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"The Extremes of Music" Subtitle: Edward W. Said's Classical Music Criticism Author: [US] Edward W. Said Publisher: Guangxi Normal University Press Producer: Ideal Country
"The Extremes of Music" Subtitle: Edward W. Said's Classical Music Criticism Author: [US] Edward W. Said Publisher: Guangxi Normal University Press Producer: Ideal Country
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Description
Introduction · · · · · ·
From Gould, Pollini, Brendel, to Plea, Schiff, and Rupp; from Celibidache to Barenboim and Levine; from Bach, Mozart, and Beethoven to Wagner, Hindemith, and Boulez...
With his profound musical literacy, Said discusses many great composers, works, great performers and conductors, extracts the social, political and cultural context of music, explains the underestimated influence of music on society, and makes sharp criticisms of the current situation in the music industry:
Pavarotti minimized the intelligence of operatic performance and maximized the overpriced noise;
Horowitz became a state asset celebrated in the White House;
Levine’s conducting is almost like digging the music out of a grave, rather than giving it life and energy;
The Metropolitan Opera in New York is content to present only honestly mediocre second-rate productions;
The Salzburg Festival has ossified into a routine and a shameless tourist promotion scheme…
About the Author · · · · · ·
author:
Edward W. Said (1935-2003) is an American literary theorist and critic, and a professor of English literature and comparative literature at Columbia University. His articles and opinions have been frequently seen in major newspapers and magazines, and have a wide range of influence in the world today. He has written a music column for the National Ethnic Politics Magazine for many years. His representative works include: Orientalism, Culture and Imperialism, From Oslo to Iraq and the Road Map, Power, Politics, and Culture, Parallels and Paradoxes (co-authored with Daniel Barenboim), and On Late Style.
Translator:
Zhuang Jiasun, graduated from Shanghai Jiaotong University, holds a master's degree in foreign literary theory, and is a translator and writer. His translations include The Glenn Gould Reader (Glenn Gould), Why Mahler? (Norman Lebrecht), and Dear Alma (Gustav Mahler: Letters To His Wife, Mahler, co-translated with Cao Liqun). He has compiled Private Letters of Janacek (Leos Janacek). He has written Flowers on the Road: Homecoming and Journey.
Table of contents · · · · · ·
Preface/vii
Acknowledgements/xiii
Part I 1980s
Chapter 1 The Music Itself: Gould's Insights into Counterpoint/003
Chapter 2 Reminiscing about the performing years: The pianist’s artistic style and memory/018
Chapter 3 Majestic Music Festival/039
Chapter 4: Starting from Richard Strauss (Continued Talking about Music Festivals) /050
Chapter 5: "Valkyrie", "Aida" and "X" /062
Chapter 6 Music and Feminism/074
Chapter 7 The Master Who Charms Everyone (Comment on "Understanding Toscanini") /083
Chapter 8 Performer: Middle Age/090
Chapter 9 Vienna Philharmonic: Complete Works of Beethoven's Symphonies and Concertos/098
Chapter 10 The Barber of Seville and Don Juan / 107
Chapter 11 Gould at the Metropolitan Museum of Art / 117
Chapter 12: Giulio Caesar /124
Chapter 13: Bluebeard's Castle and Expectation /133
Chapter 14: The Ultimate Moment: Celibidache/141
Chapter 15 Peter Sellars's Mozart / 149
Chapter 16 Schiff at Carnegie / 155
Part II 1990s
Chapter 17 Richard Strauss / 165
Chapter 18 Wagner and the Met’s Ring /177
Chapter 19: Talking about Opera Production/193
Chapter 20 Style and No Style/206
Chapter 21 Brundle: Lewen/217
Chapter 22: "The Dead City", "Fidelio" and "The Death of Klinghoffer" /222
Chapter 23 Uncertainty of Style/237
Chapter 24 Looking Back at Music/252
Chapter 25 Bard Music Festival/265
Chapter 26 On the Importance of "Disloyalty to Wagner" / 281
Chapter 27: The Attitude of Music (On Solti) /297
Chapter 28: The Trojans /308
Chapter 29: Child's Play/320
Chapter 30: Thirty-two short stories about Gould
Chapter 31 Bach’s Genius, Schumann’s Eccentricity, Chopin’s Ruthlessness, and Rosen’s Talent/335
Chapter 32 Why Listen to Boulez? /348
Chapter 33 Hindemith and Mozart/358
Chapter 34: Comments on Tanner's New Book Wagner /366
Chapter 35: The Man in the Chair/371
Chapter 36: On Fidelio /386
Chapter 37 Music and Scenes/408
Chapter 38 Comments on Gottfried Wagner's "My Autobiography" /416
Chapter 39 Bach for the masses/421
Part III: After 2000
Chapter 40 Barenboim (Cross-Cultural Connections) /433
Chapter 41 Gould, the Master of the Art as an Intellectual / 443
Chapter 42: Anti-Universe/464
Chapter 43 Barenboim and the "Wagner Taboo" /483
Chapter 44: Untimely Meditation/497
Appendix Bach/Beethoven/510
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