Book Description
This elegant hardcover book-and-CD package introduces the sights and sounds of the orchestra. After listening to the sounds of each instrument on the CD--from mellow flutes to blazing trumpets--readers may turn to the accompanying book to learn more about the orchestra and its instruments. All are invited to tour each section--string, woodwind, brass, and percussion--to discover what makes classical music so universally expressive. “This is a great book for children of all ages.”--American Bookseller
Customer Reviews:
Great for Kids.......2007-07-12
I know this product is meant for older children, but my four-year-old loves this book and especially the recording. He can't get enough of the description of the elements of the orchestra and the fugues by Benjamin Britten. He asks to play this over and over in the car. I recommend introducing this to young children - they just might like it, and possibly learn something in the process.
Tremendously helpful as teaching tool, besides being fun!.......2006-02-19
This piece of music by Britten has always been, for me at least,the finest teaching tool in the world of classical music. Even for teaching oneself about the instruments of the orchestra (and especially using the CD alongside) it is just unbeatable. A superb and very easy piece of music to listen to, it is also ingenious, easy to follow and quite memorable to boot. The main theme is great and all the little solos show off the seperate instruments beautifully. You simply cannot get better than this anywhere.
High Quality, Educational and Fun Entertainment.......2005-09-23
Money well spent! Good quality music on the enclosed CD, nice explanations and illustrations in the book. This book will introduce you / your children to the instruments and history of orchestra music in an entertaining fashion.
The book was recommended in Susan Bauer's Well-Trained Mind (Classical Homeschool Education). A nice read-and-listen activity for the whole family even if you are not into homeschooling. Try it on a car trip ...
Book Description
Words from the Missa pro defunctis and the poems of Wilfred Owen. Other scores available: Vocal (48009029), SATB Choral (48009030), Boy's Chorus (48009031). Orchestral performance materials available on rental from Boosey and Hawkes.
Average customer rating:
- Good Narrative; Weaker Analysis
- A must read....with caution
- Britten bio almost great.
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Benjamin Britten: A Biography
Humphrey Carpenter
Manufacturer: Scribner
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The Music of Benjamin Britten (Clarendon Paperbacks)
ASIN: 0684195690 |
Customer Reviews:
Good Narrative; Weaker Analysis.......2005-01-16
This is a good but not outstanding biography of the great Benjamin Britten. Carpenter was well equipped to tackle Britten's life. An experienced biographer, some of his prior work, like his very good biography of Auden, covers the same period and some of the same aspects of British artistic life as this book. Carpenter had the cooperation of the Britten estate and a wide variety of Britten's friends and associates. It is based on a wide variety of documentary material and interviews. This book is thorough, well written, and organized well. As a narrative of Britten's personal and professional lives, it is very strong and unlikely to be surpassed. The book shows very well Britten's remarkable creativity. A disciplined worker, Britten produced a large volume of outstanding music while also performing and working as a major force in the development of British musical life. Carpenter also shows, though implicitly, that Britten was a charismatic figure. He had a remarkable ability to attract the services of other talented individuals, allowing him to realize very ambitious projects such as his operas and the development of the Aldeburgh festival. Carpenter is fair in this treatment of Britten, showing both the attractive and unfortunate aspects of his personality, such as his tendency to callously discard co-workers when he felt he could work more productively with others.
