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Legendary maestro Leonard Slatkin provides personal insights and offers his ideas to solve the current dilemmas of classical music. As the new millennium poses some of the greatest challenges to the relevance of the art form, Slatkin reflects on the modern evolution of classical music and presents ways for both music lovers and musicians alike to navigate these uncertain times. Classical Crossroads: The Path Forward for Music in the 21st Century addresses a wide range of relevant and provocative topics such as performance in the era of COVID-19, dwindling audience attendance, the lack of classical music in public education, broken audition systems, technology replacing live concerts, and diversity in the classical music world. While the new millennium has provided great obstacles, Slatkin emphasizes that there are also new opportunities—if there was ever a time for change in classical music, that time is now.
(Amadeus). Conducting an orchestra is something that is seen as well as heard, but it is quite misunderstood when it comes to knowing what this person actually does for a living. This most mysterious of jobs is brought to life for the music lover as well as for the aspiring maestro in a book by Leonard Slatkin. Drawing on his own experiences on and off the podium, Slatkin brings us into the world of the baton. He tells tales of some of the most fascinating people in the musical world, including Frank Sinatra, Leonard Bernstein, and John Williams. He takes the reader to the great concert halls and orchestras, soundstages in Hollywood, and opera pits around the globe. Mr. Slatkin recounts his controversial appearance at the Metropolitan Opera, his creation and direction of summer music festivals, and a shattering concert experience that took place four days following 9/11. Life in the recording studio and on the road as well as health issues confronting the conductor provide an insider's glimpse into the private world of public figures. Covering everything from learning how to read music to standing in front of an orchestra for the first time, what to wear, and how to deal with the press, Conducting Business is a unique look at a unique profession.
Based on his decades of experience conducting these works, Leonard Slatkin guides readers through eight of the most beloved orchestral pieces of the nineteenth century: · Ludwig van Beethoven’s Symphony No. 3, “Eroica” · Modest Mussorgsky’s Pictures at an Exhibition (orch. Maurice Ravel) · Hector Berlioz’s Symphonie Fantastique · Johannes Brahms’s Symphony No. 1 · Antonín Dvořák’s Symphony No. 9, “From the New World” · Jean Sibelius’s Symphony No. 2 · Nikolai Rimsky-Korsakov’s Scheherazade · Pyotr Ilyich Tchaikovsky’s Symphony No. 6, “Pathétique” Slatkin tackles problems conductors face before stepping onto the podium and highlights the many decisions they make during the study process, as well as in rehearsal and performance, to bring a score to life. He also shares tricks of the trade for leading efficient rehearsals and recounts engaging anecdotes from a lifetime of music making. This book will open the world of score study to conductors, other musicians, and students interested in expanding their knowledge of this essential repertoire.
Based on his decades of experience conducting these works, Leonard Slatkin guides readers through eight of the most beloved orchestral pieces of the twentieth century: Claude Debussy’s La Mer Dmitri Shostakovich’s Symphony No. 5 Béla Bartók’s Concerto for Orchestra Igor Stravinsky’s Le Sacre du printemps (The Rite of Spring) George Gershwin’s An American in Paris Aaron Copland’s Appalachian Spring Suite Samuel Barber’s Adagio for Strings Benjamin Britten’s The Young Person’s Guide to the Orchestra Slatkin tackles problems conductors face before stepping onto the podium and highlights the many decisions they make during the study process, as well as in rehearsal and performance, to bring a score to life. He also shares tricks of the trade for leading efficient rehearsals and recounts engaging anecdotes from a lifetime of music making. This book will open the world of score study to conductors, other musicians, and students interested in expanding their knowledge of this essential repertoire.
The Crisis of Classical Music in America by Robert Freeman focuses on solutions for the oversupply of classically trained musicians in America, problem that grows ever more chronic as opportunities for classical musicians to gain full-time professional employment diminishes year upon year. An acute observer of the professional music scene, Freeman argues that music schools that train our future instrumentalists, composers, conductors, and singers need to equip their students with the communications and analytical skills they need to succeed in the rapidly changing music scene. This book maps a broad range of reforms required in the field of advanced music education and the organizations responsible for that education. Featuring a foreword by Leonard Slatkin, music director of the Detroit Symphony Orchestra, The Crisis of Classical Music in America speaks to parents, prospective and current music students, music teachers and professors, department deans, university presidents and provosts, and even foundations and public organizations that fund such music programs. This book reaches out to all of these stakeholders and argues for meaningful change though wide-spread collaboration.
Essays by a prominent contemporary composer explore a current trend in classical music away from atonal characteristics and toward more traditional forms. Topics include cultural identity, musical meaning, and the aesthetics of beauty.
When we speak of "classical music" it often refers rather loosely to serious "art" music but at the core is really the music of the classical period running from about 1730 to 1800, give or take. This was truly one of the most glorious periods for both composition and performance and it is this classical music which is still at the core of today's repertoire. Obvious names connected with this period are Haydn, Mozart and Beethoven, but there were many more still reasonably well known like Gluck and C.P.E Bach, and dozens more who are regrettably little known today. This Historical Dictionary of Music of the Classical Period includes not only these composers, but also eminent conductors and performers, patrons, and publishers. There are also dictionary entries on major centers of music-making, typical instruments, important technical terms, and emerging musical forms, including the symphony and opera. Indeed, with a 1,000 cross-referenced entries, there is information on most matters of interest. This is prefaced by an extensive chronology, tracing the course of this period from year to year, and an introduction taking a careful look at the period as a whole. Finally, there is a substantial bibliography. Surely, this is a book which will appeal not only to students and researchers but all music-lovers.
Offering comprehensive coverage of classical music, this guide surveys more than eleven thousand albums and presents biographies of five hundred composers and eight hundred performers, as well as twenty-three essays on forms, eras, and genres of classical music. Original.
Presents a critique of the Bush Administration's Iraq policy, arguing that it stemmed from misconceptions about the realities of the situation in Iraq and a squandering of the goodwill of American allies following September 11th.
(Amadeus). Leading Tones is a glimpse into several aspects of the musical world. There are portions devoted to Leonard Slatkin's life as a musician and conductor, portraits of some of the outstanding artists with whom he has worked, as well as anecdotes and stories both personal and professional. Much of the book discusses elements of the industry that are troubling and difficult during this first part of the 21st century. Auditions, critics, fiscal concerns, and labor negotiations are all matters that today's conductors must be aware of, and this book provides helpful suggested solutions. Leading Tones is intended not only for musicians, but also for the music lover who wishes to know more about what goes into being a conductor.