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The Classical Style: Haydn, Mozart, Beethoven (Expanded Edition), by Charles Rosen
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A greatly expanded edition of the National Book Award-winning masterpiece by a world-class pianist and writer on music.
This outstanding book treating the three most beloved composers of the Vienna School is basic to any study of Classical-era music. Drawing on his rich experience and intimate familiarity with the works of these giants, Charles Rosen presents his keen insights in clear and persuasive language. For this expanded edition, now available in paperback for the first time, Rosen has provided a new, 64-page chapter on the later years of Beethoven and the musical conventions he inherited from Haydn and Mozart. The author has also written an extensive new preface in which he responds to other writers who have commented on his ideas.- Sales Rank: #191274 in Books
- Color: Multicolor
- Published on: 1998-01-17
- Original language: English
- Number of items: 1
- Dimensions: 9.30" h x 1.10" w x 6.20" l, 1.59 pounds
- Binding: Paperback
- 560 pages
Amazon.com Review
The Classical Style: Haydn, Mozart, Beethoven is a revised and enlarged version of Charles Rosen's landmark 1970 work on the compositions of the trio of musical geniuses who formed the Viennese Classical School and forever changed the face of music. Along with clarifications, expansions, and new insights into the composers and their music, the book has been enriched by the addition of a compact disc containing two of the Beethoven piano sonatas of which the author writes. Rosen's books are always shot through with musical examples, so you'll get a great deal more out of this one if you can read music. The Classical Style is a brilliant book, composed by a genuine artist, sometimes provocative, but never sloppy in its thinking.
From Library Journal
The first edition of this book won the 1972 National Book Award and remained available in paperback for more than two decades. For this edition, Rosen adds a 14-page preface answering some of his friendly critics and a 26-page essay on Beethoven?which includes 44 musical examples, not seen?that emphasizes the composer's indebtedness to Haydn and Mozart. Otherwise, the text of the original edition remains unchanged. A CD (not heard) of Rosen playing two Beethoven piano sonatas (opp. 106 and 110) is also included. Libraries successful in keeping together the book and CD of Rosen's Romantic Generation (LJ 4/1/95) may want to attempt the same with this set, but once the CD is lost, the price seems high for only two new essays if the older edition is still serviceable.?Bonnie Jo Dopp, Univ. of Maryland Lib., College Park
Copyright 1997 Reed Business Information, Inc.
Review
A profoundly perceptive study. -- Times Literary Supplement
Brilliant and epoch-making. -- Stanley Sadie, editor of The New Grove Dictionary of Music and Musicians
Most helpful customer reviews
25 of 26 people found the following review helpful.
Insights that will last a lifetime
By David J. Friedlander
Rosen's The Classical Style is my favorite book all-time on classical music in general, and Mozart, Beethoven and Haydn in detail. There are other books about these great composers that I love and cherish, but this one is the most intellectually stimulating. It is full of those rare insights that have total impact on my thinking. There are gems in its pages that will enrich your understanding profoundly.
The book is laid out in topics that either address a certain type of piece, a certain period of time and a particular composer. For example, a chapter would be "Haydn before the death of Mozart." Or "Piano concerto". Or "Haydn after the death of Mozart". Or "Piano Trio". Each chapter shows who was best at a certain type of work, why they were the best and then he gives specific musical examples to bolster his arguments. Of course in the process of doing this, Rosen greatly expands your understanding of every topic he covers.
While there are many printed musical examples, it is really better if you are familiar with the pieces in the examples. If you are a proficient music reader, especially on piano, you can probably do pretty well without knowing the music but chances are those two skills aren't mutually exclusive and if you do one, you've probably done the other. In any case, this is a serious book that requires serious work by the reader. You will get out of the book a direct proportion to how much listening and thinking you are willing to do. If you want to seriously learn about the classical period and the elements of music that grew out of that period, this book will help you do that.
If you think that by buying and reading this book you will learn everything there is to know about the classical period, you might be disappointed. How? Well, if you don't know the music from that period and you can't read music, this will leave you seriously lost. In other words, you need some background or you will need to do some serious listening to really get the jewels out of this book. If this sounds elitist to you, you are right. Yet it is done with the purpose of keeping you from wasting your money. So make sure you have some background or are willing to do some work if you expect to get the best this book has to offer.
