Best Selling Books by Charles Rosen

Presents a detailed analysis of the musical styles and forms developed by Mozart, Haydn, and Beethoven.

Accompanied by a sound disc (digital; 4 3/4 in.) by the same name which is available in Multimedia : CD 6.

In this lucid, revealing book, award-winning pianist and scholar Charles Rosen sheds light on the elusive music of Arnold Schoenberg and his challenge to conventional musical forms. Rosen argues that Schoenberg''s music, with its atonality and dissonance, possesses a rare balance of form and emotion, making it, according to Rosen, "the most expressive music ever written." Concise and accessible, this book will appeal to fans, non-fans, and scholars of Schoenberg, and to those who have yet to be introduced to the works of one of the greatest composers of the twentieth century. "Arnold Schoenberg is one of the most brilliant monographs ever to be published on any composer, let alone the most difficult master of the present age. . . . Indispensable to anyone seeking to understand the crucial musical ideas of the first three decades."—Robert Craft, New York Review of Books "What Mr. Rosen does far better than one could reasonably expect in so concise a book is not only elucidate Schoenberg''s composing techniques and artistic philosophy but to place them in history."—Donal Henahan, New York Times Book Review "For the novice and the knowledgeable, Mr. Rosen''s book is very important reading, either as an introduction to the master or as a stimulus to rethinking our opinions of him. Mr. Rosen''s accomplishment is enviable."—Joel Sachs, Musical Quarterly

This collection of essays by gifted musician and writer Rosen covers a broad range of musical forms, historical periods, and issues. They court controversy and offer enlightenment on subjects as diverse as music dictionaries and the aesthetics of stage fright.

"Nobody writes better about music .... again and again, unerring insight into just the features that make the music special and fine."--The New York Review of Books

In this comprehensive and authoritative guide, Rosen places Beethoven''s sonatas in context and provides an understanding of the formal principles involved in interpreting and performing this unique repertoire. Includes a CD of the author performing extracts from several of the works.

Charles Rosen is one of the world''s most talented pianists -- and one of music''s most astute commentators. Known as a performer of Bach, Beethoven, Stravinsky, and Elliott Carter, he has also written highly acclaimed criticism for sophisticated students and professionals. In Piano Notes, he writes for a broader audience about an old friend -- the piano itself. Drawing upon a lifetime of wisdom and the accumulated lore of many great performers of the past, Rosen shows why the instrument demands such a stark combination of mental and physical prowess. Readers will gather many little-known insights -- from how pianists vary their posture, to how splicings and microphone placements can ruin recordings, to how the history of composition was dominated by the piano for two centuries. Stories of many great musicians abound. Rosen reveals Nadia Boulanger''s favorite way to avoid commenting on the performances of her friends ("You know what I think," spoken with utmost earnestness), why Glenn Gould''s recordings suffer from "double-strike" touches, and how even Vladimir Horowitz became enamored of splicing multiple performances into a single recording. Rosen''s explanation of the piano''s physical pleasures, demands, and discontents will delight and instruct anyone who has ever sat at a keyboard, as well as everyone who loves to listen to the instrument. In the end, he strikes a contemplative note. Western music was built around the piano from the classical era until recently, and for a good part of that time the instrument was an essential acquisition for every middle-class household. Music making was part of the fabric of social life. Yet those days have ended. Fewer people learn the instrument today. The rise of recorded music has homogenized performance styles and greatly reduced the frequency of public concerts. Music will undoubtedly survive, but will the supremely physical experience of playing the piano ever be the same?

How does a work of music stir the senses, creating feelings of joy, sadness, elation, or nostalgia? Though sentiment and emotion play a vital role in the composition, performance, and appreciation of music, rarely have these elements been fully observed. In this succinct and penetrating book, Charles Rosen draws upon more than a half century as a performer and critic to reveal how composers from Bach to Berg have used sound to represent and communicate emotion in mystifyingly beautiful ways.Through a range of musical examples, Rosen details the array of stylistic devices and techniques used to represent or convey sentiment. This is not, however, a listener’s guide to any “correct” response to a particular piece. Instead, Rosen provides the tools and terms with which to appreciate this central aspect of musical aesthetics, and indeed explores the phenomenon of contradictory sentiments embodied in a single motif or melody. Taking examples from Chopin, Schumann, Wagner, and Liszt, he traces the use of radically changing intensities in the Romantic works of the nineteenth century and devotes an entire chapter to the key of C minor. He identifies a “unity of sentiment” in Baroque music and goes on to contrast it with the “obsessive sentiments” of later composers including Puccini, Strauss, and Stravinsky. A profound and moving work, Music and Sentiment is an invitation to a greater appreciation of the crafts of composition and performance.

