10 Feb 2006
LEE: The Great Instrumental Works
This book is for any aficionado or lover of classical instrumental music.
An important new book on Italo Montemezzi sheds light on his opera Nave. The author/editor is David Chandler whose books on Alfredo Catalani have done so much to restore interest in the genre.
Assumptions about later Italian opera are dominated by Puccini, but Alfredo Catalani, born in the same town and almost at the same time, was highly regarded by their contemporaries. Two new books on Catalani could change our perceptions.
I was feeling cowed by Herr Engels. The four of us had retired from the Stravinsky performance to a Billy Wilder-themed bar in Berlin, the least horrible late-night option in the high end mediocrity of Potsdamer Platz.
This substantial book is one of the latest in the Ashgate series of collected essays in opera studies and draws together articles from a disparate group of scholarly journals and collected volumes, some recent, some now difficult to locate.
Vincent Giroud’s valuable new French Opera, a Short History, is in hand and very welcome it is.
The noted operatic impresario and stage director, Lotfi Mansouri, with the professional help of writer Donald Arthur, has issued his memoirs under the title Lotfi Mansouri: An Operatic Journey.
Originally published in German as Herrin des Hügels, das Leben der Cosima Wagner (Siedler, 2007), this new book by Oliver Hilmes is an engaging portrait of one of the most important women in music during the late nineteenth and early twentieth centuries.
Robert Stuart Thomson’s Italian language learning text, Operatic Italian, promises to become an invaluable textbook for aspiring operatic singers, voice teachers, coaches and conductors.
Ralph Locke’s recent book on Musical Exoticism is both an historical survey of aspects of the exotic in Western musical culture and a discussion of paradigms of the exotic and their relevance for musicological understanding.
Readers may recognize the author of this book, David J. Buch, a specialist on the origins of the libretto to Mozart’s Magic Flute.
Perhaps it will be enough to tell you that I wasn’t halfway through this book before I searched the web for a copy of Professor Ewans’s study of Wagner and Aeschylus’s Oresteia, and ordered it forthwith: It has to be good.
Chinese bass Hao Jiang Tian was 30, when he enrolled as an undergraduate at the University of Denver 1983.
Two excellent books on opera have come to hand, providing many hours of entertaining reading. I combine notice of them with a few thoughts about composer Paul Moravec’s CDs, and his forthcoming opera premiere at Santa Fe Opera in 2009.
Claudio Monteverdi. Il Ritorno d’Ulisse in patria. Edited by Rinaldo Alessandrini. Urtext. Kassel: Bärenreiter, 2007. BA 8791. A vocal score is available as 8791a.
Published in 2007, Riccardo primo, Re d’Inghilterra (HWV 23) and Tolomeo, Re d’Egitto (HWV 25) mark two of the latest installments of vocal-score editions of Handel’s operas based upon Bärenreiter’s Urtext editions.
It is a measure of the classic status that the music of Miles Davis has acquired in American culture that a single LP produced for Columbia in the 1960s (Miles Smiles) is the focus of a short monograph from Indiana University Press.
In 1786, Habsburg Emperor Joseph II commissioned a pair of short operas from two of the biggest names in Viennese musical theater: Salieri and Mozart.
This book is in German, which may make it of limited interest to people who are not sufficiently familiar with the language.
Birgit Nilsson probably never heard of “the Protestant work ethic,” but she didn’t need to know it.
Once upon a time, there was something known as early music. This was not so much a repertoire, a musico-historical epoch, as an attitude, a counter-cultural group.
This book is for any aficionado or lover of classical instrumental music.
Not only does the author, MET opera broadcaster M. Owen Lee, guide the reader through the lives and music of some of the greatest composers of the Baroque, Classical, Romantic, and modern eras, but recorded copies of some of the music discussed is included in two CDs in the back of the book. Lee begins by relating the various forms and genres of instrumental music since the late seventeenth century, with a focus on chamber music, the concerto, and the symphony. He then divides composers by nationality, beginning with Italians, the Germanic Canon, More Germans, Parisians, Masters of Opera, Slavs, Late Romantics, More Parisians, and the Twentieth Century. A glossary of terms, and complete listing of the contents of the CDs, is provided at the back of the book.
Lee takes the reader through approximately fifty different composers, provides a short biographical paragraph, then jumps immediately into a description of the musical pieces that he feels are important to provide some explanation about. Lee’s approach is geared towards a simple explanation and focus on the music itself, with very descriptive and subjective language related to his own feelings and understandings of the piece(s) in question. The two CDs contain sections of sixteen works, all from the mid-Baroque to the early twentieth century. In that respect, the music does not encompass the entire span of time or periods which the author discusses, especially the later twentieth century. In fact, Rachmaninoff is the only twentieth-century composer whose music is provided, yet he is really a late Romanticist in style. It would have been nice to have included more representative music related to the number of composers and pieces whose music is described in this book, but the constraints of copyright restrictions were probably the reason for this. Otherwise, it is a nice book for anyone wanting a general guidebook for choosing a general purpose CD collection in classical instrumental music.
Dr. Brad Eden
University of Nevada, Las Vegas