New Releases by Charles Rosen

Brilliant, practical, and humorous conversations with one of the twentieth-century’s greatest musicologists on art, culture, and the physical pain of playing a difficult passage until one attains its rewards. Throughout his life, Charles Rosen combined formidable intelligence with immense skill as a concert pianist. He began studying at Juilliard at age seven and went on to inspire a generation of scholars to combine history, aesthetics, and score analysis in what became known as “new musicology.” The Joy of Playing, the Joy of Thinking presents a master class for music lovers. In interviews originally conducted and published in French, Rosen’s friend Catherine Temerson asks carefully crafted questions to elicit his insights on the evolution of music—not to mention painting, theater, science, and modernism. Rosen touches on the usefulness of aesthetic reflection, the pleasure of overcoming stage fright, and the drama of conquering a technically difficult passage. He tells vivid stories about composers from Chopin and Wagner to Stravinsky and Elliott Carter. In Temerson’s questions and Rosen’s responses arise conundrums both practical and metaphysical. Is it possible to understand a work without analyzing it? Does music exist if it isn’t played? Throughout, Rosen returns to the theme of sensuality, arguing that if one does not possess a physical craving to play an instrument, then one should choose another pursuit. Rosen takes readers to the heart of the musical matter. “Music is a way of instructing the soul, making it more sensitive,” he says, “but it is useful only insofar as it is pleasurable. This pleasure is manifest to anyone who experiences music as an inexorable need of body and mind.”

The 1980s were arguably the NBA's best decade, giving rise to Magic Johnson, Larry Bird, and Michael Jordan. They were among the game's greatest players who brought pro basketball out of its 1970s funk and made it faster, more fluid, and more exciting. Off the court the game was changing rapidly too, with the draft lottery, shoe commercials, and a style driven largely by excess. One player who personified the eighties excess is Micheal Ray Richardson. During his eight-year career in the NBA (1978-86), he was a four-time All-Star, twice named to the All-Defense team, and the first player to lead the league in both assists and steals. He was also a heavy cocaine user who went on days-long binges but continued to be signed by teams that hoped he'd get straight. Eventually he was the first and only player to be permanently disqualified from the NBA for repeat drug use. Tracking the rise, fall, and eventual redemption of Richardson throughout his playing days and subsequent coaching career, Charley Rosen describes the life‑defining pitfalls Richardson and other players faced and considers key themes such as off‑court and on‑court racism, anti-Semitism, womanizing, allegations of point‑shaving within the league, and drug and alcohol abuse by star players. By constructing his various lines of narration around the polarizing figure of Richardson--equal parts basketball savant, drug addict, and pariah--Rosen illuminates some of the more unseemly aspects of the NBA during this period, going behind the scenes to provide an account of what the league's darker side was like during its celebrated golden age.

A few years after its invention by James Naismith, basketball became the primary sport in the crowded streets of the Jewish neighborhood on New York's Lower East Side. Participating in the new game was a quick and enjoyable way to become Americanized. Jews not only dominated the sport for the next fifty‑plus years but were also instrumental in modernizing the game. Barney Sedran was considered the best player in the country at the City College of New York from 1909 to 1911. In 1927 Abe Saperstein took over management of the Harlem Globetrotters, playing a key role in popularizing and integrating the game. Later he helped found the American Basketball Association and introduced the three-point shot. More recently, Nancy Lieberman played in a men's pro summer league and became the first woman to coach a men's pro team, and Larry Brown became the only coach to win both NCAA and the NBA championships. While the influence of Jewish players, referees, coaches, and administrators has gradually diminished since the mid‑1950s, the current basketball scene features numerous Jews in important positions. Through interviews and lively anecdotes from franchise owners, coaches, players, and referees, The Chosen Game explores the contribution of Jews to the evolution of present-day pro basketball.

Is there a moment in history when a work receives its ideal interpretation? Or is negotiation always required to preserve the past and accommodate the present? The freedom of interpretation, Charles Rosen suggests in these sparkling explorations of music and literature, exists in a delicate balance with fidelity to the identity of the original work. Rosen cautions us to avoid doctrinaire extremes when approaching art of the past. To understand Shakespeare only as an Elizabethan or Jacobean theatergoer would understand him, or to modernize his plays with no sense of what they bring from his age, deforms the work, making it less ambiguous and inherently less interesting. For a work to remain alive, it must change character over time while preserving a valid witness to its earliest state. When twentieth-century scholars transformed Mozart’s bland, idealized nineteenth-century image into that of a modern revolutionary expressionist, they paradoxically restored the reputation he had among his eighteenth-century contemporaries. Mozart became once again a complex innovator, challenging to perform and to understand. Drawing on a variety of critical methods, Rosen maintains that listening or reading with intensity—for pleasure—is the one activity indispensable for full appreciation. It allows us to experience multiple possibilities in literature and music, and to avoid recognizing only the revolutionary elements of artistic production. By reviving the sense that works of art have intrinsic merits that bring pleasure, we justify their continuing existence.

