EUR 33,45
  • Tous les prix incluent la TVA.
En stock.
Expédié et vendu par Amazon. Emballage cadeau disponible.
Vous l'avez déjà ?
Repliez vers l'arrière Repliez vers l'avant
Ecoutez Lecture en cours... Interrompu   Vous écoutez un extrait de l'édition audio Audible
En savoir plus
Voir les 3 images

The Cambridge Companion to Conducting (Anglais) Broché – 20 novembre 2003

4,8 étoiles sur 5
5 étoiles
4 étoiles
3 étoiles
2 étoiles
1 étoile
4,8 étoiles sur 5 4 commentaires provenant des USA

Voir les 3 formats et éditions Masquer les autres formats et éditions
Prix Amazon
Neuf à partir de Occasion à partir de
Format Kindle
"Veuillez réessayer"
"Veuillez réessayer"
EUR 33,45
EUR 29,57 EUR 31,76
Note: Cet article est éligible à la livraison en points de collecte. Détails
Récupérer votre colis où vous voulez quand vous voulez.
  • Choisissez parmi 17 000 points de collecte en France
  • Les membres du programme Amazon Premium bénéficient de livraison gratuites illimitées
Comment commander vers un point de collecte ?
  1. Trouvez votre point de collecte et ajoutez-le à votre carnet d’adresses
  2. Sélectionnez cette adresse lors de votre commande
Plus d’informations
click to open popover

Offres spéciales et liens associés

Description du produit

Revue de presse

'… a rewarding and often revealing read …'. Classical Music

'… this volume clearly succeeds in providing illuminating insight, practical advice and insider information that is otherwise often unavailable in academic circles. The current volume encourages conductors, and to a certain extent scholars, to seriously examine their own music philosophies and performance concepts. It offers examples of how to rethink, retool, and make responsible and informed choices about the presentation of music to a variety of listeners. Most notably, however, this collection of essays displays the fundamental impact the conducting profession has had, and continues to have, on fostering creativity and engendering social and cultural change.' Nineteenth-Century Music Review

Présentation de l'éditeur

In this wide-ranging inside view of the history and practice of conducting, analysis and advice comes directly from working conductors, including Sir Charles Mackerras on opera, Bramwell Tovey on being an Artistic Director, Martyn Brabbins on modern music, Leon Botstein on programming and Vance George on choral conducting, and from those who work closely with conductors: a leading violinist describes working as a soloist with Stokowski, Ormandy and Barbirolli, while Solti and Abbado's studio producer explains orchestral recording, and one of the world's most powerful managers tells all. The book includes advice on how to conduct different types of groups (choral, opera, symphony, early music) and provides a substantial history of conducting as a study of national traditions. It is an unusually honest book about a secretive industry and managers, artistic directors, soloists, players and conductors openly discuss their different perspectives for the first time.

Aucun appareil Kindle n'est requis. Téléchargez l'une des applis Kindle gratuites et commencez à lire les livres Kindle sur votre smartphone, tablette ou ordinateur.

  • Apple
  • Android
  • Windows Phone
  • Android

Pour obtenir l'appli gratuite, saisissez votre numéro de téléphone mobile.

Détails sur le produit

Commentaires en ligne

Il n'y a pas encore de commentaires clients sur
5 étoiles
4 étoiles
3 étoiles
2 étoiles
1 étoile

