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Paul Bowles on Music

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Paul Bowles on Music Cover

 

Review-A-Day

"Enthusiasm and a love of music inform every paragraph....Paul Bowles's fiction can seem rather lurid, and its (apparently improvised) violent climaxes are sometimes preposterous; but these impressions of music are a reminder of what always rings true in his literary work, namely a passionate observation of local life in the places he writes about." Judith Weir, The Times Literary Supplement (read the entire Times Literary Supplement review)

Synopses & Reviews

Publisher Comments:

"It's an easy enough job if one has something to say," Paul Bowles remarked in a letter to his mother about his first foray into music criticism. And Paul Bowles, indeed, had plenty to say about music. Though known chiefly as a writer of novels and stories, Paul Bowles (1910-99) thought of himself first and foremost as a composer. Drawing together the work he did at the intersection of his two passions and professions, writing and music, this volume collects the music criticism Bowles published between 1935 and 1946 as well as an interview conducted by Irene Herrmann shortly before his death.

An intimate of Aaron Copland and protégé of Virgil Thomson, Bowles was a musical sophisticate acquainted with an enormous range of music. His criticism collected here brilliantly illuminates not only the whole range of modernist composition but also film music, jazz, Mexican and Moroccan music, and many other genres. As a reviewer he reports on established artists and young hopefuls, symphonic concerts indoors and out, and important premieres of works by Copland, Thomson, Cage, Shostakovich, and Stravinsky, among others. Written with the austere grace of his better-known literary works, Bowles's criticism enhances our picture of an important era in American music history as well as our sense of his accomplishments and extraordinary contribution to twentieth-century culture.

Review:

"This pleasing book . . . usefully fills out Bowles's creative profile." Opera News

Review:

"His musical writing chronicles the discoveries and determinations of a graceful and wise mind." LA Weekly

Review:

"Bowles on Music captures the writer from 1935 to 1946: the formative years of the much lauded 'Greatest Generation.' It was one of the most exciting periods in our nation's history, and Bowles, a talented and mostly self-taught composer, had the right ear and eye to capture it." Orange County Register

Review:

"In this wonderfully engaging and informative collection we hear the voice of a different Paul Bowles. Writing on a wide range of subjects — jazz, film music, classical music, popular music, ethnic music — he is direct, opinionated, incisive, analytical, humorous, and passionate." Millicent Dillon, author of You Are Not I: A Portrait of Paul Bowles

Synopsis:

"It's an easy enough job if one has something to say," Paul Bowles remarked in a letter to his mother about his first foray into music criticism. And Paul Bowles, indeed, had plenty to say about music. Though known chiefly as a writer of novels and stories, Paul Bowles (1910-99) thought of himself first and foremost as a composer. Drawing together the work he did at the intersection of his two passions and professions, writing and music, this volume collects the music criticism Bowles published between 1935 and 1946 as well as an interview conducted by Irene Herrmann shortly before his death.

An intimate of Aaron Copland and protégé of Virgil Thomson, Bowles was a musical sophisticate acquainted with an enormous range of music. His criticism collected here brilliantly illuminates not only the whole range of modernist composition but also film music, jazz, Mexican and Moroccan music, and many other genres. As a reviewer he reports on established artists and young hopefuls, symphonic concerts indoors and out, and important premieres of works by Copland, Thomson, Cage, Shostakovich, and Stravinsky, among others. Written with the austere grace of his better-known literary works, Bowles's criticism enhances our picture of an important era in American music history as well as our sense of his accomplishments and extraordinary contribution to twentieth-century culture.

About the Author

Winner of the ASCAP Deems-Taylor Award for music criticism, Timothy Mangan is classical music critic for the Orange County Register. Irene Herrmann is Lecturer in Music at the University of California, Santa Cruz, and the executrix of the Paul Bowles music estate.

Table of Contents

Introduction

—Timothy Mangan

Articles and Reviews by Paul Bowles

1935-39

1940

1941

1942

1943

1944

1945

1946

Interview with Paul Bowles, by Irene Hermann

Index

Product Details

ISBN:
9780520236554
Editor:
Mangan, Timothy
Editor:
Herrmann, Irene
Editor:
Mangan, Timothy
Editor:
Herrmann, Irene
Author:
Herrmann, Irene
Author:
Bowles, Paul
Author:
Mangan, Timothy
Publisher:
University of California Press
Location:
Berkeley, Calif.
Subject:
General
Subject:
Film - General
Subject:
Music
Subject:
Composers
Subject:
History & Criticism - General
Subject:
Film & Video - General
Subject:
Music -- Philosophy and aesthetics.
Subject:
Music -- History and criticism.
Subject:
General Music
Edition Description:
Trade Cloth
Publication Date:
20030931
Binding:
HARDCOVER
Grade Level:
Professional and scholarly
Language:
English
Illustrations:
1 music example
Pages:
310
Dimensions:
9 x 6 x 0.88 in 1.05 lb

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Related Subjects

Arts and Entertainment » Film and Television » Reference
Arts and Entertainment » Music » History and Criticism
Fiction and Poetry » Literature » A to Z
History and Social Science » World History » General
Humanities » Literary Criticism » General

Paul Bowles on Music New Hardcover
0 stars - 0 reviews
$66.95 Backorder
Product details 310 pages University of California Press - English 9780520236554 Reviews:
"Review A Day" by , "Enthusiasm and a love of music inform every paragraph....Paul Bowles's fiction can seem rather lurid, and its (apparently improvised) violent climaxes are sometimes preposterous; but these impressions of music are a reminder of what always rings true in his literary work, namely a passionate observation of local life in the places he writes about." (read the entire Times Literary Supplement review)
"Review" by , "This pleasing book . . . usefully fills out Bowles's creative profile."
"Review" by , "His musical writing chronicles the discoveries and determinations of a graceful and wise mind."
"Review" by , "Bowles on Music captures the writer from 1935 to 1946: the formative years of the much lauded 'Greatest Generation.' It was one of the most exciting periods in our nation's history, and Bowles, a talented and mostly self-taught composer, had the right ear and eye to capture it."
"Review" by , "In this wonderfully engaging and informative collection we hear the voice of a different Paul Bowles. Writing on a wide range of subjects — jazz, film music, classical music, popular music, ethnic music — he is direct, opinionated, incisive, analytical, humorous, and passionate."
"Synopsis" by ,
"It's an easy enough job if one has something to say," Paul Bowles remarked in a letter to his mother about his first foray into music criticism. And Paul Bowles, indeed, had plenty to say about music. Though known chiefly as a writer of novels and stories, Paul Bowles (1910-99) thought of himself first and foremost as a composer. Drawing together the work he did at the intersection of his two passions and professions, writing and music, this volume collects the music criticism Bowles published between 1935 and 1946 as well as an interview conducted by Irene Herrmann shortly before his death.

An intimate of Aaron Copland and protégé of Virgil Thomson, Bowles was a musical sophisticate acquainted with an enormous range of music. His criticism collected here brilliantly illuminates not only the whole range of modernist composition but also film music, jazz, Mexican and Moroccan music, and many other genres. As a reviewer he reports on established artists and young hopefuls, symphonic concerts indoors and out, and important premieres of works by Copland, Thomson, Cage, Shostakovich, and Stravinsky, among others. Written with the austere grace of his better-known literary works, Bowles's criticism enhances our picture of an important era in American music history as well as our sense of his accomplishments and extraordinary contribution to twentieth-century culture.

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