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(Amadeus). The New York Philharmonic, from Bernstein to Maazel continues the story of America's oldest orchestra as told in Howard Shanet's Philharmonic: A History of New York's Orchestra . That volume ended with the 1970-71 season, just before the arrival of Pierre Boulez as music director. Obviously, much has happened since. This book begins, however, with a retrospective account of the controversial last years of the tenure of Dimitri Mitropoulos and the ascendancy of Leonard Bernstein to the music directorship. Having been a Philharmonic assistant conductor during Bernstein's tenure, and an inveterate Philharmonic watcher ever since, the author brings some personal insights to the story as well as moments of humor. A sub-theme of the book concerns the way the Philharmonic and its music directors have been treated by the New York press, the Times in particular. Howard Taubman's attacks on Mitropoulos, Harold Schonberg's on Bernstein, and Donal Henahan's on Zubin Mehta are all covered here, as are the writings of various critics on those and other conductors, and on the orchestra itself. The New York Philharmonic is the only orchestra ever to undertake a foreign tour solely on the initiative of its musicians, without benefit or support from management. How this came about is chronicled, as are the opening of Lincoln Center, the Parks Concerts, Promenades, Prospective Encounters, Rug Concerts, tours, and, of course, the subscription seasons. John Canarina shows how the New York Philharmonic weathered extraordinary ups and downs during this period, while remaining a vital component of New York's cultural life.
In this book the author traces the history of America's oldest symphonic organization down to the beginning of Pierre Boulez's conductorship. Against the background of changing cultural patterns of American life over a century and a quarter, the author examines interactions between the New York Philharmonic and the society in which it functioned. There are colorful personality portraits, often tied to surprising reappraisals of such glamorous Philharmonic stars as Arturo Toscanini (who enjoined other conductors to play every note "as written," but who felt free - as the author documents - to make his own changes to the scores of the masters), Gustav Mahler, Dimitri Mitropoulos, Leopold Stokowski, Bruno Walter, and the spectacular Leonard Bernstein. The author gives the reader insight into an organization that has helped shape America's musical taste - an organization that has brought its performances to the largest audiences in the annals of symphonic music, yet has often suffered from "the vast, and largely unjustified, inferiority complex that has oppressed American music throughout its history."
"It is almost Friday night. Outside, the dark is getting darker," and here and there around the city ninety-two men and thirteen women are getting dressed to go to work. First they bathe and put on their underwear. Then they don special black-and-white apparel. Then when the one hundred and five people are completely ready, each takes a musical instrument and travels to midtown. There, at 8:30 tonight, they will work together: playing. In these pages Karla Kuskin and Marc Simont combine their talents to give us a delightful and unusual inside view of one way an orchestra prepares. Nominee, 1983 American Book Award Notable Children's Books of 1983 (ALA) 1983 Fanfare Honor List (The Horn Book) Outstanding Children's Books of 1982 (NYT) A Reading Rainbow Selection 1983 Teachers' Choices (NCTE) Children's Books of 1982 (Library of Congress)
William Vacchiano (1912-2005) was principal trumpet with the New York Philharmonic from 1942 to 1973, and taught at Juilliard, the Manhattan School of Music, and the Mannes College of Music. While at the Philharmonic, Vacchiano performed under the batons of Arturo Toscanini, Bruno Walter, and Leonard Bernstein and played in the world premieres of pieces by such composers as Vaughan Williams, Copland, and Barber.
Written for the cellist looking for an approach that demystifies cello playing, Cello, Bow and You is an innovative text in the field of string pedagogy written by a 40+ year veteran of the New York Philharmonic Orchestra and certified teacher of the Alexander Technique. Author Evangeline Benedetti has a unique voice and approach, and invites cellists of all levels to explore, make discoveries and organically internalize technique. Benedetti's approach compliments the work that students do with their teachers by encouraging them to be more aware of themselves and responsive to internal and external guidance. Cello, Bow and You allows students and professionals access to Benedetti's vast performance and teaching experience. She has pioneered an approach to playing that is a synthesis of the cellist's musical thought, the knowledge of the dynamic properties of the instrument and bow, and the ability to move effectively according to the mechanics of the human body. The synergy of these elements leads to physically healthy playing and frees players to be musically expressive. Written in engaging, informal prose, the book is a must-read for cellists and cello teachers - beginning, intermediate, or professional.
When Jake the dog is brought to the theater to watch his owner, chief stagehand for the Philharmonic Orchestra, work, he discovers a special musical talent all his own--stealing the show to everyone's surprise and amusement!
Gustav Mahler and the New York Philharmonic Orchestra Tour America documents Mahler's tours with the orchestra during the 1909 and 1910 seasons, detailing the conditions and preparations for each tour, the outcome of each concert, and the perceptions of audience beyond New York City.