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Leonard Rose America Golden Age and Its First Cellist Steven Honigberg 9780982387672 Books

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Leonard Rose America Golden Age and Its First Cellist Steven Honigberg 9780982387672 Books

This, the first biography of the great American cellist, is an interesting and important story well-told, and a storehouse of musical history. The writer, a cellist and Rose student, proves himself as a narrator who is able to present a rounded picture of a complex man whose gifts were sometimes offset by anxiety and conflict. Cellists seem to qualify for biographies--Casals, Feuermann, Piatigorsky and duPre come to mind. Many people have told me (an amateur cellist who met Rose several times) that the cello is their favorite instrument. That its range matches that of the human voice is a factor, its resonance another. The book includes a coupon for a free CD of two concertos recorded by Rose but never issued to the public. They are modern pieces by Mennin (1956) and Shulman (1950), immensely challenging to cellists and probably to many listeners, too, but a wonderful bonus with the book.


Tags : Leonard Rose America's Golden Age and Its First Cellist [Steven Honigberg] on Amazon.com. *FREE* shipping on qualifying offers. “Pure gold.” thus the New York Times described the playing of Leonard Rose, the most successful American-born cellist of his generation. Rose’s knowledge of the instrument was unsurpassed. Every phrase of every piece he recorded—his legacy—continues to sparkle with meaning. His Beethoven and Brahms were noble in style,Steven Honigberg,Leonard Rose America's Golden Age and Its First Cellist,Beckham Publications Group,0982387679,Biographies & Memoirs - Biographies

Leonard Rose America Golden Age and Its First Cellist Steven Honigberg 9780982387672 Books Reviews

The book (re)establishes Rose's preeminence among all --not just US-- 'cellists, as the solicited testimonials attest. But in addition to several substantive shortcomings (e.g., glossing over Bernstein's and Mitropolous's homosexuality and any effect on relations with Rose); the writing is mediocre, with far too many parenthetical and hyphenated insertions; it has numerous egregious grammatical errors (especially misplaced modifiers); it misuses understate/overstate; it has several typos (referring to rotting timbers but using timbres); one page is repeated and one is missing in an appendix, etc. So while I share the enthusiasm for Rose's resurrection, I found it quite painful going, due to poor writing and editing, and loose ends .... language mavens beware!
The author thoroughly and vividly describes an era that is gone. Mr. Rose, although lovingly portrayed, comes out warts and all. The magnitude of his place in Classical music's history is fairly and knowingly assessed. One learns about other important figures in the musical world as well. Descriptions of music conservatories are very telling about the way America teaches music. I would highly recommend this book as a companion to all Classical music lovers.
This book is a must for any cellist, musician or music lover who would appreciate an insightful, well-researched look at not just America's own premiere cellist, but his journey through the rich landscape of the golden age of classical music. Respectful but honest, Honigberg avoids sentimental lionizing in this intelligent look at the complex musical and emotional life of a great artist.
This, the first biography of the great American cellist, is an interesting and important story well-told, and a storehouse of musical history. The writer, a cellist and Rose student, proves himself as a narrator who is able to present a rounded picture of a complex man whose gifts were sometimes offset by anxiety and conflict. Cellists seem to qualify for biographies--Casals, Feuermann, Piatigorsky and duPre come to mind. Many people have told me (an amateur cellist who met Rose several times) that the cello is their favorite instrument. That its range matches that of the human voice is a factor, its resonance another. The book includes a coupon for a free CD of two concertos recorded by Rose but never issued to the public. They are modern pieces by Mennin (1956) and Shulman (1950), immensely challenging to cellists and probably to many listeners, too, but a wonderful bonus with the book.