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Frases de Charles Rosen
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Charles Rosen [1]​ fue un pianista y teórico musical estadounidense.

Rosen llevó adelante una doble carrera. Como pianista virtuoso apareció en numerosos recitales y presentaciones con orquesta por todo el mundo, y grabó varias obras del siglo XX invitado por los compositores, en los que se incluyen obras de Ígor Stravinski, Elliott Carter y Pierre Boulez.

Rosen también fue autor de muchos libros sobre música ampliamente admirados. Quizás el más famoso de todos es The Classical Style , que analiza la naturaleza y la evolución del alto estilo clásico como fue desarrollado por Joseph Haydn, Wolfgang Amadeus Mozart y Ludwig van Beethoven. Sonata Forms es en cierto modo una continuación de The Classical Style; es un análisis intensivo de la forma musical primaria usada en la era clásica. The Romantic Generation cubre la obra de la primera generación de compositores románticos, entre ellos Frédéric Chopin, Franz Liszt, Robert Schumann y Felix Mendelssohn.

El polifacético Rosen también publicó en otras áreas de humanidades: Romanticism and Realism: The Mythology of Nineteenth-Century Art y Romantic Poets, Critics, and Other Madmen.

Rosen lo largo del tiempo fue escalando posiciones como profesor universitario. Tuvo un Ph. D. en Literatura Francesa de la Universidad de Princeton, y enseñó en Harvard, Universidad de Oxford y la Universidad de Chicago.

Contribuyó regularmente a la difusión de la música en The New York Review of Books.

Charles Rosen falleció el 9 de diciembre de 2012 en Nueva York.[1]​ Wikipedia  

✵ 5. mayo 1927 – 9. diciembre 2012
Charles Rosen: 69   frases 0   Me gusta

Charles Rosen: Frases en inglés

“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

Fuente: 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

Fuente: 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

Fuente: 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

Fuente: 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

Fuente: 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

Fuente: 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

Fuente: 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

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