Bøger af Christopher Wintle

A fresh, elegant and vital enquiry into the elusive character of opera, unfolded through categories and case-studies, with an emphasis on historical background, psychology and performance.

Wintle's 'aphorisms, thoughts and maxims' probe life and art - music, song and opera, and are richly augmented with a series of illustrations by the celebrated Anglo-Brazilian artist, Ana Maria Pacheco.

Our specialist times, with everyone confined to their own discipline, have left little room for the age-old view that, however transmuted, the issues of art and life belong together, or that, for all their differences, the arts have shared concerns: yet realism demands just such an outlook. This book offers an informal attempt to re-open closed borders by the established writer on music, Christopher Wintle. Through a host of aphorisms and thoughts it firstprobes people, politics, learning and the Gods. It then sketches out a Poetics in terms of style and idea, artists, critics, theory, performers, ethics, opera, sculpture, cinema and sport, before ending with a pair of Urban Fables. The volume includes a collection of Works with Music by the well-known Brazilian artist Ana Maria Pacheco.

A fresh, elegant and vital enquiry into the elusive character of opera, unfolded through categories and case-studies, with an emphasis on historical background, psychology and performance.

The evolution of the mixed chamber ensemble of Schoenberg's Pierrot lunaire and the growth of the Fires of London, one of the most galvanizing groups in modern music.

Wintle's 'aphorisms, thoughts and maxims' probe life and art - music, song and opera, and are richly augmented with a series of illustrations by the celebrated Anglo-Brazilian artist, Ana Maria Pacheco.

Christopher Wintle's in-depth examination of Britten's Notturno includes a full set of sketches, the printed score, an introductory essay and two appendices, providing a new model for the study of Britten's work in general.

States that for three or four decades after the Second World War, musical thinking in Britain was dominated by psychology. This book explores how a psychoanalytical musical criticism may be grounded in individual and small-group psychology.