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The Compleat Conductor, by Gunther Schuller
Ebook Free The Compleat Conductor, by Gunther Schuller
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Amazon.com Review
What makes for a "compleat" conductor? According to Gunther Schuller, it is a combination of fidelity to the score and going "for the grand line ... the clarification of the inherent structure(s)." Schuller, himself a conductor, has written The Compleat Conductor as a kind of report card on many of this century's foremost practitioners of the art. Using scores from Beethoven, Brahms, Schumann, Tchaikovsky, Strauss, and Ravel as his final exam, Schuller measures the work of the world's great conductors--everyone from Toscanini to John Eliot Gardiner--against what's printed on the page, and he finds most wanting in comparison. The Compleat Conductor is partly an indictment of the failings of other conductors, partly Schuller's reflections on music, performance, and the authority of the score versus the authority of the conductor. Many of Schuller's pronouncements are sure to arouse controversy, but even for music lovers who disagree with his grading system, there's plenty of food for thought in The Compleat Conductor.
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From Library Journal
This is a detailed analysis of eight standard symphonic works as seen from the conductor's podium. A distinguished conductor as well as a composer, performer, and educator, Schuller starts with a simple premise: the composers knew how they wanted their music to sound and marked the music clearly. He then goes into exhaustive detail in comparing the composers' stated wishes with recorded performances over the last 50 years. He discusses the implied logic behind the original directions, praises those who interpret as directed, and takes pot shots at a number of prominent musicians who place their own egos ahead of their music. The opinions are strong, well researched, and convincingly argued. Invaluable for advanced musicians.?Timothy J. McGee, Univ. of TorontoCopyright 1997 Reed Business Information, Inc.
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Product details
Hardcover: 592 pages
Publisher: Oxford University Press; 1st Edition edition (August 21, 1997)
Language: English
ISBN-10: 0195063775
ISBN-13: 978-0195063776
Product Dimensions:
6.3 x 2 x 9.4 inches
Shipping Weight: 2 pounds (View shipping rates and policies)
Average Customer Review:
3.7 out of 5 stars
14 customer reviews
Amazon Best Sellers Rank:
#1,585,154 in Books (See Top 100 in Books)
This is a very bizarre book indeed. Schuller's ideals are laudable in themselves: don't tamper with scores and don't let your ego get in the way of what the composer is saying. But his attempts to prove his point are flawed in almost every way, mainly because he constantly breaks the rules that he set out himself to start with. He obsessively analyses recordings of a number of famous great works with the score in hand, and points out the innumerable sins, blunders and stupidities that in his view virtually every conductor allows himself in virtually every bar. For some reason the author presumes he is just about the only one who knows how it should be done, or cares about doing it well, or even more amazingly: knows what the composer actually meant. E.g.: Changing anything in a score is a mortal sin, because the composer knows best - only Schuller knows better, pointing out where the composer 'forgot' something or is 'obviously' wrong, and changing instrumentation, tempo or dynamics accordingly. For some unspecified reason (a personal hotline to the hereafter maybe?) the author is the only conductor allowed to make such decisions; be sure he will hurl accusations of incompetence or arrogance at others who do the same thing! These inconsistencies are an inevitable result from the assumption that scores are fairly unambiguous and composers well nigh infallible. Of course, they aren't and they aren't.Schuller claims objectivity, but his methods wouldn't hold their own against even the mildest scientific criteria. How can one realistically compare recordings from the '30s to state of the art CD-sound from the '90s? Can one really, objectively and consistently, judge the difference between pp and ppp? And if Schuller can't hear a particular detail, is that proof of an inadequate performance - or does it say something about differences in recording techniques, about the (unspecified) playback equipment Schuller used, or even about his hearing? Worse, Schuller's reasoning is rarely other than subjective: 'Any intelligent reading of the score will make it obvious...', and arguments like that. Also he will point out how 'natural', 'thrilling' or 'perfect'something will sound if done the right (i.e., Schuller's) way, forgetting that these are all matters of taste. Where he really gives himself away is in his vitriolic attack on the authenticists, which is so poorly argued and random that I find it hard to understand without wondering about personal motives (Schuller pulls all the stops here, and enjoys adding a footnote in which he points out that in a supposedly 'expert' booklet note on an authentic Beethoven recording the term 'mezza voce' is misspelled as 'mesa voce'. This turns out unexpectedly funny seeing that Schuller himself also misspells the term, as 'messa voce'!).Maybe for some this book invites a new look at some scores, but it also turns music-making into a scholastic exercise at the risk of draining all feeling out of it. The useful points that are made could have been made in under 50 pages; the rest is just obsessive repetition. It might have warranted 2 stars, maybe, but I felt the overenthusiastic average rating needed some reduction towards a more realistic level.
I met Schuller when when I was an UG student and he is certainly a very knowledgeable man, but I can't imagine a more boring and useless book on conducting. Most of the book is used in comparing recording tempi by several conductors, Basically, every conductor (except himself, of course) is wrong with their tempi choices.In this book Schuller is killing music interpretation and personal performance: for Schuller, if something is not in the score, it should not be performed. Come on! He gets really pedatic about it.Avoid!
In this unique book, a world renowned conductor and composer tells the whole musical world how to critically examine the great masterpieces of symphonic music. He has put under scrutiny over a hundred recordings of the following works: Beethoven's Fifth and Seventh symphonies, Brahms' First and Fourth, the last movement of Schumann's second symphony, Tchaikovsky's Sixth symphony, Strauss's Till Eulenspiegel and Ravel's Daphnis and Chloe...Examining first the works, then some of their most outstanding recordings, Gunther Schuller gives us an unprecedented study on how these works should be played to come up with what the composers had in mind. Because Schuller believes, quite rightly, that the composer knows better than any conductor what his work is all about: every note, every indication must be scrupulously followed! No conductor, not even Toscanini or Furtwängler, should take liberties with the indications of tempo, phrasing dynamics etc... that the composer has painstakingly put in his score. Now to all those music "critics" who give us their opinions about recordings of great masterpieces I say this: if you don't go through every work the way Schuller has done here, just give up! It's none of your business to tell us which recording we have to choose, because your opinions would be as good as ours...Despite all my admiration to Schuller's work, I have one small reservation: at page 308, he argues against playing the repeat of the exposition of the first movement in Brahms's First Symphony, because of "a certain awkwardness in the way Brahms returns to m.38, an abruptness in the harmonic progression that (he) can't quite analyze." Well, Mr Schuller, you keep saying the composer knows best, so what happened here that made you know better than Brahms?
A superb 'textbook' for the fledgeling conductor as well as the seasoned music critic. Honest, well written, and downright startling information which is sure to bring new delight to music enthusiests who are willing to evaluate it's pages unbiasedly because they, too, truly care about the 'holy script' which we call the score.
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