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The Classical Style: Haydn, Mozart, Beethoven is a revised and enlarged version of Charles Rosen's landmark 1970 work on the compositions of the trio of musical geniuses who formed the Viennese Classical School and forever changed the face of music. Along with clarifications, expansions, and new insights into the composers and their music, the book has been enriched by the addition of a compact disc containing two of the Beethoven piano sonatas of which the author writes. Rosen's books are always shot through with musical examples, so you'll get a great deal more out of this one if you can read music. The Classical Style is a brilliant book, composed by a genuine artist, sometimes provocative, but never sloppy in its thinking.
--This text refers to the
Hardcover
edition.
From Library Journal
The first edition of this book won the 1972 National Book Award and remained available in paperback for more than two decades. For this edition, Rosen adds a 14-page preface answering some of his friendly critics and a 26-page essay on Beethoven?which includes 44 musical examples, not seen?that emphasizes the composer's indebtedness to Haydn and Mozart. Otherwise, the text of the original edition remains unchanged. A CD (not heard) of Rosen playing two Beethoven piano sonatas (opp. 106 and 110) is also included. Libraries successful in keeping together the book and CD of Rosen's Romantic Generation (LJ 4/1/95) may want to attempt the same with this set, but once the CD is lost, the price seems high for only two new essays if the older edition is still serviceable.?Bonnie Jo Dopp, Univ. of Maryland Lib., College Park
Copyright 1997 Reed Business Information, Inc. --This text refers to the Hardcover edition.
Copyright 1997 Reed Business Information, Inc. --This text refers to the Hardcover edition.
Inside This Book
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First Sentence
When Beethoven left Bonn in 1792, he had with him an album in which his patron, Count Waldstein, had written: 'You are going to Vienna in fulfillment of your long frustrated wishes . . . You will receive the spirit of Mozart from the hands of Haydn.' Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
When Beethoven left Bonn in 1792, he had with him an album in which his patron, Count Waldstein, had written: 'You are going to Vienna in fulfillment of your long frustrated wishes . . . You will receive the spirit of Mozart from the hands of Haydn.' Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Most helpful customer reviews
2 of 2 people found the following review helpful
5.0 out of 5 stars
Great Place to Start,
By A Customer
This review is from: The Classical Style: Haydn, Mozart, Beethoven (Paperback)
This book stimulated my interest in trying to figure out how music works more than anything else I have ever read. Sure, it is not the latest word, the most comprehensive or closely argued, but to get the interested amatuer started down the path of analysis of musical forms, why it sounds good, and what the big three Classical Era composers did to create a large chunk of our western musical heritage, this is the place to start. Rosen steered me toward many, many other books, cited in his bibliography and notes, on related topics, such as sonata form, how it works and does not. Sure, scholars can quibble and somebody else could and should write a followup to answer the complaints, but until then, Rosen is the place to start. His other books are just as good, but not as enjoyable. Dense, you bet, but worth it.
1 of 1 people found the following review helpful
5.0 out of 5 stars
Classic writing about Classical music,
By klavierspiel "klavierspiel" (TX, USA) - See all my reviews
This review is from: The Classical Style: Haydn, Mozart, Beethoven (Paperback)
Charles Rosen by now has attained a place among musical analysts on a par with the likes of Tovey and Grout, though his style is very different from either of these luminaries. Taking the music of Haydn, Mozart and Beethoven as the pinnacle of the musical style that developed in the late eighteenth-century, Rosen explains how around 1775 there was a decisive shift away from the High Baroque style of Bach and Handel, and why this new music was different. After his general introduction to the style most of the book explores different genres, symphony, opera, concerto and string quartet among them, to create a lucid and multi-faceted picture of how these three great composers approached and solved common musical and formal problems. The new edition adds a preface that addresses criticisms of the original book and an additional late chapter on Beethoven.Rosen's writing, though it can be dense and repetitive, at its best is unmatched in its ability to relate analysis to what actually is heard by a listener. To this end, an ability to read and understand the copious and detailed musical examples is essential to fully grasping his points--this book is not for the casual amateur. But to those willing to do the work, The Classical Style remains as richly rewarding after three-plus decades as when it first appeared. As another reviewer has mentioned, it is a book one returns to again and again simply for the sheer pleasure of reading it.
5.0 out of 5 stars
Tough sledding, but worth it,
This review is from: The Classical Style: Haydn, Mozart, Beethoven (Paperback)
As a music lover with a superficial knowledge of the technical aspects of music-making, I found this book to be a real challenge. It took me several attempts over the course of a couple of years to get through it. But having expended that effort, I can say that every minute was worth it. I now have a good understanding of what "classical" music (in the stricter definition of "classical") is about, and why its three great Viennese exponents were such masters. I now can listen classical music -- indeed, to any common-practice period music -- with much more insight, understanding, and enjoyment than I could heretofore.
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