Defending the Music: Michael Steinberg at the Boston Globe, 1964-1976
Editat de Susan Feder, Jacob Jahiel, Marc Mandelen Limba Engleză Hardback – 14 iul 2026
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Specificații
ISBN-13: 9780197810217
ISBN-10: 0197810217
Pagini: 648
Ilustrații: 8 b/w photographs
Dimensiuni: 163 x 241 x 42 mm
Greutate: 1.03 kg
Editura: Oxford University Press
Colecția OUP USA
Locul publicării:New York, United States
ISBN-10: 0197810217
Pagini: 648
Ilustrații: 8 b/w photographs
Dimensiuni: 163 x 241 x 42 mm
Greutate: 1.03 kg
Editura: Oxford University Press
Colecția OUP USA
Locul publicării:New York, United States
Recenzii
How wonderful to read Michael Steinberg's brilliant insights on music in this fascinating collection. Defending the Music will appeal to everyone who loves music, from aficionados to the occasional concert attendee. This is clearly a labor of love and compiled with enormous respect. Thanks to Jorja Fleezanis for conceiving the volume and to the editors who brought it to fruition, Michael Steinberg's legacy continues.
This keenly anticipated volume restores to the public square the voice of a major 20th-century classical music critic. As seen in these well-chosen selections, Michael Steinberg's pen was fearless, stylish, and entertaining, blending formidable authority with effortless erudition and personable charm. And while most newspaper reviews are as ephemeral as the concerts they chronicle, Steinberg's prose endures as a bracing reminder of the critic's highest calling: defending the music, advocating for artistic integrity, and making palpable the beauty and bounty of the art form itself. A timely and essential collection.
Michael Steinberg had the rare gift of writing about music from the inside out. His reviews are always illuminating, informed by a passion and depth of knowledge that is most rare. Collectively, they form an invaluable chronicle of American musical life, engaging, enlightening and, just occasionally, maddening as he was a man of formidable convictions.
During the 1960s and '70s, Boston was on a roll with its classical music scene, and Michael Steinberg was the critic who reported on it for the Boston Globe. Boston's early music movement was rising, its composers were at full strength, and its front-rank orchestra-the Boston Symphony Orchestra-performed under four music directors. Steinberg critiqued from the center of the action, often with an edge. Defending the Music reveals as much about a distinctive musical era in Boston as about the intellectual powerhouse at its core.
As music critic, essayist, program annotator, and teacher, Michael Steinberg excelled in whatever he happened to be doing. In his early career he became a local legend as a star of the Boston Globe, in that bygone era when classical music criticism mattered to the general public and to newspapers. He was lucid, fearless, and passionate both in his ferocities and his accolades. Whatever the setting, Steinberg's writing has the rare capacity to engage and enlighten both music lovers and musicians. It is, quite simply, some of the best writing on music in the language. This book is a record of his criticism and at the same time a chronicle of a vital era in the musical life of the country.
I highly recommend this collection, which offers profound insight into Michael Steinberg's writings, philosophy, and viewpoint. Steinberg's ability to articulate the nuances of a performance transforms the reader's experience, encouraging a deeper and more mindful engagement with the music. Each review is masterfully crafted, capturing the essence of the sound while offering deep cultural context. Whether one is a composer, seasoned musician, or casual listener, his expertise provides an invaluable guide to understanding the emotional and technical acumen of the repertoire. He skillfully balances intellectual depth with profound resonance, offering a perspective that is both timely and timeless. A truly essential addition to one's personal collection and to libraries nationwide.
This keenly anticipated volume restores to the public square the voice of a major 20th-century classical music critic. As seen in these well-chosen selections, Michael Steinberg's pen was fearless, stylish, and entertaining, blending formidable authority with effortless erudition and personable charm. And while most newspaper reviews are as ephemeral as the concerts they chronicle, Steinberg's prose endures as a bracing reminder of the critic's highest calling: defending the music, advocating for artistic integrity, and making palpable the beauty and bounty of the art form itself. A timely and essential collection.
Michael Steinberg had the rare gift of writing about music from the inside out. His reviews are always illuminating, informed by a passion and depth of knowledge that is most rare. Collectively, they form an invaluable chronicle of American musical life, engaging, enlightening and, just occasionally, maddening as he was a man of formidable convictions.