"Is there a moment in history when a work receives its ideal interpretation? Or is negotiation always required to preserve the past and accommodate the present? The freedom of interpretation, Charles Rosen suggests in these sparkling explorations of music and literature, exists in a delicate balance with fidelity to the identity of the original work. Rosen cautions us to avoid doctrinaire extremes when approaching art of the past. To understand Shakespeare only as an Elizabethan or Jacobean theatergoer would understand him, or to modernize his plays with no sense of what they bring from his age, deforms the work, making it less ambiguous and inherently less interesting. For a work to remain alive, it must change character over time while preserving a valid witness to its earliest state.

What does it mean to understand music? What, if anything, does music mean? Composers, performers, listeners, and academics may answer these questions differently, but what sense of music do they share? When music seems unfamiliar or unlike anything we have heard before, we may say that we don''t like it. How is taking pleasure from music related to understanding it? This book explores these and other issues as they arise in various musical contexts.

From the author of the critically acclaimed, National Book Award-nominated novel Have Jump Shot Will Travel comes this players-and-coach''s-eye view of life in the Commercial Basketball League, a collection of rag-tag teams just this side of solvency, where the owners and coaches are unscrupulous and the players are one step removed from stardom in the NBA... or the playground hustlers of White Men Can''t Jump. In this fact-based novel that does to basketball what Ball Four and The Bronx Zoo did to baseball, Coach Bo Lassner''s task of gearing up his team for the playoffs involves much more than orchestrating the on-court X''s and O''s. In a league filled with NBA hasbeens, wannabes and neverwillbes, it''s a struggle just to keep the team''s meddling owner out of the way and the players'' minds off wine (in their milder moods), women and white stuff long enough to concentrate on the game at hand. In ribald, authentic inside detail, the author (himself a former coach in the real-life Continental Basketball Association) vividly captures the flip-side of the millionaire-ridden world of the NBA - where life truly is "a metaphor for basketball".

Brilliant, practical, and humorous conversations with one of the twentieth-century’s greatest musicologists on art, culture, and the physical pain of playing a difficult passage until one attains its rewards. Throughout his life, Charles Rosen combined formidable intelligence with immense skill as a concert pianist. He began studying at Juilliard at age seven and went on to inspire a generation of scholars to combine history, aesthetics, and score analysis in what became known as “new musicology.” The Joy of Playing, the Joy of Thinking presents a master class for music lovers. In interviews originally conducted and published in French, Rosen’s friend Catherine Temerson asks carefully crafted questions to elicit his insights on the evolution of music—not to mention painting, theater, science, and modernism. Rosen touches on the usefulness of aesthetic reflection, the pleasure of overcoming stage fright, and the drama of conquering a technically difficult passage. He tells vivid stories about composers from Chopin and Wagner to Stravinsky and Elliott Carter. In Temerson’s questions and Rosen’s responses arise conundrums both practical and metaphysical. Is it possible to understand a work without analyzing it? Does music exist if it isn’t played? Throughout, Rosen returns to the theme of sensuality, arguing that if one does not possess a physical craving to play an instrument, then one should choose another pursuit. Rosen takes readers to the heart of the musical matter. “Music is a way of instructing the soul, making it more sensitive,” he says, “but it is useful only insofar as it is pleasurable. This pleasure is manifest to anyone who experiences music as an inexorable need of body and mind.”

Language has frequently been at the center of discussions about Holocaust writing. Yet English, a primary language of neither the persecutors nor the victims, has generally been viewed as marginal to the events of the Holocaust. Alan Rosen argues that this marginal status profoundly affects writing on the Holocaust in English and fundamentally shapes our understanding of the events. Sounds of Defiance chronicles the evolving status of English in writing about the Holocaust, from the period of the Second World War to the 1990s. ø Each chapter highlights a representative work from a different genre?psychology, sociology, memoir, tales, fiction, and film?and examines the special position of English with regard to the Holocaust, supported by references to the role of other languages, including Hebrew, Yiddish, and German. This original approach provides a new perspective on such standard works as Eichmann in Jerusalem, The Shawl, and Maus, while drawing attention to others largely unknown. Rosen also links this analysis of English writing to developments in the postwar period: the escalating production of writing on the Holocaust in English; the increasing prestige of English as a global language; and paradoxically, within the contexts of neocolonial and multilingual studies, the increasingly uncertain position of English.

