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Harrison Birtwistle (Englisch) Gebundene Ausgabe – 15. Mai 2014

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Über den Autor und weitere Mitwirkende

Born in 1934, Sir Harrison Birtwistle is one of the most original voices in contemporary music. His monumental lyric tragedy The Mask of Orpheus was staged at English National Opera in 1986 and won the Grawemeyer Award, and his sequence of remarkable ensemble scores including Silbury Air and Secret Theatre are regularly performed by the world's leading new music groups. Recent years have brought acclaim for The Shadow of Night for orchestra, The Minotaur premiered at The Royal Opera in 2008, and Concerto for Violin and Orchestra premiered by Christian Tetzlaff with the Boston Symphony Orchestra conducted by James Levine in March 2011. Fiona Maddocks is the Classical Music critic of the Observer. She was founder editor of BBC Music Magazine and chief arts feature writer for the London Evening Standard, and has written for numerous other publications. She is the author of Hildegard of Bingen: The Woman of Her Age (Faber).


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Amazon.com: HASH(0xa9e40c9c) von 5 Sternen 2 Rezensionen
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HASH(0xa33d29cc) von 5 Sternen Insights into the creative process 18. Mai 2014
Von Phipedro - Veröffentlicht auf Amazon.com
Format: Kindle Edition Verifizierter Kauf
Or perhaps not. Birtwistle advances and retreats over several interviews, and ends up demonstrating how hard it is to pin down how an artist creates what he needs to create, while providing some ongoing comments on a work in progress. The last couple of interviews feel faintly staged, but they do work to bring the book to a satisfying conclusion, and the turning of the seasons and the progress of time so important in Birtwistle's music are nicely represented. Birtwistle's voice and demeanour are wonderfully captured. A splendid book all round.
HASH(0xa33d642c) von 5 Sternen Genuine insights into the chaotic struggle to create music 22. August 2015
Von James Phillip Beattie - Veröffentlicht auf Amazon.com
Format: Kindle Edition
I highly recommend this book to anyone who's interested in the creative process, or in Birtwistle's music in particular. I think his struggle to articulate what's going on in his music, and what's going on inside him as he composes, is perhaps the most honest attempt to discuss creativity I've come across so far. When you hear composers being interviewed about their music, things often seem a bit too clear and orderly, or simply too esoteric for us mere humans to grasp. The way a piece's structure and themes are put together are either completely mysterious ("I lose myself in the music and it almost writes itself"; "I feel as though I'm channelling the music from some other realm"; etc.), or they are presented as unfolding according to a rigorous logic that's completely under the control of the composer ("I wanted to capture the flow of water in the opening section, and the string glissandi are there precisely to do this"; "My second theme is actually a retrograde inversion of the first, only played as a rapid, shrill ostinato by the woodwinds, in contrast to the lyrical version the strings announce at the beginning").

In this book you'll hear none of that. Instead, you'll hear Harry struggling on a daily basis to make sense of what he's doing, changing his mind many times about how to proceed in the piece he's writing (the piano concerto), expressing great doubt about the value of everything he's done, and -- fleetingly -- seeming to have a clear sense of what he's doing and how he's doing it. You'll also hear a very sympathetic, knowledgeable, humorous and articulate interviewer coaxing him to reveal more of his life and his work.

Congratulations to both Fiona Maddocks and Harry Birtwistle for this brilliant contribution to musical biography!
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