Write All These Down: Essays on Music

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University of California Press, 1994 - Literary Collections - 359 pages
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If one name stands out among musicologists writing today, that name is Joseph Kerman. Eminent, wide-ranging, and wonderfully readable, Kerman's writing on musicology, opera, Beethoven, and Elizabethan music has informed and inspired an extensive audience both in America and abroad.
There is much to interest both the general reader and the musicologist in this collection of twenty essays. Included are several notable pleas addressed by Kerman to his professional colleagues in an effort to get them to adopt a more critical orientation for their work. Other essays range from a moving account of William Byrd as a spokesman for the beleaguered Elizabethan Catholic minority to a discerning analysis of Beethoven's well-known obsession with the key of C minor. The controversial tenets of Kerman's classic Opera as Drama (1956) are reaffirmed in essays on Don Giovanni, The Magic Flute, Tristan und Isolde, Ernani and I Lombardi.
Kerman's legacy to a younger generation is here, too: in an exemplary writing style, he offers challenging models for a humane and historically informed music criticism. An added gem is the Preface, which provides an intellectual and anecdotal road map of the place of the essays in Kerman's academic and public expeditions.
Joseph Kerman has been at the very center of musicology for almost four decades. This overview of his work will be warmly received and greatly valued. If one name stands out among musicologists writing today, that name is Joseph Kerman. Eminent, wide-ranging, and wonderfully readable, Kerman's writing on musicology, opera, Beethoven, and Elizabethan music has informed and inspired an extensive audience both in America and abroad.
There is much to interest both the general reader and the musicologist in this collection of twenty essays. Included are several notable pleas addressed by Kerman to his professional colleagues in an effort to get them to adopt a more critical orientation for their work. Other essays range from a moving account of William Byrd as a spokesman for the beleaguered Elizabethan Catholic minority to a discerning analysis of Beethoven's well-known obsession with the key of C minor. The controversial tenets of Kerman's classic Opera as Drama (1956) are reaffirmed in essays on Don Giovanni, The Magic Flute, Tristan und Isolde, Ernani and I Lombardi.
Kerman's legacy to a younger generation is here, too: in an exemplary writing style, he offers challenging models for a humane and historically informed music criticism. An added gem is the Preface, which provides an intellectual and anecdotal road map of the place of the essays in Kerman's academic and public expeditions.
Joseph Kerman has been at the very center of musicology for almost four decades. This overview of his work will be warmly received and greatly valued.
  

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Contents

A Profile for American Musicology
3
How We Got into Analysis and How to Get Out
12
A Few Canonic Variations 3 3
33
Critics and the Classics
51
BYRD TALLIS ALFONSO FERRABOSCO
75
William Byrd and Elizabethan Catholicism
77
Byrd Tallis and the Art of Imitation
90
Notes on a Song by Byrd
106
An die feme Geliebte
173
Taking the Fifth
207
Beethovens Minority
217
Translating The Magic Flute
241
Thoughts in Season
257
Verdis Use of Recurring Themes
274
Two Early Verdi Operas Two Famous Terzetti
288
Reading Don Giovanni
307

The Missa Puer natus est by Thomas Tallis
125
An Italian Musician in Elizabethan England
139
BEETHOVEN
153
Toveys Beethoven
155
Mozarts Piano Concertos and Their Audience
322
The Prelude and the Play
335
Acknowledgments
351
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About the author (1994)

Joseph Kermanis Professor of Music at the University of California, Berkeley. He is a founding editor of the journal19th-Century Musicand author of several books, most recentlyContemplating Music(1986).

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