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| The Classical Style: Haydn, Mozart, Beethoven | 
| Author: Charles Rosen
Publisher: W. W. Norton & Company
Category: Book
List Price: $21.95
Buy New: $11.24
You Save: $10.71 (49%)
New (22) Collectible (1) from $11.24
Avg. Customer Rating:  13 reviews
Sales Rank: 154768
Media: Paperback
Edition: Expanded
Number Of Items: 1
Pages: 533
Shipping Weight (lbs): 1.6
Dimensions (in): 9.2 x 6.1 x 1
ISBN: 0393317129
Dewey Decimal Number: 780.9033
EAN: 9780393317121
ASIN: 0393317129
Publication Date: January 1998
Availability: Usually ships in 1-2 business days
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| Customer Reviews:
| Showing reviews 1-5 of 13 | | NEXT » |
Notice the rising smoke screens whenever truth is trying to escape obscurity September 23, 2007
3 out of 3 found this review helpful
This is an important and in many ways excellent book by Charles Rosen, who has also written other fine books. Rosen explains how the 18th-century sonata form was a logical extension and elaboration of what had come before and of what was inherent in traditional tonality. He shows that Romanticism wasn't a further development of the same principle, but rather a gradual dissolution. Rosen gives a scientific explanation of how traditional tonality itself is natural, grounded in physics. The implications of all this are clear enough. It's no accident that Beethoven was generally thought of as the greatest of all composers, until relatively recently (now it's not acceptable to think that anybody was greater than anybody else).
The anonymous reviewer from July 3, 1999 talks about sloppy thinking, while himself indulging in straw men, ad hominem, and plain deception. The reviewer gives a single quoted example of Rosen's allegedly sweeping statements, and this quote is of course taken out of context and isn't even Rosen's. It's Rosen quoting someone else in a context in which the quotation seems quite appropriate. The rest of this reviewer's statements are similar smoke and no substance. Please, do yourself a favor and read The Classical Style, and make your own conclusions. It's politically incorrect enough to inspire devious reviews and to be enlightening even to many professionals (if they have an open mind). It's not dumbed down, but it's written in an understandable language--something many other academicians might want to emulate. But if you are a "Liberal Warrior" or some other mind-already-made-up duffer, don't bother with this book or any other intelligent book: read Harry Potter and other children's fantasy instead, because that way you can escape reality while remaining rather harmless.
Utility in interpretation September 4, 2005
2 out of 6 found this review helpful
This analysis is most valuable in describing/explaining/analysing classical style in a way that assists actual performance of the piano music of that style. Excellent comments are interspersed throughout it.
 A good introduction into the evolution of the classical styl January 13, 2005
4 out of 8 found this review helpful
The author does an impressive job of showing how the classical style of Haydn, Mozart and Beethoven evolved from the musical chaos following the high baroque period. Perhaps giving too little credit to transitional composers who blazed the trail for these three geniuses, Rosen intersperses analysis with superlatives that at times is useful but at other times seems more like hero worship.
I found some parts particularly fascinating, such as the comparison between a work by Haydn and C.P.E. Bach. Certainly when the analysis was complete, you could see why Haydn's art was more rational and complete, however Rosen's dismissal of C.P.E. Bach's work as incoherent was somewhat off base in my opinion because the styles and goals of the two composers were not synonymous.
Though I didn't always agree with the author's conclusions, this book is still the best out there that I have read on the subject and is well worth reading.
Classic writing about Classical music December 11, 2003
23 out of 25 found this review helpful
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.
If this is a three star book what's a five star book? December 20, 2002
4 out of 20 found this review helpful
This is a beautifully written and illustrated book on a noble subject. On the basis of that rarity alone it deserves five stars.
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