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摘要
摘要
This collection of conversations with the Guarneri members explores all the most important facets of chamber-music playing.
评论 (4)
出版社周刊评论
These intelligent conversations will be greeted enthusiastically not only by string players and serious musicians but also by advanced listeners. A musicologist and conductor, Blum knows from experience what crucial questions to ask about the medium and its practice. The members of the Guarneri Quartet discuss their backgrounds, training, cooperative efforts, problems with specific repertoire, and reactions to composers and conductors, as well as such detailed matters as bowing, intonation, vibrato, pizzicato, dynamics and the use of the left hand. Enhanced by hundreds of music examples and a detailed analysis of Beethoven's Opus 131, this is arguably the best book on the subject and one of the most important books on music issued in recent years. Performing Arts Book Club selection. (June 4) (c) Copyright PWxyz, LLC. All rights reserved
Kirkus评论
Sheer delight, an irresistible musical talkfest with Blum as a genially inquiring second viola. The world-renowned Guaneri Quartet formed up in 1964 at the Marlboro Music Festival, with Arnold Steinhardt and John Dalley as violins, Michael Tree, viola, and David Soyer, cello. The Guaneri is a small herd of splendid soloists or individualists, not a blend of faultless ensemble players. Some quartets do give high priority to the blend, with the four players sounding as alike as possible. ""The results are sometimes admirable in their own way,"" says Dalley. ""However, our approach is quite different."" In this mass interview with longtime friend Blum, the fiddlers come off as dazzlingly personable, full of good humor, musical wit, and ready to die for their music. Their's is a marriage in which they've been advised not to socialize outside the playing hall or recording studio. They see so much of each other that their families must suffer. This is a study in depth about the art of string-quartet playing, with Blum asking about everything: seating arrangements, tuning and intonation, practicing, pizzicato, bowing, dynamics, and ""the fifth presence,"" a kind of unifying spirit that on occasion sweeps them up midperformance. Says Dalley: ""I'm so mystified when it happens that I'm really the last person to explain it."" Says Steinhardt: ""If we're well enough prepared instrumentally, and open to the experience, we are, in a very real sense, only vessels through which the music passes; we have to acknowledge a force greater than ourselves."" The quartet analyses their playing of Beethoven's Quartet No. 14 in C-sharp Minor, a mighty work of utmost seriousness and length. Blum captures their comments immediately after a performance of this work, before they've even put down their instruments. Says Dalley: ""Grotesque and wild! It has invincible energy. . .You want to bark like a dog. Copyright ©Kirkus Reviews, used with permission.
Choice 评论
A how-to book by one of the world's best and most stable string quartet ensembles (no change of membership in 22 years). Each chapter (except for ``A Fifth Presence'') includes numerous examples of passages from the standard repertory, clearly reproduced (in several cases, recopied) and marked to illustrate points (e.g., bowing, fingering, articulation, dynamic nuance, phrasing) made by a particular member. Even the four autobiographical chapters abound with examples. The book closes with a 60-page chapter on Beethoven's Quartet in C# minor, Opus 131, movement by movement. This book reveals the extent of planned and on-the-spot decision making that goes into a performance by top professional musicians working as an ensemble. It is also a book that any quartet player, indeed anyone interested in quartets, will find hard to put down. Blum, conductor as well as author, provides good leading questions and connecting comments, as well as a helpful glossary of terms and an index primarily useful for keying the reader to a particular composition. There is also a Guarneri Quartet discography, which incidentally reveals the book's one possible shortcoming: the absence of any technical discussion of quartets written in the 20th century. A similar book about the Juilliard String Quartet is needed, with shoptalk about quartets by composers such as Elliott Carter, Mario Davidovsky, and even B;ela Bart;ok. For graduate, undergraduate, and conservatory collections.-P.G. Swing, Swarthmore College
《图书馆杂志》(Library Journal )书评
In a series of lively discussions, intelligible to any music lover who ever played a stringed instrument, members of the Guarneri Quartet not only reveal the close ties that exist between players who have worked together for over 20 years but, on a more sophisticated level, provide an undogmatic blueprint for studying and rehearsing string quartets, complete with musical examples. The book's final pages explore, measure by measure, the Quartet's approach to practicing Beethoven's Opus 131. Repertoire is discussed superficially; choice of editions and performing styles of different eras are not discussed at all. Nevertheless, amateur to professional chamber musicians will find this book invaluable, especially since there are virtually no others on the subject. Recommended for music libraries. Performing Arts Book Club selection. Philippa Kiraly, Cleveland (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.