Using landscape as its unifying concept; this engaging book explores orchestral music that represents real and imagined physical and cultural spaces; natural forces; and humans and wildlife. Spanning continents and centuries; David Knight links contrasting forms of music through unifying themes of time and space; waterscapes; imagined and mythic spaces; the search for meaning in extreme landscapes; and realms of death; survival; and remembrance. The author also underscores the importance of the physical spaces in which music is performed. Orchestral works are rarely perceived in geographical terms; but Knight; himself an accomplished geographer and musician; offers a deeply satisfying approach to interpreting and appreciating a wide range of music. Comparing classic masterworks from Europe and Russia alongside more recent compositions from the United States; Canada; New Zealand; Japan; and China; this innovative study offers a fresh understanding of the links between music and the worlds around us.
#1782149 in eBooks 2013-08-01 2013-08-01File Name: B00E0KQU9Q
Review
3 of 4 people found the following review helpful. Very good compilation of in-depth essays on Sondheim worksBy G.C.This volume of 14 essays; by 14 different authors; on selected works of Stephen Sondheim is aimed principally at an academic audience; and does not cover all of Sondheims musicals individually. I also use the word "works" rather than musicals; because the essay by Douglas Braverman covers not a musical; but Sondheims one original movie screenplay; "The Last of Sheila"; although Braverman does tie this screenplay back to Sondheims musicals; not surprisingly.For the most part; even though the discussions are quite in depth and "academic" in that sense; the essays generally avoid literary jargon; so that Sondheim devotees or fanatics who arent necessarily literary academics can also potentially derive much enjoyment from this collection. The one essay which lays on the literary terminology rather more is Gary Konas essay on "Passion". To a lesser extent; Barbara Means Fraser also uses a few "heavier" academic terms of analysis; but since she fairly breezes through each musical in her analysis of the role of the chorus in Sondheims musicals; there almost isnt time to get bogged down. I must confess as a small matter of personal taste that I found Judith Schlesingers use of the line from "Sweeney Todd" of Dont I know you; mister? as her essay closer very arch and self-conscious; in an otherwise good essay.Although this volume certainly isnt "casual" reading; it is accessible enough for the intelligent lay-reader who is willing to focus on the task at hand. Sondheim fans will need no recommendation from me.