Carpenter is less good in dealing with Britten's music. This is true both for Britten's output in general and specific works. Nowhere in this book do we get any sense of why Britten chose to focus on vocal music. Britten did produce important orchestral and chamber work, but his most important output was opera, less conventional music theater like his church parables, choral music, and songs. Britten's ability to set text to music was truly remarkable. Did Britten see this as his great strength as a composer or were there other reasons for the focus of his career? Carpenter tends also to interpret individual works, particularly the operas, in light of very specific aspects of Britten's life, especially his sexuality. In many cases, such as the operas Peter Grimes and Death in Venice, this makes good sense. With these interpretations, Carpenter seems also to be following the lead of some other scholars who have studied Britten. This approach, however, seems not so much wrong as excessively reductive. For example, Carpenter's discussion of Britten's underappreciated opera Gloriana, composed for the coronation of Elizabeth II, focuses on the character of the Earl of Essex, who Carpenter sees as embodying some of Britten's preoccupations about his life as public artist. The main figure of the opera, however, is Elizabeth I, and an important theme of the work is the collision of private needs and public responsibilities in the exercise of power. Surely, this was not lost on the premiere audience, which included the young Elizabeth II, who later became something of a patron of Britten. Carpenter gives no real sense of the position that Britten occupies in the history of 20th century music, probably because he doesn't have the musicological knowledge necessary to establish this kind of context. Less understandably, Carpenter misses an opportunity to discuss Britten's important role in the professionalization and expansion of post-war British musical and artistic life. Carpenter's own narrative shows the somewhat amateurish quality of pre-war British musical life and its remarkable evolution in the post-war period, a process in which Britten was a important creative figure.
This book is a useful source for those interested in Britten specifically, 20th century music, opera, and the history of British intellectual life. There is still an opportunity to write a first rate biography of Britten.
A must read....with caution.......2003-04-13
Carpenter has given us a top rate book of Britten the man. He unfortunately sheds no light on Britten's actual music. By all means, read the book, but ignore his ... "analyses," and take his attempts psychology with a grain of salt.
Britten bio almost great........1997-07-14
Carpenter, through numerous quotes from colleagues, friends and written correspondence from the composer himself provides a rare and intimate view into Britten's creative mind and personality. The only tedious aspect of this in-depth biography is in Carpenter's descriptions of Britten's pieces. Carpenter tries to speculate about how much of Britten's real life went into his music. The result comes off as searching for Britten's homosexuality and lost innocense in tones. It is however an absorbing and educating read
Book Description
February House is the uncovered story of an extraordinary experiment in communal living, one involving young but already iconic writers -- and the country's best-known burlesque performer -- in a house at 7 Middagh Street in Brooklyn during 1940 and 1941. It was a fevered year-long party fueled by the appetites of youth and by the shared sense of urgency to take action as artists in the months before America entered the war. In spite of the sheer intensity of life at 7 Middagh, the house was for its residents a creative crucible. Carson McCullers's two masterpieces, The Member of the Wedding and The Ballad of the Sad Cafe, were born, bibulously, in Brooklyn. Gypsy Rose Lee, workman-like by day, party girl by night, wrote her book The G-String Murders in her Middagh Street bedroom. Auden -- who along with Britten was being excoriated at home in England for absenting himself from the war -- presided over the house like a peevish auntie, collecting rent money and dispensing romantic advice. And yet all the while he was composing some of the most important work of his career. Sherill Tippins's February House, enlivened by primary sources and an unforgettable story, masterfully recreates daily life at the most fertile and improbable live-in salon of the twentieth century.
Customer Reviews:
What a great read!!!.......2007-07-18
A friend just recommended this book to me and it's fabulous!!! I live in an artist bldg and it's nothing compared to the energy of Middagh Street. The book is a great read and the research is most impressive. I cannot wait to read the one she's writing about the Chelsea Hotel!
That House on Middagh Street.......2006-09-03
Thomas Wolf once famously said "only the dead know Brooklyn." There might be some truth in that, but some of us know Brooklyn, N.Y.,U.S.A., pretty well,and are still very much alive. Quite a few people are aware of Brooklyn's brownstone belt, that swath of historic houses stretching from the East River to Prospect Park and beyond. Many of these people would declare Brooklyn Heights the ultimate Brooklyn brownstone neighborhood. It's beautiful, and gets scenic views of Manhattan. It's got history galore--an important Revolutionary War battle was fought here;and it's been, and still is,home to a lot of well-known important people.