Commentaires client les plus utiles sur (beta) 4.8 étoiles sur 5 4 commentaires
5.0 étoiles sur 5 Conducting Edited by Jose A. Bowen 16 novembre 2016
Par Peter F. Lesses - Publié sur
Format: Broché Achat vérifié
This a book with chapters by many notable conductors and those connected with such. I learned a lot about the inner world of conducting and managing from reading this. Actually, only two chapters deal with any specifics of executing music those being by Raymond Holden on orchestral conducting and Vance George, who systematically gets into the use of consonants and vowels in articulating choral parts. The excellent chapter by Charles Barber was unusually perceptive where he said that any unnecessary words from the podium are nails in the coffin. My experience is having played violin and viola intermittently over a 35 year period in a major orchestra, civic symphonies and as a student at Indiana University. I especially appreciated The Rise of Conducting by J. Bowen in Part II History. Joseph Silverstein even contributed some insight into playing as a soloist under renown conductors although I have heard some criticisms of Eugene Ormandy from career musicians. Bob Ripley, a former cellist in the Boston Symphony and Cleveland, contributed some interesting remarks about his experiences playing in an orchestra and under many famous conductors. I have a lot of respect for Harold Farberman as a teacher and performer of the subject, who is now at Bard College. He enjoys a better reputation today than the notorious six conductors of the 50s-70s: Izler Solomon-Indianapolis Symphony; Dr. Hans Schweiger-Kansas City Philharmonic; Donald Johanos-Dallas Symphony; Werner Torkanovsky-New Orleans Philharmonic; Benjamin Swalin-North Carolina Symphony; Walter Hendl-Dallas Symphony and former director of Eastman. The final chapter and word is by Leon Botstein, who delves into the future of producing concerts and criticizes programs that only feature the war horses and little of the great music of the past.
1 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Very interesting 14 janvier 2013
Par Aaron Daniel - Publié sur
Format: Broché Achat vérifié
I have very much enjoyed reading this book, and I have recommended it to all my friends who are interesting in studying conducting.
51 internautes sur 54 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Couldn't put it down 18 avril 2004
Par Un client - Publié sur
Format: Broché
Full disclosure: I wrote one of the chapters (see the TOC below for detail -I can't figure out how to put my name in the "public nickname" slot at Amazon). But I don't get paid royalties as far as I know, and I don't mind if you skip my chapter when you get the book - I did! (Haven't had the courage to read it yet.) I mention all this to be upfront, and not use a pseudonym on Amazon - a common practice by authors, I've heard.
I'm writing because I read the book (the parts by everyone else) and feel too enthusiastic to keep quiet about it. I literally couldn't put the book down. When I received my copy, I stayed up way past my bedtime reading it, ignoring sleepiness and the fact that I had to go to work the next morning. If you are at all interested in the topic, I don't know of anything of its type that's richer or more engaging. Don't assume that it's another collection of academic papers; instead it has insights not only from scholars but also from conductors (e.g., Mackerras), orchestral players, record producers, and managers. To give you an idea and help you determine if this book would interest you, here's the table of contents, with my short notes on a few chapters - ande they all deserve comment, but I will leave that to others:
Part I. Practice:
1. The technique of conducting - Raymond Holden
2. Conductors in rehearsal - Charles Barber [conductor, archivist of conducting films, so this has details on historical greats like Furtwaengler]
3. Studio conducting - Michael Haas [producer of Solti and Abbado recordings- fascinating information about their recordings and why conducting in the studio, which is what most of us hear in our CD collections, is so different from conducting in concert]
4. The conductor and the soloist - Joseph Silverstein [he's outstanding both as a conductor and a soloist, and former concertmaster at Boston so he played with many greats; again, a lot of interesting stuff]
5. Choral conducting - Vance George [SF chorus master, great choral conductor, very useful]
6. Opera conducting - Sir Charles Mackerras [need I say more?]
7. The orchestra speaks - Robert L. Ripley [played in Cleveland and Boston SOs for many years. Great chapter! A lot of detail about famous conductors and what they did well or badly in working with orchestras.]
Part II. History: [as good a history as I've seen. It really clarifies the context out of which such apparently unique figures as, say, Toscanini arose.]
8. The rise of conductors - José Antonio Bowen
9. The central European tradition - José Antonio Bowen and Raymond Holden
10. The French tradition - David Cairns
11. The Italian tradition - Michael Rose
12. The American tradition - José Antonio Bowen and David Mermelstein
13. The English tradition - Stephen Johnson
14. The Russian tradition - David Nice
Part III. Issues:
15. The conductor as Artistic Director - Bramwell Tovey [if you're aware of his work you will need no further encouragement]
16. Women on the podium - Michelle Edwards
17. Conducting early music - Bernard Sherman [that's me]
18. Training conductors - Harold Faberman [Perhaps America's leading teacher of conductors; his own book on conducting technique is outstanding]
19. The composer/conductor and modern music - Martyn Brabbins
20. Managers and the business of conduction - Stephen Wright
21. The future of conducting - Leon Botstein.[Again - need I say more? Fascinating chapter by this extraordinary conductor/scholar/university president.]
5.0 étoiles sur 5 Compelling evidence for "the Conductor is always right"! 30 septembre 2015
Par Aussietrainman - Publié sur
Format: Broché Achat vérifié
I had effectively rated it 5 star before I ordered it. I had the book as a 'borrowed item' form my local public library and I got sick of renewing it, so now I have my own copy. Thank you! Sorry, I forgot to add a note about the (physical) quality of the book - excellent.
Ces commentaires ont-ils été utiles ? Dites-le-nous