A mesmerizing figure in concert, Charles Munch was celebrated for his electrifying public performances. He was a pioneer in many arenas of classical music--establishing Berlioz in the canon, perfecting the orchestral work of Debussy and Ravel, and leading the world to Roussel, Honegger, and Dutilleux. A pivotal figure, his accomplishments put him on a par with Arturo Toscanini and Leonard Bernstein.In Charles Munch, D. Kern Holoman provides the first full biography of this giant of twentieth-century music, tracing his dramatic survival in occupied Paris, his triumphant arrival at the Boston Symphony Orchestra, and his later years, when he was a leading cultural figure in the United States, a man known and admired by Presidents Truman, Eisenhower, and Kennedy. He turned to conducting only in middle age, after two decades as a violinist and concertmaster, a background which gave him special insight into the relationship between conductor and orchestra. At the podium, his bond with his musicians unleashed something in them and in himself. "A certain magic took wing that amounts to the very essence of music in concert," the author writes, as if "public performance loosed the facets of character and artistry and poetry otherwise muffled by his timidity and simple disinclination to say much." In concert, Munch was arresting, even seductive, sweeping his baton in an enormous arch from above his head down to his knee. Yet as Holoman shows, he remained a lonely, even sad figure, a widower with no children, a man who fled admirers and avoided reporters. With groundbreaking research and sensitive, lyrical writing, Charles Munch penetrates the enigma to capture this elusive musical titan.

In this Very Short Introduction, D. Kern Holoman considers the structure, roots, and day-to-day functioning of the modern philharmonic society. He explores topics ranging from the life of a musician in a modern orchestra, the recent wave of new hall construction from Berlin to Birmingham, threats of bankruptcies and strikes, and the eyebrow-raising salaries of conductors and general managers. At the heart of the book lies a troubling pair of questions: Can such a seemingly anachronistic organization long survive? Does the symphony matter in contemporary culture? Holoman responds to both with a resounding yes. He shows that the orchestra remains a potent political and social force, a cultural diplomat par excellence. It has adapted well to the digital revolution, and it continues to be seen as an essential element of civic pride. In a time of upheaval in how classical music is created, heard, distributed, and evaluated, the orchestra has managed to retain its historic role as a meeting place of intellectual currents, an ongoing forum for public enlightenment. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

A mesmerizing figure in concert, Charles Munch was celebrated for his electrifying public performances. He was a pioneer in many arenas of classical music--establishing Berlioz in the canon, perfecting the orchestral work of Debussy and Ravel, and leading the world to Roussel, Honegger, and Dutilleux. A pivotal figure, his accomplishments put him on a par with Arturo Toscanini and Leonard Bernstein.In Charles Munch, D. Kern Holoman provides the first full biography of this giant of twentieth-century music, tracing his dramatic survival in occupied Paris, his triumphant arrival at the Boston Symphony Orchestra, and his later years, when he was a leading cultural figure in the United States, a man known and admired by Presidents Truman, Eisenhower, and Kennedy. He turned to conducting only in middle age, after two decades as a violinist and concertmaster, a background which gave him special insight into the relationship between conductor and orchestra. At the podium, his bond with his musicians unleashed something in them and in himself. "A certain magic took wing that amounts to the very essence of music in concert," the author writes, as if "public performance loosed the facets of character and artistry and poetry otherwise muffled by his timidity and simple disinclination to say much." In concert, Munch was arresting, even seductive, sweeping his baton in an enormous arch from above his head down to his knee. Yet as Holoman shows, he remained a lonely, even sad figure, a widower with no children, a man who fled admirers and avoided reporters. With groundbreaking research and sensitive, lyrical writing, Holoman penetrates the enigma to capture this elusive musical titan.