During the 1960s and '70s, Boston was on a roll with its classical music scene, and Michael Steinberg was the critic who reported on it for the Boston Globe. Boston's early music movement was rising, its composers were at full strength, and its front-rank orchestra-the Boston Symphony Orchestra-performed under four music directors. Steinberg critiqued from the center of the action, often with an edge. Defending the Music reveals as much about a distinctive musical era in Boston as about the intellectual powerhouse at its core.
As music critic, essayist, program annotator, and teacher, Michael Steinberg excelled in whatever he happened to be doing. In his early career he became a local legend as a star of the Boston Globe, in that bygone era when classical music criticism mattered to the general public and to newspapers. He was lucid, fearless, and passionate both in his ferocities and his accolades. Whatever the setting, Steinberg's writing has the rare capacity to engage and enlighten both music lovers and musicians. It is, quite simply, some of the best writing on music in the language. This book is a record of his criticism and at the same time a chronicle of a vital era in the musical life of the country.
I highly recommend this collection, which offers profound insight into Michael Steinberg's writings, philosophy, and viewpoint. Steinberg's ability to articulate the nuances of a performance transforms the reader's experience, encouraging a deeper and more mindful engagement with the music. Each review is masterfully crafted, capturing the essence of the sound while offering deep cultural context. Whether one is a composer, seasoned musician, or casual listener, his expertise provides an invaluable guide to understanding the emotional and technical acumen of the repertoire. He skillfully balances intellectual depth with profound resonance, offering a perspective that is both timely and timeless. A truly essential addition to one's personal collection and to libraries nationwide.
Notă biografică
Jorja Fleezanis Concertmaster of the Minnesota Orchestra from 1989 to 2009, Jorja Fleezanis was the orchestra's longest-tenured concertmaster and only the second woman to hold that title at a major American orchestra. Prior to that she was associate concertmaster of the San Francisco Symphony and a violinist with the Chicago Symphony. A devoted teacher, she held chairs in violin and orchestral studies at Indiana University (2009-20) and taught at the University of Minnesota, Round Top International Festival Institute, Aldeburgh Britten Pears School, San Francisco Conservatory, Music@Menlo Festival, New World Symphony, Music Academy of the West, and Interlochen Academy, among other places. Fleezanis studied at the Cincinnati Conservatory of Music and the Cleveland Institute of Music. John Adams's Violin Concerto and John Tavener's Ikon of Eros were composed for her. She met Michael Steinberg at the San Francisco Symphony and they married in 1983.After his death in 2009, she established the Michael Steinberg & Jorja Fleezanis Fund to commission and perform text- based compositions by emerging composers. She died in 2022 at age 70.Susan Feder's multifaceted arts career culminated at the Mellon Foundation, where for fifteen years she developed systems-building initiatives on behalf of artists and organizations long under-resourced by philanthropy, and supported a significant expansion of contemporary arts repertoire. Previously she held the role of vice president at music publisher G. Schirmer, where she nurtured the careers of an international roster of composers. Feder also served as editorial coordinator of The New Grove Dictionary of American Music (1986) and program editor at the San Francisco Symphony. Currently she is active on the boards of several arts nonprofits and foundations. She holds degrees from Princeton University and University of California, Berkeley.Jacob Jahiel is a PhD student in Historical Musicology at the University of Pennsylvania. He holds an M.A. in Musicology from Indiana University, Bloomington's Jacobs School of Music, where he studied modern violin with Jorja Fleezanis, Baroque violin with Stanley Ritchie, and viola da gamba with Joanna Blendulf. He writes frequently for Early Music America's EMAg and contributes program notes to the Baltimore Symphony Orchestra and Boston Artists Ensemble. As a historical bowed string specialist, he has performed at the Academy for Early Music (MI) and the University of Chicago's Howard Mayer Brown International Early Music Series (IL), among others.Marc Mandel was manager and editor of the Boston Symphony Orchestra program book from 1979 to 2020, also initiating a series of adult education programs and serving for many years as the orchestra's principal pre-concert speaker. He has written program notes for the Boston Symphony, San Francisco Symphony, Carnegie Hall, and New York Philharmonic, among others; has written liner notes for the BSO Classics, Deutsche Grammophon, Philips, Nonesuch, and Telarc labels; and was a reviewer for Fanfare Magazine for twenty years. Following his undergraduate studies at Brandeis University, he earned graduate degrees in music history and musicology from Yale University and Princeton University, respectively.