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Charles Rosen Zitate
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Charles Rosen war ein US-amerikanischer Pianist und Musiktheoretiker.

Rosen machte eine zweifache Karriere. Als Klaviervirtuose trat er in vielen Solo- und Orchesterkonzerten auf der gesamten Welt auf; er hat – auf Einladung der Komponisten – eine Anzahl von Kompositionen des 20. Jahrhunderts eingespielt, darunter Werke von Igor Stravinsky, Elliott Carter und Pierre Boulez. Zu seinen bedeutendsten Einspielungen gehört außerdem die bei Sony erschienene Aufnahme der Goldberg-Variationen aus dem Jahr 1967 sowie Aufnahmen der späten Klaviersonaten Ludwig van Beethovens.

Rosen war außerdem Autor einer Reihe vielbeachteter Bücher über Musik. Sein wohl berühmtestes Buch ist The Classical Style , in dem die Natur und Entwicklung des klassischen Stils von Joseph Haydn, Wolfgang Amadeus Mozart und Ludwig van Beethoven analysiert wird. Sonata Forms ist eine Folgearbeit zu The Classical Style, eine intensive Analyse der primären Musikform der klassischen Ära. The Romantic Generation deckt die Werke der frühen Generation romantischen Komponisten ab, darunter Frédéric Chopin, Franz Liszt, Robert Schumann, Hector Berlioz und Felix Mendelssohn Bartholdy.

Weitere Bücher sind:



The Musical Languages of Elliott Carter

The Frontiers of Meaning: Three Informal Lectures on Music

Arnold Schönberg

Beethoven's Piano Sonatas: A Short Companion

Critical Entertainments: Music Old and New

Piano Notes: The World of the Pianist

Romanticism and Realism: The Mythology of Nineteenth-Century Art

Romantic Poets, Critics, and Other Madmen Rosen übte von Zeit zu Zeit Lehrtätigkeiten an verschiedenen Universitäten aus: Princeton, Harvard, Oxford und Chicago. 1974 wurde er in die American Academy of Arts and Sciences gewählt. Wikipedia  

✵ 5. Mai 1927 – 9. Dezember 2012
Charles Rosen: 69 Zitate0 Gefällt mir

Charles Rosen: Zitate auf Englisch

“The eventual survival of the tradition is ultimately not at stake.”

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Charles Rosen

"The Future of Music", The New York Review of Books (December 20, 2001)

“The relation of tonic to dominant is the foundation of Western triadic tonality. The attempt of the early nineteenth century to substitute third or mediant relationships for the classical dominant amounted to a frontal attack on the principles of tonality, and it eventually contributed to the ruin of triadic tonality. This ruin was accomplished from within the system, however, as mediant relationships were essential to tonality as conceived in the eighteenth century.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 4 : Formal Interlude

“There is a paradox at the heart of Chopin's style, in its unlikely combination of a rich chromatic web of polyphony, based on a profound experience of J. S. Bach, with a sense of melody and a way of sustaining the melodic line derived directly from Italian opera. The paradox is only apparent, and it is never felt as such when one hears the music. The two influences are perfectly synthesized, and they give each other a new kind of power.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 5 : Chopin: Counterpoint and the Narrative Forms

“Above all, Chopin was the greatest master of counterpoint since Mozart. This will appear paradoxical only if we equate counterpoint with strict fugue, and Chopin wrote no formal fugues except as an academic exercise. His chief training, in both composition and keyboard playing, however, came from a study of Bach, and it was a study that engaged him all his life and which he always recommended to his pupils.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 5 : Chopin: Counterpoint and the Narrative Forms

“Everything depends, of course, on the shape of the hand, and it must be stressed that there is no type of hand which is more suited to the piano than another. One of the greatest pianists that I ever heard—certainly the most remarkable in his control of the widest possible range and variety of tone color—was Josef Hoffman, who had a hand so small that he could reach no more than an octave; Steinway built him a special piano in which the ivories were slightly narrower so that he could reach a ninth. His friend Sergei Rachmaninov had a very large hand, as did Rudolf Serkin, and Sviatoslav Richter could not only reach a twelfth but could play the last chord of the Schumann Toccata without arpeggiation—an effect which would certainly have astonished the composer. My teacher, Moriz Rosenthal, famous for his technique, had a small hand with stubby fingers; Vladimir Horowitz's fingers were exceptionally long, while Robert Casadesus had fingers so thick that he had trouble fitting them in between the black keys. There is no such thing as an ideal pianist's hand.”

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Charles Rosen

Quelle: Piano Notes: The World of the Pianist (2002), Ch. 1 Body and Mind

“Chopin's exquisite ear saved him from the ugly repetition of thick chords in the bass that frequently disfigure the work of Mendelssohn, Weber, and Hummel—and even of Field.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

“Mendelssohn is the inventor of religious kitsch in music. His first essay in this genre is a masterpiece, the Fugue in E Minor, published in 1837 but written ten years earlier, when the composer was eighteen …”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 10 : Mendelssohn and the Invention of Religious Kitsch

“The relation of the performance of music to sound is complex and ambiguous: this is what makes possible Mark Twain's joke that Wagner is better than he sounds.”

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Charles Rosen

Quelle: Piano Notes: The World of the Pianist (2002), Ch. 1 Body and Mind

“By the late eighteenth century, there is a sad and permanent decline in the quality of music written for young performers or beginners: one has only to compare Bach's Album for Anna Magdalena Bach and the Two-Part Inventions with anything that came later. No composer of importance between Bach and Schumann turned his hand to writing for children, and Schumann's essays came after his years of greatest inspiration for piano writing had gone. (Mozart is the odd exception, but then he was, in fact, almost incapable of writing really easy pieces: he no doubt believed that his Sonata in D Major, K.576, was easy, perhaps because all the hard passages in the first movement were in simple two-part counterpoint, one voice in each hand, but he was wrong.)”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

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