A mesmerizing figure in concert, Charles Munch was celebrated for his electrifying public performances. He was a pioneer in many arenas of classical music--establishing Berlioz in the canon, perfecting the orchestral work of Debussy and Ravel, and leading the world to Roussel, Honegger, and Dutilleux. A pivotal figure, his accomplishments put him on a par with Arturo Toscanini and Leonard Bernstein.In Charles Munch, D. Kern Holoman provides the first full biography of this giant of twentieth-century music, tracing his dramatic survival in occupied Paris, his triumphant arrival at the Boston Symphony Orchestra, and his later years, when he was a leading cultural figure in the United States, a man known and admired by Presidents Truman, Eisenhower, and Kennedy. He turned to conducting only in middle age, after two decades as a violinist and concertmaster, a background which gave him special insight into the relationship between conductor and orchestra. At the podium, his bond with his musicians unleashed something in them and in himself. "A certain magic took wing that amounts to the very essence of music in concert," the author writes, as if "public performance loosed the facets of character and artistry and poetry otherwise muffled by his timidity and simple disinclination to say much." In concert, Munch was arresting, even seductive, sweeping his baton in an enormous arch from above his head down to his knee. Yet as Holoman shows, he remained a lonely, even sad figure, a widower with no children, a man who fled admirers and avoided reporters. With groundbreaking research and sensitive, lyrical writing, Charles Munch penetrates the enigma to capture this elusive musical titan.

A mesmerizing figure in concert, Charles Munch was celebrated for his electrifying public performances. He was a pioneer in many arenas of classical music--establishing Berlioz in the canon, perfecting the orchestral work of Debussy and Ravel, and leading the world to Roussel, Honegger, and Dutilleux. A pivotal figure, his accomplishments put him on a par with Arturo Toscanini and Leonard Bernstein.In Charles Munch, D. Kern Holoman provides the first full biography of this giant of twentieth-century music, tracing his dramatic survival in occupied Paris, his triumphant arrival at the Boston Symphony Orchestra, and his later years, when he was a leading cultural figure in the United States, a man known and admired by Presidents Truman, Eisenhower, and Kennedy. He turned to conducting only in middle age, after two decades as a violinist and concertmaster, a background which gave him special insight into the relationship between conductor and orchestra. At the podium, his bond with his musicians unleashed something in them and in himself. "A certain magic took wing that amounts to the very essence of music in concert," the author writes, as if "public performance loosed the facets of character and artistry and poetry otherwise muffled by his timidity and simple disinclination to say much." In concert, Munch was arresting, even seductive, sweeping his baton in an enormous arch from above his head down to his knee. Yet as Holoman shows, he remained a lonely, even sad figure, a widower with no children, a man who fled admirers and avoided reporters. With groundbreaking research and sensitive, lyrical writing, Charles Munch penetrates the enigma to capture this elusive musical titan.

The Orchestra: A Very Short Introduction considers the structure, roots, and day-to-day functioning of the modern philharmonic society. Far from an anachronistic organization that cannot long survive, it is shown to be powerful political and social force, occupying critical positions in cultural diplomacy, national identity, and civic pride.

The Orchestra: A Very Short Introduction considers the structure, roots, and day-to-day functioning of the modern philharmonic society. Far from an anachronistic organization that cannot long survive, it is shown to be powerful political and social force, occupying critical positions in cultural diplomacy, national identity, and civic pride.

This companion to the orchestral concert includes background, biographies, and discussions of 200 masterpieces.

This is the story of one of the world's great philharmonic societies, told by a distinguished conductor and writer whose command of the subject is nothing short of virtuosic. Established in 1828 with roots stretching back to the 1790s, the Societe des Concerts du Conservatoire reflected and in many ways encapsulated the development of French culture, and of Western music, in the nineteenth and twentieth centuries. D. Kern Holoman describes how in the 1820s and 1830s the potent forces of democracy, exclusivity, and revolutionary fervor that collided in and around the Conservatoire forged and then tempered an organization as flexible as it was strong. In elegant and spirited prose, accompanied by illustrations and a website with copious further documentation, Holoman chronicles the life of the Societe, from its day-to-day operations to its role in creating the canon of orchestral concert music in our culture. A testament to the Societe's power and importance, his book is itself a significant contribution to the history of Western music.

