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Charles Rosen citations
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Charles Rosen est un pianiste et musicologue américain né le 5 mai 1927 à New York et mort le 9 décembre 2012 dans sa ville natale. Il est l'élève de Moritz Rosenthal. Diplômé de littérature française à l'Université de Princeton, New Jersey, en 1949, il a fait ses débuts comme pianiste à New York en 1951. Il a enseigné à New York et à Berkeley, en Californie. Son œuvre musicologique exerce une grande influence sur le plan de l'analyse musicale et de la compréhension interne des styles, du classicisme viennois et du romantisme en particulier. Wikipedia  

✵ 5. mai 1927 – 9. décembre 2012
Charles Rosen: 69   citations 0   J'aime

Charles Rosen: Citations en anglais

“The eventual survival of the tradition is ultimately not at stake.”

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Charles Rosen

"The Future of Music", The New York Review of Books (December 20, 2001)

“The relation of tonic to dominant is the foundation of Western triadic tonality. The attempt of the early nineteenth century to substitute third or mediant relationships for the classical dominant amounted to a frontal attack on the principles of tonality, and it eventually contributed to the ruin of triadic tonality. This ruin was accomplished from within the system, however, as mediant relationships were essential to tonality as conceived in the eighteenth century.”

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Charles Rosen

Source: The Romantic Generation (1995), Ch. 4 : Formal Interlude

“There is a paradox at the heart of Chopin's style, in its unlikely combination of a rich chromatic web of polyphony, based on a profound experience of J. S. Bach, with a sense of melody and a way of sustaining the melodic line derived directly from Italian opera. The paradox is only apparent, and it is never felt as such when one hears the music. The two influences are perfectly synthesized, and they give each other a new kind of power.”

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Charles Rosen

Source: The Romantic Generation (1995), Ch. 5 : Chopin: Counterpoint and the Narrative Forms

“Above all, Chopin was the greatest master of counterpoint since Mozart. This will appear paradoxical only if we equate counterpoint with strict fugue, and Chopin wrote no formal fugues except as an academic exercise. His chief training, in both composition and keyboard playing, however, came from a study of Bach, and it was a study that engaged him all his life and which he always recommended to his pupils.”

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Charles Rosen

Source: The Romantic Generation (1995), Ch. 5 : Chopin: Counterpoint and the Narrative Forms

“Everything depends, of course, on the shape of the hand, and it must be stressed that there is no type of hand which is more suited to the piano than another. One of the greatest pianists that I ever heard—certainly the most remarkable in his control of the widest possible range and variety of tone color—was Josef Hoffman, who had a hand so small that he could reach no more than an octave; Steinway built him a special piano in which the ivories were slightly narrower so that he could reach a ninth. His friend Sergei Rachmaninov had a very large hand, as did Rudolf Serkin, and Sviatoslav Richter could not only reach a twelfth but could play the last chord of the Schumann Toccata without arpeggiation—an effect which would certainly have astonished the composer. My teacher, Moriz Rosenthal, famous for his technique, had a small hand with stubby fingers; Vladimir Horowitz's fingers were exceptionally long, while Robert Casadesus had fingers so thick that he had trouble fitting them in between the black keys. There is no such thing as an ideal pianist's hand.”

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Charles Rosen

Source: Piano Notes: The World of the Pianist (2002), Ch. 1 Body and Mind

“Chopin's exquisite ear saved him from the ugly repetition of thick chords in the bass that frequently disfigure the work of Mendelssohn, Weber, and Hummel—and even of Field.”

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Charles Rosen

Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

“Mendelssohn is the inventor of religious kitsch in music. His first essay in this genre is a masterpiece, the Fugue in E Minor, published in 1837 but written ten years earlier, when the composer was eighteen …”

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Charles Rosen

Source: The Romantic Generation (1995), Ch. 10 : Mendelssohn and the Invention of Religious Kitsch

“The relation of the performance of music to sound is complex and ambiguous: this is what makes possible Mark Twain's joke that Wagner is better than he sounds.”

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Charles Rosen

Source: Piano Notes: The World of the Pianist (2002), Ch. 1 Body and Mind

“By the late eighteenth century, there is a sad and permanent decline in the quality of music written for young performers or beginners: one has only to compare Bach's Album for Anna Magdalena Bach and the Two-Part Inventions with anything that came later. No composer of importance between Bach and Schumann turned his hand to writing for children, and Schumann's essays came after his years of greatest inspiration for piano writing had gone. (Mozart is the odd exception, but then he was, in fact, almost incapable of writing really easy pieces: he no doubt believed that his Sonata in D Major, K.576, was easy, perhaps because all the hard passages in the first movement were in simple two-part counterpoint, one voice in each hand, but he was wrong.)”

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Charles Rosen

Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

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