One little-known fact is that a number of celebrated people shared a house on Middagh Street, in 1940-41, right in the middle of the Second World War. That house, which came to be known as February House-- a number of its residents had February birthdays-- has long since been torn down to make room for the Promenade that provides storied views of Manhattan. But among occupants of February House were poet W.H.Auden, writer Carson McCullers, writers Jane and Paul Bowles,composer Benjamin Britten, and stripper Gypsy Rose Lee.
Writer Sherill Tippens has produced an interesting, pleasantly gossipy book about the house's residents and their accomplishments. Jane Bowles began "Two Serious Ladies," her only completed novel here. The young lesbian Carson McCullers had just tasted, at the age of 23, great success with her novel "The Heart is a Lonely Hunter." She began two other great successes, "The Member of the Wedding," and "The Ballad of the Sad Cafe," between drinking bouts, right here on Middagh Street.
Auden and Britten, both homosexual, but not involved with each other, were being raked over the coals at the time by the British press for choosing to sit out World War II in the U.S. But they were working: they collaborated on the opera "Paul Bunyan,"not critically well-received. Auden who continued to live in the Heights, on his own, to pursue his lifelong, unrequited love for the young American Chester Kallman, was working hard in the interstices of his personal soap opera: He produced "The Double Man" in February House. Britten produced "Peter Grimes;"considered one of the great masterpieces of 20th century opera. Meanwhile, he pursued his own personal soap opera: many critics believe this opera echoes developments with his partner, tenor Peter Pears, at the time.
The most unexpected resident of February House would have to be Gypsy Rose Lee, burlesque artiste. She was talked into joining the fun by George Davis, homosexual himself, fiction editor of "Harpers Bazaar" magazine, whose idea February House was, and who worked hard to keep it alive. Davis had published some of his own writing, but he was best known for the talented writers he kept on discovering.
In Gypsy Lee's case, she brought some money, a lot of common sense,and a cook to Middagh Street. The house's residents needed all the above. Her reward for her support: George Davis, great editor, midwifed her book, "The G-String Murders," a publishing sensation for many years.
George Davis continued to live at 7 Middaagh Street after its time as an artistic commune had passed. After Kurt Weill's death, Davis married his widow, Lotte Lenya, and devoted his life to introducing America to Weill's great works,such as "Three Penny Opera,"from which we get "Mack the Knife."
There are some informative photographs, extensive notes and acknowledgements in February House. Tippins evidently did a lot of primary research, but she managed to organize the voluminous results in a very readable style. February House well rewards the reader.
The bump and grind of a literary bawdy house.......2005-10-14
Sherill Tippins has done an amazing job of finding the significant narrative threads in the chaotic convergence of creative lives that occurred in the months before Pearl Harbor when Harper's Bazaar editor George Davis and British expatriate poet W.H. Auden rented a brownstone on 7 Middagh Street in Brooklyn Heights and actively recruited other creative artists to live with them. Among the co-renters were Carson McCullers who had recently published her highly acclaimed first novel, "The Heart Is A Lonely Hunter," soon-to-be famous British composer Benjamin Britten and his parnter, singer Peter Pears, unpublished novelists Paul and Jane Bowles, Broadway set designer Oliver Smith, writer Richard Wright and his wife, and burlesque sensation Gypsy Rose Lee, who it turns out was the most reliable in the rent-paying department and joined the little "creative commune" on the condition that she could bring her own cook and maid. Her fiscal reliability and drive along with Auden's willingness to take on the unpleasant role of house disciplinarian (collecting rent and other "dues" and establishing and enforcing many house rules) are probably sufficient explanation for why this menage managed to last the two or three years it did.
