Sing, Ariel

Sing, Ariel : Essays and Thoughts for Alexander Goehr's Seventieth Birthday

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Description

Alexander Goehr, composer and teacher, was born in Berlin in 1932 and was brought to England in 1933. His distinguished career has involved work with the BBC during the 1960s, and teaching positions at the New England Conservatory in Boston, and at Yale, Southampton and Leeds universities. From 1976 to 1999 he was Professor of Music at Cambridge University, where he was an influential teacher of many composers who are now well-known figures. He has twice been composer-in-residence at Tanglewood and is an honorary member of the American Academy of Arts and Letters. One of the most eminent British composers of our time, Goehr's output ranges from opera to solo instrumental works and his music has been internationally acclaimed. This anthology of essays and personal tributes, by colleagues, former students and friends, not only brings Goehr's own music into sharp focus but reflects some of his wide-ranging interests and ideas. It is supplemented by a biographical profile, complete work-list, bibliography, discography and CD recording.
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Product details

  • Mixed media product | 436 pages
  • 162 x 242 x 38mm | 726g
  • Ashgate Publishing Limited
  • United Kingdom
  • English
  • 12 b&w illustrations, 50 music examples, bibliography
  • 0754634973
  • 9780754634973

Table of contents

A note from Julian Anderson; Alexander Goehr: a biographical profile; Alexander Goehr at 70: a personal survey, Robin Holloway; Sphere-born harmonious sisters: reconciling voice and verse in Sing, Ariel, Frank Kermode; Sing, Ariel: the text; Canonic codes, George Benjamin; The way to the new: Alexander Goehr in conversation with Julian Anderson; Canonic studies and time pieces on the Motif FB-AG, David Drew; The composer's confidant: Goehr's early piano music, Bill Hopkins; Difficulties of the right kind: Goehr's ... in real time, Stephen Plaistow; More with less, Bernard Williams; To speak as it were through various voices: tonal invention in the first movement of Schlussgesang, Silvina Milstein; Calling it by its right name: words, poetry (and a little music) in the Analects of Confucious, Amira Katz-Goehr; A not-so-little music: Goehr's op. 16 as paradigm, Bayan Northcott; All the dancers know it and it is valid for all times: Goehr, Kafka and The Law of the Quadrille, Jonathan Dunsby; Das Gesetz der Quadrille: the text; Is there something to understand?: The question of meaning in music, Simha Arom and Jean Khalfa; Performance writ large: desultory remarks on furnishing the abode of the retired scholar, Nicholas Cook; Honour displaced, Lydia Goehr; Twelve-note roots: the 5th and 6th movements of The Death of Moses, Aaron Einbond; Malipiero, Monteverdi, Mussolini and musicology, Iain Fenlon; Training the rose: reflections on the individual and the collective in new music, Geoffrey Poole; A rhythmical language of thrust and repose: Goehr' Suite op. 11, Anthony Gilbert; JSB: A prologue, three stories and an epilogue, Michael Wolpe; An island formation in Schoenberg's Fourth String Quartet: notes from a diary, Christoper Wintle; Born-again opera: Goehr and Behold the Sun, John Deathridge; Sweet, dangerously...lucidly: aspects of Sing, Ariel, Beth Wiseman; The second life of Goehr, Paul Driver; On music of conviction... and an enduring friendship, Hugh Wood; Goehr's works.
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