So, if you have some background in classical music and you want to sharpen your understanding of the period, I think this is easily one of the best books out there for that purpose. The more listening you do, the more you will get out of this great book. Rosen isn't the easiest read but he is brillant and writes like a very brilliant person talks. The sentences are compound and sometimes require you to hold more than one thought for the span of many paragraphs. If you stay with Rosen's prose and read with care though, you will have many "aha" moments and increase your understanding of the elements of the classical period manyfold.
I found this book not only an absorbing read and a top flight textbook, it is a reference book as well. I refer to it from time to time and it solidifies my understanding everytime I visit its pages. It helped me understand Haydn's wit and genius as well as his growth as an artist. It turned me on to his wonderful Piano Trios to go with his great String Quartets and Symphonies. It helped me understand Mozart's gifts in opera and his astonishing String Quintets. It also gave me a much greater understanding and appreciation of his great Piano Concerti, which I already loved to a great degree. Somehow he refreshed my joy in those works and that alone made the book greatly worthwhile. He opened my eyes to Beethoven's originality and rekindled my enjoyment of his music. Most of all, it always enhances my understanding and enjoyment of the musical works being discussed. So many times it has inspired me to fire up the stereo and put actual sounds what I've just read. In the end, satisfaction is greatly increased and you actually feel smarter!
Rosen is a rare intellect who has written strikingly original and highly valuable books on classical music. This particular book is his pinnacle and belongs in the library of any serious student of the classical period, or anyone who appreciates classical music and would like to sharpen their understanding of the finer elements of one of the greatest pinnacles of Western culture.
4 of 4 people found the following review helpful.
As Good as they Say
By Gendun
In The Classical Style Charles Rosen does a marvelous job characterizing the music epitomized by Haydn, Mozart, and Beethoven.
Of all the formal principles that have defined any period, the elements of classical style are perhaps most amenable to formal analysis. The classical period is principally characterized by sonata form and tonality. We can agree with Sir Donald Tovey that we do violence to compositions by interpreting them as if sonata form constitutes a set of binding rules rather than a post-facto abstraction of what the masters of the classical period actually did. Nonetheless, the principles of tonality may be expressed with an intellectual clarity which is more elusive when characterizing, say, a canon or polyphonic mass.
This is a reflection of the ideals of the classical period, whose audiences delighted in elegance and structural economy. Classical composers highlighted the structural contours defining works by emphasizing modulation and calling attention sectional boundaries with an intensified emphasis cadence. Elegance of structure was taken by the classical masters as an end in itself, and their harmonies glide on a framework they trace and enact. That is in itself a large part of the game of classical composition.
An understanding of the classical period is not only relatively easy to acquire, but of central importance to understanding nearly all subsequent composition. With the arguable exceptions of minimalism and some wings of the avant garde, nearly every important composition in the Occident since Haydn is either tonal or a reaction against tonality. Tonal harmony is the very foundation of our music theory to this day, and understanding its history and development can open up a deeper understanding of everything from Verdi to Schoenberg to Robert Johnson to Kylie Minogue.
Rosen makes all of this remarkably evident and comprehensible in dazzling prose that astonishes the reader with his insight on every page. I'm not a musicologist and browsed through a lot of the close passage analysis that comprises a big chunk of the book, but I still got my money's worth many times over.
4 of 4 people found the following review helpful.
Greatness
By toronto
This is one of the greatest books ever written. It was my introduction to the structure of classical music, and without it that whole world would have remained opaque to me. I read it first without any music theory at all, but it explains how musical structure works, so I was driven to learn some music theory to keep up. But you need so little that it is hardly a big challenge. Who knew that the basics of music theory were so simple? Then I read it again, and it was twice as good. Then I decided to learn to play an instrument so I could make more sense of it. Then I read it again, and it was twice as good once more. As one other reviewer said, it is a book to read and reread; and it is so clearly written.
His other book "The Romantic Generation" has some very beautiful chapters (the first few especially), but I got bogged down in it -- it gets too technical for mere mortals. But someday I might have another go at it. "The Classical Style" is not like that, a masterpiece of exposition from beginning to end.
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