Where do you place the hyphen in "Beethoven" if it breaks between two lines? How do you cite John Coltrane's album A Love Supreme? Is it "premiere" or "premiere"? The answers and much more can be found in this definitive resource for authors, students, editors, concert producers - anyone who deals with music in print. Extending the principles devised for the classical repertoires, this revised and expanded edition now includes examples from world music, rock, jazz, popular music, and cinema. This essential volume covers some of the thorniest issues of musical discourse: how to go about describing musical works and procedures in prose, the rules for citations in notes and bibliography, and proper preparation of such materials as musical examples, tables, and illustrations. One section discusses program notes, while others explain the requirements for submitting manuscripts and electronic files, and outline best practices for student writers. An appendix lists common problem words. Updates include greatly simplified citations of Internet locators, the recognition of multiple platforms, and the expectation of paperless transmission and storage of work.Cited as the authority by The Chicago Manual of Style, this classic handbook is the go-to source for anyone writing about music.

Where do you place the hyphen in "Beethoven" if it breaks between two lines? How do you cite John Coltrane’s album A Love Supreme? Is it "premiere" or "première"? The answers and much more can be found in this definitive resource for authors, students, editors, concert producers—anyone who deals with music in print. Extending the principles devised for the classical repertoires, this revised and expanded edition now includes examples from world music, rock, jazz, popular music, and cinema. This essential volume covers some of the thorniest issues of musical discourse: how to go about describing musical works and procedures in prose, the rules for citations in notes and bibliography, and proper preparation of such materials as musical examples, tables, and illustrations. One section discusses program notes, while others explain the requirements for submitting manuscripts and electronic files, and outline best practices for student writers. An appendix lists common problem words. Updates include greatly simplified citations of Internet locators, the recognition of multiple platforms, and the expectation of paperless transmission and storage of work. Cited as the authority by The Chicago Manual of Style, this classic handbook is the go-to source for anyone writing about music.

A mesmerizing figure in concert, Charles Munch was celebrated for his electrifying public performances. He was a pioneer in many arenas of classical music--establishing Berlioz in the canon, perfecting the orchestral work of Debussy and Ravel, and leading the world to Roussel, Honegger, and Dutilleux. A pivotal figure, his accomplishments put him on a par with Arturo Toscanini and Leonard Bernstein.In Charles Munch, D. Kern Holoman provides the first full biography of this giant of twentieth-century music, tracing his dramatic survival in occupied Paris, his triumphant arrival at the Boston Symphony Orchestra, and his later years, when he was a leading cultural figure in the United States, a man known and admired by Presidents Truman, Eisenhower, and Kennedy. He turned to conducting only in middle age, after two decades as a violinist and concertmaster, a background which gave him special insight into the relationship between conductor and orchestra. At the podium, his bond with his musicians unleashed something in them and in himself. "A certain magic took wing that amounts to the very essence of music in concert," the author writes, as if "public performance loosed the facets of character and artistry and poetry otherwise muffled by his timidity and simple disinclination to say much." In concert, Munch was arresting, even seductive, sweeping his baton in an enormous arch from above his head down to his knee. Yet as Holoman shows, he remained a lonely, even sad figure, a widower with no children, a man who fled admirers and avoided reporters. With groundbreaking research and sensitive, lyrical writing, Charles Munch penetrates the enigma to capture this elusive musical titan.