Through a range of musical examples, Rosen details the array of stylistic devices and techniques used to represent or convey sentiment. This is not, however, a listener's guide to any c̀orrect' response to a particular piece. Instead, Rosen provides the tools and terms with which to appreciate this central aspect of musical aesthetics, and indeed explores the phenomenon of contradictory sentiments embodied in a single motif or melody.

How does a work of music stir the senses, creating feelings of joy, sadness, elation, or nostalgia? Though sentiment and emotion play a vital role in the composition, performance, and appreciation of music, rarely have these elements been fully observed. In this succinct and penetrating book, Charles Rosen draws upon more than a half century as a performer and critic to reveal how composers from Bach to Berg have used sound to represent and communicate emotion in mystifyingly beautiful ways.Through a range of musical examples, Rosen details the array of stylistic devices and techniques used to represent or convey sentiment. This is not, however, a listener’s guide to any “correct” response to a particular piece. Instead, Rosen provides the tools and terms with which to appreciate this central aspect of musical aesthetics, and indeed explores the phenomenon of contradictory sentiments embodied in a single motif or melody. Taking examples from Chopin, Schumann, Wagner, and Liszt, he traces the use of radically changing intensities in the Romantic works of the nineteenth century and devotes an entire chapter to the key of C minor. He identifies a “unity of sentiment” in Baroque music and goes on to contrast it with the “obsessive sentiments” of later composers including Puccini, Strauss, and Stravinsky. A profound and moving work, Music and Sentiment is an invitation to a greater appreciation of the crafts of composition and performance.

Language has frequently been at the center of discussions about Holocaust writing. Yet English, a primary language of neither the persecutors nor the victims, has generally been viewed as marginal to the events of the Holocaust. Alan Rosen argues that this marginal status profoundly affects writing on the Holocaust in English and fundamentally shapes our understanding of the events. Sounds of Defiance chronicles the evolving status of English in writing about the Holocaust, from the period of the Second World War to the 1990s. ø Each chapter highlights a representative work from a different genre?psychology, sociology, memoir, tales, fiction, and film?and examines the special position of English with regard to the Holocaust, supported by references to the role of other languages, including Hebrew, Yiddish, and German. This original approach provides a new perspective on such standard works as Eichmann in Jerusalem, The Shawl, and Maus, while drawing attention to others largely unknown. Rosen also links this analysis of English writing to developments in the postwar period: the escalating production of writing on the Holocaust in English; the increasing prestige of English as a global language; and paradoxically, within the contexts of neocolonial and multilingual studies, the increasingly uncertain position of English.

Las sonatas para piano de Beethoven constituyen una de las colecciones de obras más importantes de la historia de la música. Compuestas a lo largo de varias décadas de la vida del artista, no tardaron en ser consideradas el primer corpus de música importante para piano adecuada para ser interpretada en grandes salas de conciertos. En esta guía práctica tanto para el intérprete como para el oyente, Rosen comienza situando las sonatas en su contexto y explica los principios formales de su interpretación, incluidos aspectos como la forma sonata, el fraseo y el tempo, el uso del pedal y los trinos, para, a continuación, analizar las sonatas individualmente. El CD que acompaña al libro, con interpretaciones del propio Rosen, va ejemplificando lo expuesto en el libro.

Poucas pessoas se igualam ao refinamento e discernimento de Charles Rosen, seja como pianista, estudioso de música ou crítico. Neste livro ele faz uma habilidosa crítica do período romântico por meio de alguns de seus principais ensaios, passeando pelo romance, poesia, conto, pintura e música. Ao fazer uma comparação sagaz ou uma justaposição surpreendente, Rosen nos abre novas perspectivas, sem jamais banalizar as questões, mas também sem escorregar para o hermetismo. \r\n

In this comprehensive and authoritative guide, Rosen places Beethoven's sonatas in context and provides an understanding of the formal principles involved in interpreting and performing this unique repertoire. Includes a CD of the author performing extracts from several of the works.

This collection of essays by gifted musician and writer Rosen covers a broad range of musical forms, historical periods, and issues. They court controversy and offer enlightenment on subjects as diverse as music dictionaries and the aesthetics of stage fright.

