Leibowitz René e Maguire Jan – Il Pensiero Orchestrale, esercizi pratici di orchestrazione – SALVATI BARI Uploaded by Dario Ble. music. Copyright: © All. Get this from a library! Il pensiero orchestrale: esercizi pratici di orchestrazione. [ René Leibowitz; Jan Maguire]. Leibowitz, René and Maguire, Jan. Thinking for Orchestra: Practical Il pensiero orchestrale; esercizi pratici di orchestrazione. Translated by M. de Natale.
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Post on Jan views. Orcheatrale, Second Series, Vol. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. It was never performed in Russia.
Il pensiero orchestrale : esercizi pratici di orchestrazione (Book, ) 
But average passages of this type tend to confuse. What sort of music can it be that conveys all the things in the second quoted pas- sage above? Such descriptive words as “infectious,” “fervent,” “unwholesome,” and “purifying,” when applied to music, may have a surprisingly concrete musical lekbowitz to the Russian reader. Although the present translation is unobtrusive and readable, the scholar will be im- patient with what leibowltz to be flowery generalities and romantic opinion in place of artistic analysis.
Orchdstrale Slonimsky’s foreword, perhaps intentionally, presents a contrast in prose. It is, for Slonimsky, quite sub- dued and is pointedly factual. Slonimsky bends over backwards to be fair, taking care that his thus arched position is clearly visible to the reader. He takes the general stand that this is an im- portant, valuable book as indeed it isbut he prepares the reader by juxta- posing such polite phrases as “Every bio- grapher has the right to establish his own attitude toward his subject,” with “In this [Nestyev] inevitably follows the established Soviet interpretation.
Leibowifz is difficult not to compare it with the chaotic, poetic paean pre- pared by the remarkable Sergei Eisen- stein for Nestyev’s volume leiowitz Prokofiev. Compiled by Duane D. Part IV identifies approximately “Indestructible” two- and four-minute domestic and British cylinders; Part V does the same for more than “U. Everlasting” two- and four-minute cylinders also released, with the leiboaitz numbers, as “Lakeside” cylinders by Montgomery Ward. Both parts supply an artist list, a numerical index with release dates, an artist index, and a title index.
Deakins and his assistants appear to be well on the way towards becoming the Clough and Cuming of the cylinder world.
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Hill put it- Comprehensive Cylinder Record In- dex. Hill put it- “should prove a great boon, and may well lead to the preservation of many more of these socially significant docu- ments than would otherwise be likely. These works are excellent sources of ldibowitz orchestration information; they are less satisfactory as practical aids to orches- tration. Orchestration, however, is a practical craft, and as Richard Strauss remarked, the only way to learn to orchestrate is to orchestrate.
Since many “practi- cal manuals” of orchestration have ap- peared, among which those by Ameri- cans such as Arthur Heacox, Kent “should prove a great boon, and may well lead to the preservation of many more of these socially significant docu- ments than would otherwise be likely.
Since many “practi- cal manuals” of orchestration have ap- peared, among which those by Ameri- cans such as Arthur Heacox, Kent This content downloaded from These works also follow a similar format: They share a common weakness in that many ex- amples simply require mechanical trans- cription rather than orchestration in the modern sense.
Now appears, in translation, a French work correcting this draw-back. As might be expected from Rene Leibowitz, it is comprehensive and excellently or- ganized; it treats the orchestration of symphonic works as well as that of opera, choral compositions, and concertos.
For Leibowitz the basic problem in learning to orchestrate lies in acqui- sition of skills in “thinking” for the orchestra as a whole, an entity greater than the sum of its parts, rather than in mere transcription. Thus he presents the student who is assumed to know instrumentation with li measures from well-known works, beginning with Haydn and proceeding chronologically until Sessions. These examples, in short-score and concert pitch, are found in the first section of the book Leibowitz’s format is similar to that of other “practical manuals” leibositz, and are each accompanied by a short dis- cussion of specific scoring problems in- volved.
The student’s task lies in at- tempting to “reorchestrate” the passage, after which his version is compared to the original. All the original versions are found in the second section. Ac- cording to Leibowitz, the object is not to duplicate the original orchestration, a formidable challenge for anyone how many musicians could duplicate the opening bars of Strauss’s Don Juan, let alone Schoenberg’s Opus 16?
Marco de Natale
Rather he believes that marked differences will result from lack of understanding of specific orchestration problems. This is an aspect of his thesis which is de- batable; there are many contrasting ways to score a passage, all of which would constitute good orchestration.
This exception is to one detail in his study; the basic principle is certainly valid, and the manual is an important Kennan, and Joseph Wagner are out- standing. This exception is to one detail in his study; the basic principle is certainly valid, and the manual is an important addition to the literature. It probably would be of great interest to composi- tion students.
In the final analysis, or- chestration is an aspect of composition; in Berlioz’s words, “as little teachable as the art of inventing beautiful melo- dies, chord progressions and rhythmic figures that are potent. After working for some time as editors for a British record company, the Messrs.
Gammond and Clayton came to realize that accurate information about what they call “the in-betweenery” is badly needed. The Dictionary of Popular Music is the result of this realization. The book contains a remarkably var- ied and accurate assortment of infor- mation, much of it not easy to find else- where, and an unexpected bonus is the fact that it is written in literate and entertaining prose. Indeed, I can find only one thing seriously wrong with it.
Rene Leibowitz – Il Pensiero Orchestrale
Even though the information is there, it is impossible to discover for example who composed “Little White Lies” or who wrote the lyrics for “Yes Sir, That’s My Baby” unless you happen to run across the facts accidentally in the ad- mirable entry for Walter Donaldson.
Obviously, pensieor comprehensive index of all song-titles and names cited in the text is called for. Perhaps in a later printing, the American publishers can justify their price, more than double that of the English edition printed from the same plates, and immeasurably in- crease the dictionary’s usefulness by pro- viding such a plain necessity.
With Symbols Indicating Opinions of Reviewers [pp.