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It features a lot a strange and funny anecdotes wich will not be found anywhere else.
It's a great, very personal book! Go, get it!
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Dines-Cox book is beautifully oversized to bring to full advantage the magnificent work of this master. Outerbridge mastered both black and white and color during his lifetime. His life is briefly sketched but this book is not intended as a biography but rather as a homage to a great master.
Outbridge's name is not as well known as Adams, Weston, Cunningham, Brassai or Kertesz but as an artist he ranks with the best. Recent auctions of his work have fetched incredible sums.
While other great artists have innumerable books to their credit I have only come across two other publications on Outerbridge and they were both small paperbacks with inferior reproductions. With but one photograph per page this is one of the handsomest publications in years.
Mousnier doesn't hide the fact that his admiration for Paul Paray goes quite beyond what he has for others in the series. But there is no hint of the "groupie" boosterism that clouds so many such books. This is an impeccable, scholarly study that takes us--as far as we can go--into the world of artistic genius that Paray inhabited.
The writer offers considered probity into determining what it actually was that Paul Paray did to imbue his art with such enormity, such sense of occasion, such a sense of history. Paray concerts were unique in their electric atmosphere that palpably moved both audiences and musicians. Seating and acoustic diagrams, transcripts from key rehearsals, repertoire sheets and some cogent snippets of what Paray would actually say off the podium combine with telling analysis of where the Maitre fit into the international music scene. It all makes for absorbing, fascinating, "thrilling" (critics' favorite adjective for Paray) reading.
Certainly, Paray was a fascinating personality, too--a war hero and a racconteur equally--but while Mousnier acknowledges this, he stays somewhat away from it, too. This is fortunate because Paray never spoke of what his connections with the Resistance were, and what hold he had on the occupying Nazis that allowed him to get away with what he did. Mousnier lets it rest that the old man had mysteries and facets to his life that we simply aren't ever going to know about. Mousnier concentrates on the mystery of Paray's musical genius that, after all, is the greatest of all his genii, and the one he dedicated to the world.
I also find it telling the Mousnier has been the producer of some of the coveted releases of Paul Paray that emanate from the ORTF archives. I own these, and the live recordings are just as amazing as any of Paray's studio efforts.
I urge those who truly care about the art of conducting to find a copy of this book, have it translated if need be, and plunge into the world and the mind of one of the 20th Century's deepest and most alluring musical minds.
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