and studying the basics. You have put countless hours into practicing your art and you know many more hours of work lie ahead before you rank with the best. Each time you play, sing, or conduct presents you with an opportunity to be better than the last time you were onstage, to perfect what you do There are others in the field you admire and emulate, but for the most part it is a competition within yourself to reach new heights you never thought possible. Understanding the music and interpreting it for the audience form the challenge of being successful in this field. You will work in front of a very astute audience, people who know what they are hearing. The applause you get is hard-earned, the appreciation genuine, and the performance cherished.
A Conductor's Guide to Choral-Orchestral Works by Jonathan D. Green Pdf
Surveys large choral-orchestral works written between 1900 and 1972 that contain some English text. Green examines eighty-nine works by forty-nine composers, from Elgar's Dream of Gerontius to Bernstein's Mass.
This collection of twenty-three articles traces the development of the orchestra from its antecedents in the late fifteenth century to its current status as the repository of Western symphonic music. The chronologically organized essays discuss not only the physical and financial history of the orchestra (with chapters on the development of stringed, woodwind and bass instruments, and the public reception of them), but the theories behind the music, the purpose and roles of conductors, orchestra's unavoidable nexus with ballet and opera, and, more recently, the effect of modern-day recordings on this traditionally live performance. Originally published by Charles Scribner's Sons in 1986. Annotation copyrighted by Book News Inc., Portland, OR