Tippins wisely focuses her attention on the leading figures (without neglecting to name the many others who partied but did not reside at 7 Middagh--Salvador and Gala Dali, Lincoln Kirstein, George Balanchine, Erika Mann and her brothers Klaus and Golo, to name a few). One passer-through, Anais Nin, christened the dwelling "February House" because so many of the residents had February birthdays. Tippins has a good knowledge of the works of these creative people and is able to see how one of the artists intentionally or inadvertantly influenced a subsequent work of one of his or her co-residents. For example, McCullers was struggling with the novel that would later become "The Member of the Wedding" when she was able to appropriate an experience from Chester Kallman's childhood to explain her heroine's profound sense of alienation and abandonment (Kallman was Auden's lover).
Tippins other great achievement here was her ability to slice through history and palpably recreate the political atmosphere in pre-war New York and to do so in a way that reflects on both British and US perspectives. She takes a good hard look at the criticism expatriates like Auden, Christopher Isherwood, Britten, and Pears faced from the British press and fellow artists who chose to remain in Great Britian during the war. She is similarly insightful in her analysis of the role the Mann family had in trying to get an apathetic America to respond to the European crisis. A lesser writer might not have bothered with these issues and chosen to report only the salacious and saleable anecdotes about the goings-on of the February House residents.
I highly recommend this book to anyone even passingly interested in one of the artists who lived at 7 Middagh Street (you're sure to learn something new), to anyone who ever wondered how great works of art come about, or to anyone interested in knowing how history and art intersect. I'm sure I'm going to use Tippins's Selecte Bibliography as a basis for future Amazon.com purchases.
Timely and beautifully written.......2005-09-08
Sherill Tippins' volume fills a tantalizing gap that fans of Auden, McCullers, Britten, and Gypsy Rose Lee have long wished could be filled. Most overdue is Tippins' portrait of George Davis: failed literary wunderkind; editor extraordinaire (who "discovered" McCullers and got much-needed writing jobs for her and W. H. Auden in the lean months before Pearl Harbor); husband to Lotte Lenya and the catalyst that re-invented her for American audiences in Marc Blitzstein's staging of Weill's "Threepenny Opera"--the list goes on and on. Davis and Auden are central to Tippins' account and to the amazing colony of artists who called 7 Middagh Street in Brooklyn Heights their home in 1940-41. But Tippins gives everyone in that circle his/her due. Her depictions of Auden's rocky romance with Chester Kallman, of Benjamin Britten's coming to terms with his artistic destiny in England, not America, and Gypsy Rose Lee's ability to charm and disarm everyone she met are more than engaging--they are extremely moving.
Tippins' research is exhaustive and impeccable, and she lets her characters speak naturally and eloquently. I could not put this book down and practically read it at one sitting. I was hungry for the kind of information Tippins delivered, and I finished the book with the deepest satisfaction. Gracefully written, carefully organized and researched, and extremely relevant: this book wins on all counts.
A Marvelous trip down memory lane or, rather, Middagh Street.......2005-06-06
7 Middagh Street literally doesn't exist any longer. It was torn down to make way for an Expressway. During the last decade of his life the poet Frank O'Hara lived in four different apartments in Manhattan and at least one of them has a commemorative plague. If 7 Middagh Street were still standing the entire building would have to be bronzed. George Davis, the fiction editior for "Harper's Bizaar," rented and renovated the house with the assistance of friends W. H. Auden and Carson McCullers. Together they sought to create a kind of year round Yaddo - a boarding house for artists. They were joined by Benjamin Britten and Peter Pears, Jane and Paul Bowles, Gypsy Rose Lee, Oliver Smith and Klaus Mann (among others). This is their story. As you can imagine, life at 7 Middagh Street was anything but boring.
This is the kind of biographical history I most enjoy reading. It focuses on a very specific period of time, communicating brilliantly the personal and professional triumphs and failures, as well as the ravaging effects of current world events these artists were dealing with while living together. It provides just the right balance of background material on each resident without ever becoming bogged down in trivial details that interrupt the natural progression of the story. Yes, there is a certain amount of "dirt." The spats between Auden and Paul Bowles are well documented, and the endless parade of sailors, the parties that lasted until dawn, the battling McCullers. Most of the residents, even those who were married, were either homosexual or bisexual. The book, and this history, is simply fascinating. If you care at all about 20th century art - literature and music especially - this is a book you shouldn't miss.