Does an opera producer do anything besides tell the singers where to stand? Can a single note be played more or less beautifully on the piano? In these essays, five of our most accomplished artists and critics explore questions of technique and interpretation in the performing arts. Tom Stoppard considers ways of controlling how an audience gets information while watching a play, and Charles Rosen reflects on the very physical relationship between the musician and the instrument. Jonathan Miller describes ways of restoring dramatic motivation to some of our best-loved operas. Garry Wills argues that the collaborative and commercial pressures of filmmaking have produced some of our greatest cinematic achievements, and Geoffrey O''Brien looks at how hip audiences in the Nineties have rediscovered Sixties pop music icon Burt Bacharach. Witty, trenchant, often surprising, and always insightful, this collection is essential reading for all devotees of theatrical, musical, and film performance.

A few years after its invention by James Naismith, basketball became the primary sport in the crowded streets of the Jewish neighborhood on New York''s Lower East Side. Participating in the new game was a quick and enjoyable way to become Americanized. Jews not only dominated the sport for the next fifty‑plus years but were also instrumental in modernizing the game. Barney Sedran was considered the best player in the country at the City College of New York from 1909 to 1911. In 1927 Abe Saperstein took over management of the Harlem Globetrotters, playing a key role in popularizing and integrating the game. Later he helped found the American Basketball Association and introduced the three-point shot. More recently, Nancy Lieberman played in a men''s pro summer league and became the first woman to coach a men''s pro team, and Larry Brown became the only coach to win both NCAA and the NBA championships. While the influence of Jewish players, referees, coaches, and administrators has gradually diminished since the mid‑1950s, the current basketball scene features numerous Jews in important positions. Through interviews and lively anecdotes from franchise owners, coaches, players, and referees, The Chosen Game explores the contribution of Jews to the evolution of present-day pro basketball.

The 1980s were arguably the NBA''s best decade, giving rise to Magic Johnson, Larry Bird, and Michael Jordan. They were among the game''s greatest players who brought pro basketball out of its 1970s funk and made it faster, more fluid, and more exciting. Off the court the game was changing rapidly too, with the draft lottery, shoe commercials, and a style driven largely by excess. One player who personified the eighties excess is Micheal Ray Richardson. During his eight-year career in the NBA (1978-86), he was a four-time All-Star, twice named to the All-Defense team, and the first player to lead the league in both assists and steals. He was also a heavy cocaine user who went on days-long binges but continued to be signed by teams that hoped he''d get straight. Eventually he was the first and only player to be permanently disqualified from the NBA for repeat drug use. Tracking the rise, fall, and eventual redemption of Richardson throughout his playing days and subsequent coaching career, Charley Rosen describes the life‑defining pitfalls Richardson and other players faced and considers key themes such as off‑court and on‑court racism, anti-Semitism, womanizing, allegations of point‑shaving within the league, and drug and alcohol abuse by star players. By constructing his various lines of narration around the polarizing figure of Richardson--equal parts basketball savant, drug addict, and pariah--Rosen illuminates some of the more unseemly aspects of the NBA during this period, going behind the scenes to provide an account of what the league''s darker side was like during its celebrated golden age.

The seven members of an all-Jewish basketball team, barnstorming in Depression-era America, confront the prejudices of the nation, as well as their own souls, in a wry and ardent road novel. "A tale of much more than sport. Rosen gives us a sometimes agonizing, often hilarious journey through American history, and a poignant account of what keeps a man running."--CHICAGO TRIBUNE

Players and Pretenders tells the story of the flip side of basketball''s "March Madness, " where the game is played by average players for love, not for money. At the end of the 1970s at Bard College, where there was no pretense of institutional support, Charley Rosen gathered his hoops hopefuls and put together a basketball season whose impact reached far beyond the court. & Writing with a humorous touch, Rosen details the Running Red Devils'' season, simultaneously examining the lives of those who made it so memorable and providing a glimpse of how the team members existed off the courts as both players and pretenders. His book playfully depicts the 1979-80 basketball season at Bard College and the "sports for fun" side of the game.

Dislocating the End examines how two concepts - catastrophe and typology - have reconceived the notion of ending. This innovation in ending has in turn gone hand in hand with innovation in genre. Focusing on Shakespeare''s King Lear, Defoe''s A Journal of the Plague Year, and Gershom Scholem''s theory of catastrophe, this book shows the implications of displaced endings for tragedy, novel, and historiography.