In this Very Short Introduction, D. Kern Holoman considers the structure, roots, and day-to-day functioning of the modern philharmonic society. He explores topics ranging from the life of a musician in a modern orchestra, the recent wave of new hall construction from Berlin to Birmingham, threats of bankruptcies and strikes, and the eyebrow-raising salaries of conductors and general managers. At the heart of the book lies a troubling pair of questions: Can such a seemingly anachronistic organization long survive? Does the symphony matter in contemporary culture? Holoman responds to both with a resounding yes. He shows that the orchestra remains a potent political and social force, a cultural diplomat par excellence. It has adapted well to the digital revolution, and it continues to be seen as an essential element of civic pride. In a time of upheaval in how classical music is created, heard, distributed, and evaluated, the orchestra has managed to retain its historic role as a meeting place of intellectual currents, an ongoing forum for public enlightenment. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

A mesmerizing figure in concert, Charles Munch was celebrated for his electrifying public performances. He was a pioneer in many arenas of classical music--establishing Berlioz in the canon, perfecting the orchestral work of Debussy and Ravel, and leading the world to Roussel, Honegger, and Dutilleux. A pivotal figure, his accomplishments put him on a par with Arturo Toscanini and Leonard Bernstein.In Charles Munch, D. Kern Holoman provides the first full biography of this giant of twentieth-century music, tracing his dramatic survival in occupied Paris, his triumphant arrival at the Boston Symphony Orchestra, and his later years, when he was a leading cultural figure in the United States, a man known and admired by Presidents Truman, Eisenhower, and Kennedy. He turned to conducting only in middle age, after two decades as a violinist and concertmaster, a background which gave him special insight into the relationship between conductor and orchestra. At the podium, his bond with his musicians unleashed something in them and in himself. "A certain magic took wing that amounts to the very essence of music in concert," the author writes, as if "public performance loosed the facets of character and artistry and poetry otherwise muffled by his timidity and simple disinclination to say much." In concert, Munch was arresting, even seductive, sweeping his baton in an enormous arch from above his head down to his knee. Yet as Holoman shows, he remained a lonely, even sad figure, a widower with no children, a man who fled admirers and avoided reporters. With groundbreaking research and sensitive, lyrical writing, Holoman penetrates the enigma to capture this elusive musical titan.

A mesmerizing figure in concert, Charles Munch was celebrated for his electrifying public performances. He was a pioneer in many arenas of classical music--establishing Berlioz in the canon, perfecting the orchestral work of Debussy and Ravel, and leading the world to Roussel, Honegger, and Dutilleux. A pivotal figure, his accomplishments put him on a par with Arturo Toscanini and Leonard Bernstein.In Charles Munch, D. Kern Holoman provides the first full biography of this giant of twentieth-century music, tracing his dramatic survival in occupied Paris, his triumphant arrival at the Boston Symphony Orchestra, and his later years, when he was a leading cultural figure in the United States, a man known and admired by Presidents Truman, Eisenhower, and Kennedy. He turned to conducting only in middle age, after two decades as a violinist and concertmaster, a background which gave him special insight into the relationship between conductor and orchestra. At the podium, his bond with his musicians unleashed something in them and in himself. "A certain magic took wing that amounts to the very essence of music in concert," the author writes, as if "public performance loosed the facets of character and artistry and poetry otherwise muffled by his timidity and simple disinclination to say much." In concert, Munch was arresting, even seductive, sweeping his baton in an enormous arch from above his head down to his knee. Yet as Holoman shows, he remained a lonely, even sad figure, a widower with no children, a man who fled admirers and avoided reporters. With groundbreaking research and sensitive, lyrical writing, Charles Munch penetrates the enigma to capture this elusive musical titan.

A mesmerizing figure in concert, Charles Munch was celebrated for his electrifying public performances. He was a pioneer in many arenas of classical music--establishing Berlioz in the canon, perfecting the orchestral work of Debussy and Ravel, and leading the world to Roussel, Honegger, and Dutilleux. A pivotal figure, his accomplishments put him on a par with Arturo Toscanini and Leonard Bernstein.In Charles Munch, D. Kern Holoman provides the first full biography of this giant of twentieth-century music, tracing his dramatic survival in occupied Paris, his triumphant arrival at the Boston Symphony Orchestra, and his later years, when he was a leading cultural figure in the United States, a man known and admired by Presidents Truman, Eisenhower, and Kennedy. He turned to conducting only in middle age, after two decades as a violinist and concertmaster, a background which gave him special insight into the relationship between conductor and orchestra. At the podium, his bond with his musicians unleashed something in them and in himself. "A certain magic took wing that amounts to the very essence of music in concert," the author writes, as if "public performance loosed the facets of character and artistry and poetry otherwise muffled by his timidity and simple disinclination to say much." In concert, Munch was arresting, even seductive, sweeping his baton in an enormous arch from above his head down to his knee. Yet as Holoman shows, he remained a lonely, even sad figure, a widower with no children, a man who fled admirers and avoided reporters. With groundbreaking research and sensitive, lyrical writing, Charles Munch penetrates the enigma to capture this elusive musical titan.

