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The Classical Style: Haydn, Mozart, Beethoven
 
 
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The Classical Style: Haydn, Mozart, Beethoven (Hardcover)

by Charles Rosen (Author) "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..." (more)
4.7 out of 5 stars  See all reviews (3 customer reviews)

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Product details

  • Hardcover: 530 pages
  • Publisher: Faber and Faber; New edition edition (6 Oct 1997)
  • Language English
  • ISBN-10: 0571192874
  • ISBN-13: 978-0571192878
  • Product Dimensions: 22.8 x 15.4 x 3.4 cm
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon.co.uk Sales Rank: 198,315 in Books (See Bestsellers in Books)

    Popular in these categories:

    #11 in  Books > Music, Stage & Screen > Music > Composers & Musicians > Classical Music > Haydn
    #36 in  Books > Music, Stage & Screen > Music > Composers & Musicians > Classical Music > Beethoven
    #40 in  Books > Music, Stage & Screen > Music > Composers & Musicians > Classical Music > Mozart

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Product Description

Product Description

In this new edition of a work first published in 1973, the pianist Charles Rosen sets out to answer the question of what actually constitutes the manner, the way of composing, that links Haydn, Mozart and Beethoven. The text is accompanied by a CD.
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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
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Customer Reviews

3 Reviews
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Average Customer Review
4.7 out of 5 stars (3 customer reviews)
 
 
 
 
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22 of 23 people found the following review helpful:
5.0 out of 5 stars A classic, 14 Jan 2006
By Ronan M. Conroy (Dublin, Ireland) - See all my reviews
(REAL NAME)   
This review is from: The Classical Style: Haydn, Beethoven, Mozart (Paperback)
I cannot believe that no-one has written about this book here before. Perhaps because it is a classic, it might be taken for granted. But I have found myself re-reading the section on Mozart while playing through a handful of the concertos, and relishing once again Rosen's vivid powers of communication. This is the sort of musical analysis that obviously arises from a deep love of, and a deep enjoyment of music, and contributes generously to it.

Rosen's own personality, immensely knowledgable, enthusiastic and intellectually rigorous make one long to feed him a first class dinner in return for the pleasure of his company over the years.

There is a warning: Rosen's books require some ability to be able to read music, and a general familiarity with the music. But 'The Classical Style' and 'Sonata Forms', despite their slightly academic titles, are some of the most companionable books known to me.

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2 of 2 people found the following review helpful:
5.0 out of 5 stars The best book in music literature, 29 May 2009
By F. J. Guijarro Pascual "Javier Guijarro Pascual" (Salamanca, Spain) - See all my reviews
(REAL NAME)   
This review is from: The Classical Style: Haydn, Beethoven, Mozart (Paperback)
I have been reading this book for years, over and over. Like with all other books by Charles Rosen,you learn a lot about music with it. But not only about the music by Haydn, Mozart and Beethoven as the title would suggest, but about any music, becouse here you find a way of looking to music wich helps you to understand a lot of things.
Of course, many of Charles Rosen points of view have been discussed over the years. Sometimes the critics may have some reason. But in general, Rosen's insights are deeper and subtler than anything else you may find in the music literature.
I would recommend this book to anyone interested in music.
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0 of 1 people found the following review helpful:
4.0 out of 5 stars ERRATA, 21 Aug 2009
This review is from: The Classical Style: Haydn, Beethoven, Mozart (Paperback)
The first thing I read in this book was a rather blatent error:

"All of Haydn, Mozart and Beethoven is written with the system of equal temperament in mind, even music for string quartet."

All these composers in fact used irregular temperaments, not equal temperament. In fact, in Attwood's studies, Mozart advocates a 21-note meantone chain of 5ths:

Cb Gb Db Ab Eb Bb F C G D A E B F# C# G# D# A# E# B# Fx

In the cases of Ebb, Fb, and Bbb, Mozart wrote: "...these tones the harpsichord has not, but all other instruments have...".

Keyboards were tuned to various fixed meantone temperaments, and for this music they really still should be.
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