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Benjamin Britten: The Spiritual Dimension (Oxford Studies in British Church Music)
Graham Elliott
Manufacturer: Oxford University Press, USA
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ASIN: 0198162588 |
Book Description
Since Britten's death in 1976, numerous articles and books have been written about his life and work. Much has been made of the strong influences of his pacifism and his homosexuality. It is often suggested that Britten felt himself to be an outsider from 'normal' society, and that this accounts for the his concern to portray the 'outsider' in his operas. There is no doubt that this is an important aspect of Britten's art, but the present work attempts to show that his music embraces much wider and more universal concerns, and in addressing those concerns there is a clearly defined pattern of spiritual influence. Part One of the book examines Britten's early life, and the strong presence which the Church had in his childhood and adolescence. It explores the way in which certain spiritual influences were first manifested, and how, like the more specifically musical 'themes' which Donald Mitchell has noted, they can be traced throughout Britten's life and work. The author was privileged to have conversations with two clergymen who were influential in Britten's life, as well as gathering valuable insights through a long series of conversations with Sir Peter Pears. Part Two examines a wide range of the composer's music in which a spiritual dimension can be traced. The specifically liturgical music has received rather less critical notice than Britten's larger works. The music is discussed here, and shown to possess musical characteristics in common with the larger works. Britten could not be described as a conventional Christian; still less is it true to describe him, as Eric Walter White has done, as 'keen, wherever possible, to work within the framework of the Church of England'. Nevertheless, his spirituality was rooted in the religious experience of his childhood. This book seeks to demonstrate that Britten retained a sense of the Christian values absorbed in childhood and adolescence, and that these - along with the specifically Christian heritage of plainsong - were strongly influential in his choice and treatment of themes.
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Orchestral Anthology - Volume 2: The Masterworks Library (The Boosey & Hawkes Masterworks Library)
Manufacturer: Boosey and Hawkes
ProductGroup: Book
Binding: Paperback
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ASIN: 0851622054 |
Book Description
Contents: Four Sea Interludes (Peter Grimes) * Passacaglia (Peter Grimes) * Sinfonia da Requiem * Variations on a Theme of Frank Bridge.
Book Description
This is a comprehensive guide to Britten's work, aimed both at the nonspecialist and the music student. It sheds light on both the composer's stylistic and personal development, offering new interpretations of his operatic works and discussing his characteristic working methods. A distinguished team of contributors include some who worked with the composer during his lifetime, as well as leading representatives of the younger generation of Britten scholars on both sides of the Atlantic.
Book Description
The book examines from various viewpoints Britten's War Requiem, written in 1962 to celebrate the consecration of the new Coventry Cathedral and uniting the famous anti-war poetry of Wilfred Owen with the Latin Requiem Mass. Britten's and Owen's pacifist beliefs are compared, and the chronology of the compositional process unraveled from documentary and manuscript sources. The musical language is analyzed in detail, and the fluctuating critical responses to the score are assessed.
Customer Reviews:
Another excellent addition to the Cambridge Series.......2000-04-05
I have read several of the books in the Cambridge Music Handbooks Series. The purpose of the books in this series is to aid the listener in understanding the theoretical/analytical aspects of the music (such as form, recurring thematic material, growth process, etc.) as well as the historical background of the piece, including critical reaction to the premiere of the work.
The book is divided logically into four chapters. The first chapter deals with Britten's pacifist beliefs and how they led to his encounter with the poetry of Wilfred Owen, a soldier who had been killed in World War I. Owen turned out a small body of poetry during the last two years of the war, nine of which Britten chose to use in his Requiem, along with the text for the Latin Mass of the Dead.
