Background
Horowitz, Joseph Irving was born on February 12, 1948 in New York City.
( “A splendid read, at once disturbing and illuminating.”...)
“A splendid read, at once disturbing and illuminating.”―Gramophone “An opinionated, stimulating account of how classical music failed to establish fruitful roots in America,” Classical Music in America chronicles “a cultural attitude that has produced many fine artists and striking moments―but no institutional or intellectual support to sustain them” (Kirkus Reviews, starred review). “An admirable, scholarly volume” (Times Literary Supplement), this “formidable book ... shows how American classical music became a ‘performance culture,’ an ersatz-European showplace for celebrity virtuosos, rather than a native-born genre” (The New Yorker). “As a comprehensive, convincing analysis of the contemporary dilemma” of reconciling European heritage with American vision “and a riveting portrait of the century and a half of events and personalities which brought it about, Mr Horowitz’s account would be hard to beat” (The Economist). “Anyone seeking to understand why American classical music has come to so dead an end―and wondering how it might yet escape a final descent into cultural irrelevance―should read Classical Music in America with close attention” (Commentary).
http://www.amazon.com/gp/product/0393330559/?tag=2022091-20
( As never before or since, Richard Wagner's name dominat...)
As never before or since, Richard Wagner's name dominated American music-making at the close of the nineteenth century. Europe, too, was obsessed with Wagner, but—as Joseph Horowitz shows in this first history of Wagnerism in the United States—the American obsession was unique. The central figure in Wagner Nights is conductor Anton Seidl (1850-1898), a priestly and enigmatic personage in New York musical life. Seidl's own admirers included the women of the Brooklyn-based Seidl Society, who wore the letter "S" on their dresses. In the summers, Seidl conducted fourteen times a week at Brighton Beach, filling the three-thousand-seat music pavilion to capacity. The fact that most Wagnerites were women was a distinguishing feature of American Wagnerism and constituted a vital aspect of the fin-de-siècle ferment that anticipated the New American Woman. Drawing on the work of such cultural historians as T. Jackson Lears and Lawrence Levine, Horowitz's lively history reveals an "Americanized" Wagner never documented before. An entertaining and startling read, a treasury of operatic lore, Wagner Nights offers an unprecedented revisionist history of American culture a century ago.
http://www.amazon.com/gp/product/0520083946/?tag=2022091-20
( What should the music of America sound like? At the end...)
What should the music of America sound like? At the end of the nineteenth century, no one was sure ? should we imitate Europe, or find our own voice? But what would that be? When the great Czech composer Antonin Dvorak came here, he found the answer in the ?sorrow songs? of his African-American student, Henry Burleigh, in the rhythms of the Indian drums, in the church tunes of Spillville, Iowa. Author, critic, and music-educator Joe Horowitz vividly captures the America Dvorak visited, and the brilliant New World Symphony he created. Through the story of one classical composition, Horowitz reveals the many ways in which all Americans have shaped our culture.
http://www.amazon.com/gp/product/0812626818/?tag=2022091-20
( “A splendid read, at once disturbing and illuminating.”...)
“A splendid read, at once disturbing and illuminating.”―Gramophone "An opinionated, stimulating account of how classical music failed to establish fruitful roots in America," Classical Music in America chronicles "a cultural attitude that has produced many fine artists and striking moments-but no institutional or intellectual support to sustain them" (Kirkus Reviews, starred review). "An admirable, scholarly volume" (Times Literary Supplement), this "formidable book ... shows how American classical music became a ‘performance culture,' an ersatz-European showplace for celebrity virtuosos, rather than a native-born genre" (The New Yorker). "As a comprehensive, convincing analysis of the contemporary dilemma" of reconciling European heritage with American vision "and a riveting portrait of the century and a half of events and personalities which brought it about, Mr Horowitz's account would be hard to beat" (The Economist). "Anyone seeking to understand why American classical music has come to so dead an end-and wondering how it might yet escape a final descent into cultural irrelevance-should read Classical Music in America with close attention" (Commentary).
http://www.amazon.com/gp/product/0393057178/?tag=2022091-20
(In this outstanding collection of his influential essays,...)
In this outstanding collection of his influential essays, one of today's most incisive commentators on American musical culture examines topics as diverse as the Metropolitan Opera's sellout to glitz, the popularization of Mozart, and the troubling impact of the recording process on "post-classical music."
http://www.amazon.com/gp/product/1555532187/?tag=2022091-20
Horowitz, Joseph Irving was born on February 12, 1948 in New York City.
Bachelor, Swarthmore College, 1970.
Music critic New York Times, 1976-1980. Program editor, principal annotator Kaufmann Concert Hall of the 92d St. Y, 1981-1994. Artistic advisor, executive director, executive producer Brooklyn Philharmonic Orchestra, 1992-1997.
Member faculty department music history and music education New England Conservatory of Music, since 1998. Lecturer Bayreuth Festival, summer 1998, also music schools, universities, music festivals, United States. Speaker Salzburg Seminar, annual convention American Musicol.
Society and American Symphony Orchestra League. Teacher Mannes College Music. Visiting professor Institute for Studies in American Music at Brooklyn College.
( What should the music of America sound like? At the end...)
(In this outstanding collection of his influential essays,...)
( As never before or since, Richard Wagner's name dominat...)
( “A splendid read, at once disturbing and illuminating.”...)
( “A splendid read, at once disturbing and illuminating.”...)
(First Edition)
(1st)