Dans ce livre devenu un classique, Charles Rosen, pianiste américain de renommée internationale et de culture européenne, s'est proposé de repenser entièrement la notion controversée de style musical classique, qui naît avec Haydn et Mozart vers 1775 et s'achève pour lui avec Beethoven ; et il en analyse toutes les caractéristiques musicales et culturelles. A partir d'un examen détaillé des symphonies et quatuors à cordes de Haydn, des concertos, quintettes et opéras de Mozart, enfin des sonates pour piano de Beethoven, il montre qu'une même tension dramatique est au cour de toutes ces oeuvres et en vient à définir le style classique comme «la résolution symétrique de forces opposées». Une grande sensibilité aux hommes double l'analyse formelle. En Haydn se mêlent l'innocence pastorale, l'humour, la lucidité et une joyeuse énergie ; tandis que Mozart nous apparaît dans cette séduction qui relie subversivement la pensée révolutionnaire et l'érotisme.

“A magnum opus.”—George Steiner, New Yorker “Grippingly, even excitingly, readable.”—Edward Said, London Review of Books What Charles Rosen’s National Book Award–winning The Classical Style did for the music of the Classical period, this volume brilliantly does for the Romantic Era. An exhilarating exploration of the musical language, forms, and styles of the Romantic period, it captures the spirit that enlivened a generation of composers and musicians, and in doing so it conveys the very sense of Romantic music. In readings uniquely informed by his performing experience, Rosen offers consistently acute and thoroughly engaging analyses of works by Schubert, Schumann, Mendelssohn, Bellini, Liszt, and Berlioz, and he presents a new view of Chopin as a master of polyphony and large-scale form. He adeptly integrates his observations on the music with reflections on the art, literature, drama, and philosophy of the time, and thus shows us the major figures of Romantic music within their intellectual and cultural context. Rosen covers a remarkably broad range of music history and considers the importance to nineteenth-century music of other cultural developments: the art of landscape, a changed approach to the sacred, the literary fragment as a Romantic art form. He sheds new light on the musical sensibilities of each composer, studies the important genres from nocturnes and songs to symphonies and operas, explains musical principles such as the relation between a musical idea and its realization in sound and the interplay between music and text, and traces the origins of musical ideas prevalent in the Romantic period. Rich with striking descriptions and telling analogies, Rosen's overview of Romantic music is an accomplishment without parallel in the literature, a consummate performance by a master pianist and music historian.

In this lucid, revealing book, award-winning pianist and scholar Charles Rosen sheds light on the elusive music of Arnold Schoenberg and his challenge to conventional musical forms. Rosen argues that Schoenberg's music, with its atonality and dissonance, possesses a rare balance of form and emotion, making it, according to Rosen, "the most expressive music ever written." Concise and accessible, this book will appeal to fans, non-fans, and scholars of Schoenberg, and to those who have yet to be introduced to the works of one of the greatest composers of the twentieth century. "Arnold Schoenberg is one of the most brilliant monographs ever to be published on any composer, let alone the most difficult master of the present age. . . . Indispensable to anyone seeking to understand the crucial musical ideas of the first three decades."—Robert Craft, New York Review of Books "What Mr. Rosen does far better than one could reasonably expect in so concise a book is not only elucidate Schoenberg's composing techniques and artistic philosophy but to place them in history."—Donal Henahan, New York Times Book Review "For the novice and the knowledgeable, Mr. Rosen's book is very important reading, either as an introduction to the master or as a stimulus to rethinking our opinions of him. Mr. Rosen's accomplishment is enviable."—Joel Sachs, Musical Quarterly

Charles Rosen describe el lenguaje caracteristico del estilo clasico y articula el libro en torno a la evolucion de generos diferentes para cada compositor: el concierto, el quinteto de cuerda y la opera comica en el caso de Mozart; y la sinfonia, el cuarteto de cuerda, la musica de camara con piano y la misa y el oratorio en el caso de Haydn, mientras que las relaciones entre ellos y Beethoven se estudian a partir de la sonata para piano.

"Quiconque s'empare d'un livre sur la forme sonate pense probablement en connaître le sujet. Depuis que la forme sonate a été définie par des théoriciens du XIXe siècle sur les bases des pratiques en cours à la fin du XVIIIe siècle, elle constitue la forme musicale la plus prestigieuse. ( ... ) J'imagine que " les mélomanes " aimeraient qu'un livre sur la forme sonate leur révèle ce qu'elle était vraiment et quelle a été son histoire - son origine, son développement, son destin. ( ... ) Ces questions supposent que l'on puisse définir la forme sonate comme un reflet précis des œuvres de l'ensemble du XVIIIe siècle, alors qu'il semble difficile de définir une forme sonate unique qui en couvrirait simplement la dernière décennie. Elles supposent qu'une forme a une histoire : mais si une forme " change " on ne sait pas clairement jusqu'à quel moment elle reste la même forme ni à partir de quand il faut la considérer comme une forme nouvelle."