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Charles Rosen (1) (1927–2012)

Forfatter af The Classical Style: Haydn, Mozart, Beethoven

For andre forfattere med navnet Charles Rosen, se skeln forfatterne siden.

22+ Works 1,929 Members 13 Reviews 3 Favorited

Om forfatteren

Charles Rosen is an internationally respected pianist. A pupil of Moriz Rosenthal, he has performed and recorded a wide repertoire from Bach to Pierre Boulez. (Bowker Author Biography)
Image credit: Courtesy of Indiana University

Værker af Charles Rosen

The Romantic Generation (1995) 288 eksemplarer
Sonata Forms (1980) 175 eksemplarer
Schoenberg (1975) 119 eksemplarer
Music and Sentiment (2010) 51 eksemplarer

Associated Works

Memoirs of Lorenzo da Ponte (1959) — Forord, nogle udgaver189 eksemplarer
The Cambridge Companion to Schubert (1997) — Bidragyder — 32 eksemplarer

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For the book to be interesting, the reader must have a deep knowledge of the subjects being discussed as well as exposure to classic plays, art, operas, literature and music. Although I love classical music and listen to it almost exclusively my knowledge of the details does not go that deep. Not for general readers.
bumblesby | Feb 7, 2024 |
This is one of those books that stretched me. Much of it was beyond me, but what I understood informed me and made me a better listener. Both aspects made it a slow read. In addition, I often stopped to listen to the pieces that Rosen analyzed. Some were familiar, others I can’t recall having previously heard.
My big takeaway is that what I learned about the sonata form in music appreciation and what I still hear repeated in commentaries during the breaks in concert broadcasts is wrong. The sonata was not a set of rules. Rosen writes: “There are no fixed ‘rules,’ although there are successful patterns imitated and even aped, and unconscious habits.” Or, as he also puts it, “the sonata form could not be defined until it was dead.”
Rosen lays out the origins of the classical style in the increasingly strong polarity of tonic and dominant. Other steps in the chromatic scale could increase or relax tension, depending on their similarity or difference from the two poles. Skillful employment of this could satisfy the need for dramatic events balanced by proportion. The language employed by Haydn, Mozart, and Beethoven was not a definite form but a way of writing, a feeling for proportion, direction, and texture rather than pattern.
There are many good insights into performance practice. Rosen’s reaction to “authentic” performance is reticent: “A performance is not an archaeological dig.”
From start to finish, this reader felt he was in the hands of a gifted teacher who knew and understood the pieces he discussed, as well as what came before and after in music history. He also situates his discussion in the broader context of movements in the arts and literature of the time.
One thing only holds me back from awarding the fifth star: I like to reserve that for books that are so good that everyone should read them. However, because of the necessary time investment, this excellent book might not be for everyone.
… (mere)
HenrySt123 | 4 andre anmeldelser | Jan 26, 2024 |
The importance of Schoenberg's compositions for the music of the future is highlighted in this short introduction to both his life and music. The "second Viennese School" and the revolutionary serialism originating there are just some of the areas covered in this fine volume.
jwhenderson | Dec 7, 2022 |
Charles Rosen's expertise in the realm of classical music is on display in this brilliant analysis of the great cycle of piano sonatas by Beethoven. One of the gods of the piano and classical music in general, Beethoven's genius is brought to the fore by the inimitable style of Charles Rosen.
jwhenderson | 1 anden anmeldelse | May 19, 2021 |



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