The Orchestra: A Very Short Introduction considers the structure, roots, and day-to-day functioning of the modern philharmonic society. Far from an anachronistic organization that cannot long survive, it is shown to be powerful political and social force, occupying critical positions in cultural diplomacy, national identity, and civic pride.

The Orchestra: A Very Short Introduction considers the structure, roots, and day-to-day functioning of the modern philharmonic society. Far from an anachronistic organization that cannot long survive, it is shown to be powerful political and social force, occupying critical positions in cultural diplomacy, national identity, and civic pride.

This companion to the orchestral concert includes background, biographies, and discussions of 200 masterpieces.

This is the story of one of the world's great philharmonic societies, told by a distinguished conductor and writer whose command of the subject is nothing short of virtuosic. Established in 1828 with roots stretching back to the 1790s, the Societe des Concerts du Conservatoire reflected and in many ways encapsulated the development of French culture, and of Western music, in the nineteenth and twentieth centuries. D. Kern Holoman describes how in the 1820s and 1830s the potent forces of democracy, exclusivity, and revolutionary fervor that collided in and around the Conservatoire forged and then tempered an organization as flexible as it was strong. In elegant and spirited prose, accompanied by illustrations and a website with copious further documentation, Holoman chronicles the life of the Societe, from its day-to-day operations to its role in creating the canon of orchestral concert music in our culture. A testament to the Societe's power and importance, his book is itself a significant contribution to the history of Western music.

Where do you place the hyphen in "Beethoven" if it breaks between two lines? How do you cite John Coltrane's album A Love Supreme? Is it "premiere" or "premiere"? The answers and much more can be found in this definitive resource for authors, students, editors, concert producers - anyone who deals with music in print. Extending the principles devised for the classical repertoires, this revised and expanded edition now includes examples from world music, rock, jazz, popular music, and cinema. This essential volume covers some of the thorniest issues of musical discourse: how to go about describing musical works and procedures in prose, the rules for citations in notes and bibliography, and proper preparation of such materials as musical examples, tables, and illustrations. One section discusses program notes, while others explain the requirements for submitting manuscripts and electronic files, and outline best practices for student writers. An appendix lists common problem words. Updates include greatly simplified citations of Internet locators, the recognition of multiple platforms, and the expectation of paperless transmission and storage of work.Cited as the authority by The Chicago Manual of Style, this classic handbook is the go-to source for anyone writing about music.

Where do you place the hyphen in "Beethoven" if it breaks between two lines? How do you cite John Coltrane’s album A Love Supreme? Is it "premiere" or "première"? The answers and much more can be found in this definitive resource for authors, students, editors, concert producers—anyone who deals with music in print. Extending the principles devised for the classical repertoires, this revised and expanded edition now includes examples from world music, rock, jazz, popular music, and cinema. This essential volume covers some of the thorniest issues of musical discourse: how to go about describing musical works and procedures in prose, the rules for citations in notes and bibliography, and proper preparation of such materials as musical examples, tables, and illustrations. One section discusses program notes, while others explain the requirements for submitting manuscripts and electronic files, and outline best practices for student writers. An appendix lists common problem words. Updates include greatly simplified citations of Internet locators, the recognition of multiple platforms, and the expectation of paperless transmission and storage of work. Cited as the authority by The Chicago Manual of Style, this classic handbook is the go-to source for anyone writing about music.