The second chapter gives the historical background of the piece: commission, composition, and the premiere performance.
The third chapter is subtitled "The musical language: idiom and structure." This chapter details the musical content of the piece and how it conforms or deviates from the traditional Requiem formula set up by Mozart and Verdi. This chapter is the "meat" of the book as far as this critic is concerned. In understanding the musical content, one is better equipped to listen with an ear of understanding instead of ignorance.
The final chapter reveals the critical reception of the piece, which was extremely positive. Most critics immediately hailed this work as Britten's masterpiece. As the author states, "it is difficult to call to mind any other major twentieth-century work which met with such instantaneous and unanimously high praise from almost all sectors of the media."
In conclusion, I can highly recommend this book without hesitation if you are at all interested in the music of the twentieth century. Britten was clearly a brilliant composer; the War Requiem is, arguably, his masterpiece; and this book is a fine tribute to a wonderful piece of music.
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Letters From a Life: The Selected Letters of Benjamin Britten, Volume Three, 1946-1951
Benjamin Britten
Manufacturer: University of California Press
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Binding: Hardcover
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ASIN: 0520242599 |
Book Description
This long-awaited third volume of composer Benjamin Britten's remarkable letters covers the years 1946-51. Fresh from the astonishing success of his great first opera, Peter Grimes, Britten was vital to the post-war rebuilding of the arts in Great Britain with his visionary work as a composer, conductor, and performer. With his partner, the celebrated tenor Peter Pears, he founded the Aldeburgh Festival, which eventually grew into the international festival that it is today, and the English Opera Group. He also toured widely in Europe and the United States as a pianist and conductor. During this time he wrote many of his best-known works, including the operas Billy Budd, Albert Herring, and The Rape of Lucretia.
Britten's correspondents include literary figures such as Christopher Isherwood, Edith Sitwell, E. M. Forster (the librettist for Billy Budd), and Edward Sackville-West, as well as musical colleagues from around the world including Ernest Ansermet, Francis Poulenc, Aaron Copland,and Igor Stravinsky.
This volume of selected letters represents one of the richest and most innovative periods of the composer's creative life. His daily concerns and the unique era in which he lived are vividly evoked by the comprehensive and scholarly annotations, which offer a wide range of detailed and fascinating information. Donald Mitchell contributes a superb introduction.
Customer Reviews:
Invaluable.......2005-09-23
Donald Mitchell, et.al. have done another remarkable job in providing source material for the serious student of Benjamin Britten's life and music. At the same time, the book reads like a biography. It is filled with invaluble information that helps frame, illuminate and clarify issues surrounding Britten's important work of the time. I especially appreciated Dr. Mitchell's thoughful response to those who would have us look at Britten's incredible artistic contributions solely through the mind and eyes of sexual preference. I can't wait for future volumes.
Book Description
This landmark publication includes 52 songs, combining the contents of the seven published books of Britten folksong arrangements in High and Low Voice editions. Some of the songs have never before been transposed. The songs of Volume 6, for voice and guitar, have been transcribed for voice and piano for this edition.
Customer Reviews:
Simply Good Music.......2007-07-31
These songs are excellent for singers of any stage of study. Being folksong arrangements, the melodies are simple, but not easy. BEAUTIFUL MUSIC. The previous reviewer was obviously not paying attention to what matters in the music.
What were they thinking!!??.......2007-04-15
Why in god's name would you transcribe the guitar folk songs for piano? Can't pianists read treble clef? Will guitarists be able to figure out the proper fingerings? Does some fool at Boosey and Hawkes fear the guitar parts would leak over and contaminate the piano parts?
Yet another example of the absolutely stupid prejudice against the guitar, perpetrated on the music of a composer who liked the guitar.
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- World War Z: An Oral History of the Zombie War
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- American Corrections (with InfoTrac )
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