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The Maestro Myth - Revised (Anglais) Broché – 1 février 2001


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Book by Lebrecht Norman


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Détails sur le produit

  • Broché: 393 pages
  • Editeur : Citadel; Édition : New edition (1 février 2001)
  • Langue : Anglais
  • ISBN-10: 0806520884
  • ISBN-13: 978-0806520889
  • Dimensions du produit: 15,5 x 3 x 22,5 cm
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 212.775 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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Couverture | Copyright | Table des matières | Extrait | Index | Quatrième de couverture
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Achat vérifié
Magnifique livre de Norman Lebrecht, qui mériterait toutefois d'être mis à jour et surtout d'être réédité en français, pour ceux que l'anglais rebute.
Je venais de lire "au coeur de l'orchestre" de Ch. Merlin et "Maestro myth" a été un bon complément. J'ai des frissons dans le dos à la pensée que les chefs d'orchestre sont parfois (trop souvent!) aussi gourmands que nos banquiers voyous. Pas étonnant que la musique classique soit en danger et les salles difficiles à remplir. A la fin de son livre N. Lebrecht passe rapidement en revue les acteurs responsables de cette valse des millions et de l'étouffement progressif de la musique...et cela permet de placer la resposabilité du chef d'orchestre en perspective.
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23 internautes sur 28 ont trouvé ce commentaire utile 
a pointless book 11 novembre 2008
Par Ricardo Martins - Publié sur Amazon.com
In our "age of feuilleton", as Hesse so aptly put, when it is abundantly clear that the more interested we are on the irrelevant facts about celebrities, the more we are bound to be disappointed by their character flaws, what is the point of this book?
The author begins his introduction with the interesting enough argument that conductors are often irrelevant, that the great ensembles are perfectly capable of playing without these star-figures, and that these are hired merely to attract bigger audiences. It is a fact that nowadays more people go see the performer rather than hear the piece and that music, like any other aspect of human endeavor, has its establishment, hermetic and frequently unfair.
Rather than expand and elaborate on this controversial point, he loses himself in gossip and a lot of ranting on how these conductors were horrible human beings. Anyone with a modicum of sense finds it perfectly plausible that a person of any talent need not be a saint. The fact that we expect this from politicians, for example, probably accounts for the average quality (or lack thereof) of our representatives, and is evidence of how little sense is to be found around these days.
In the course of this ranting the author states time and again how this orchestra played better under Mr. X's direction, and that one sounded different the moment Mr. Y mounted the podium, or that it was enough that Mr. Z looked at the group with his penetrating gaze for everybody to play their hearts out...
So-are conductors irrelevant or not? What is the point after all?
For I am not interested in the personal lives of actors, , painters, musicians or any entertainer, except insofar as particular circumstances influence work that I enjoy.
13 internautes sur 15 ont trouvé ce commentaire utile 
Newly Revised and Updated...but was it edited?! 14 janvier 2006
Par tompy0904 - Publié sur Amazon.com
Although I am deeply enthralled by the lives of great conductors and musicians, this was not enough to erase the embarrasment and, at times, utter disgust at the mistakes (typos, misspellings,etc.) and errors found throughout this book.

I bought the book on a whim and became deeply entrenched in its pages within minutes (this is not to say that this reads like Clancy but it is very interesting). But the more I read the more frustrated I became at the mindless and senseless editing that was done here. For instance, on one page alone there are 3 different spellings of Mahler's name:

1: The correct way appears- Mahler

2: Then this- Maler

3: And finally this- Mabler

The latter really bowled me over. And the further I read the worse it became. There are also misrepresented facts (such as the stockyards in Chicago) throughout.

In short, if you are looking for scholarship and true presentations, look elsewhere. If you are interested in various interesting anecdotes and trivia-like facts about conductors and you dont mind sifting through misspellings and foreign words with no interpretation, then you will enjoy this book. But I must warn you...any book with a typo on its back cover (The Maesto Myth) may be more of a hassle than good informal reading.
9 internautes sur 10 ont trouvé ce commentaire utile 
Possibly the least edifying book about conductors ever written 14 juillet 2012
Par Stevo - Publié sur Amazon.com
Norman Lebrecht has had a career as a serious music journalist, but one would scarcely know it from reading this book. It reads as if conductors (and musicians generally) have the same vacuous existence as media 'celebrities', famous for being famous, with the sum of their personalities distillable down to this tantrum or that whimsical request. Thankfully, that is not the case, and hence it renders this gossipy, fatuous book nugatory.

Well-written small talk, even pure invective, can be entertaining on its own level, but Lebrecht fails even in this. Other reviewers seem to find entertainment in his style, if not his substance. I do not share that view. Lebrecht piles tired cliche upon cliche, hack metaphor upon metaphor, and peppers the text with the kind of childish alliteration you read only in school essays and tabloid press. His imagery is frequently ugly and not a little suspect (CD buyers browsing in shops are apparently lined up like men standing at urinals).

One is left wondering what target audience Lebrecht had in mind: people interested in serious music? Hardly. People who enjoy empty celebrity biography? Unlikely. One is left with the impression that Lebrecht is writing for his own idle amusement, or apparently with envy that his own musical gifts seem to be in inverse proportion to his propensity to write gossip about the abilities of others. He is welcome to it. For the rest of us, there are finer, more penetrating, more cogently argued and simply better written books on conductors available.
4 internautes sur 4 ont trouvé ce commentaire utile 
Gossip gossip gossip.... 14 juillet 2013
Par Wagnermaniac - Publié sur Amazon.com
What's the point with writing a book about the conductor who married his step-mother, the one that was the lover of a former minister of culture, the one that publicly humiliated his wife hunting male prostitutes and the countless conductors who are punished for taking the wrong side 80 years ago, as if public music making should have been forbidden between 1933 and 1945 or have mercy on the poor devil who would pay dearly for having done his/her job under an evil regime etc etc etc. Mr.Lebrecht has for now two decades proved that he's incapable of writing one single interesting line about music; only back-stage dirt counts. If he only had the ability to be the Dan Brown of classical music!
6 internautes sur 8 ont trouvé ce commentaire utile 
One man's informed and unique view 5 février 2006
Par L. Rosenstiel - Publié sur Amazon.com
Lebrecht writes trenchantly about the music business. Many of his observations are carefully considered, if impolitic. Those who idolize the "great conductors" will be very uncomfortable reading about their equally outsided foibles. The author's conclusions are his own and may not be to everyone's taste. However, Lebrecht has enough backbone not to be trying to please everyone--for that way also would lie a boring book. No, he's trying to tell the truth as he sees it. This volume does not pretend to be a complete or scholarly treatment of all the major conductors within recent memory and Lebrecht clearly has his favorites (such as Simon Rattle). The editing leaves much to be desired because typos abound. Is this entirely the author's fault, or does the editor share the blame? If you want to know that we're all human and some more so than others, this is a book for you. It's not geared to people who don't already know something about the subject, so you need to be a classical music buff to come away feeling the impact of what Lebrecht has told you. If you are, you will see clear examples of how the press is often prejudiced (not to say sometimes vindictive, as in the case of Mitropoulos), how public taste is shaped by odd events and sometimes how virtue is punished. I feel a little guilty giving this book only 4 stars because its writing is up to a high standard and its thesis is interesting, but the substandard editing is, nevertheless, distracting to the reader.
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