Thomas Ades: Full of Noises: Conversations with Tom Service - Tapa dura

Críticas

"Energetic, honest, and warm, these conversations between friends reveal the intricacies of the creative process and a deep and abiding love of music."
--"Publishers Weekly
""Traverse[s] much of the geography of classical music, then and now . . . Arresting and memorable."
"--Kirkus Reviews
"""Thomas Ades: Full of Noises "is a brilliant self-analytical plunge into the mind of one of our greatest artists, the composer Thomas Ades, for whom composing begins with musical notes slipping and sliding across a sheet of paper with a will of their own, and writing an opera feels like swimming alone in a deep ocean. This book is a probing guide to the creative process, as virtuosic in its way as one of Ades's musical compositions."
"--"Peter Gelb, general manager, Metropolitan Opera
"[Ades] has outgrown his status as the wunderkind of a vibrant British scene and become one of the most imposing figures in contemporary classical music."
"--"Alex Ross, " The New Yorker
""[Ades] is one of the most accomplished and complete musicians of his generation."
"--"Anthony Tommasini, " The New York Times
""Even as the UK is brimming with wonderful young composers, I think few would dispute that Tom Ades may be the most extravagantly gifted of them all."
"--"Sir Simon Rattle, " Gramophone"

""Traverse[s] much of the geography of classical music, then and now . . . Arresting and memorable."

""[Ades] is one of the most accomplished and complete musicians of his generation."

""Even as the UK is brimming with wonderful young composers, I think few would dispute that Tom Ades may be the most extravagantly gifted of them all."

"""Thomas Ades: Full of Noises "is a brilliant self-analytical plunge into the mind of one of our greatest artists, the composer Thomas Ades, for whom composing begins with musical notes slipping and sliding across a sheet of paper with a will of their own, and writing an opera feels like swimming alone in a deep ocean. This book is a probing guide to the creative process, as virtuosic in its way as one of Ades's musical compositions."

"[Ades] has outgrown his status as the wunderkind of a vibrant British scene and become one of the most imposing figures in contemporary classical music."

"Thomas Ades: Full of Noises "is a brilliant self-analytical plunge into the mind of one of our greatest artists, the composer Thomas Ades, for whom composing begins with musical notes slipping and sliding across a sheet of paper with a will of their own, and writing an opera feels like swimming alone in a deep ocean. This book is a probing guide to the creative process, as virtuosic in its way as one of Ades's musical compositions.--Peter Gelb, general manager, Metropolitan Opera"

Energetic, honest, and warm, these conversations between friends reveal the intricacies of the creative process and a deep and abiding love of music. "Publishers Weekly"

Traverse[s] much of the geography of classical music, then and now . . . Arresting and memorable. "Kirkus Reviews"

"Thomas Ades: Full of Noises "is a brilliant self-analytical plunge into the mind of one of our greatest artists, the composer Thomas Ades, for whom composing begins with musical notes slipping and sliding across a sheet of paper with a will of their own, and writing an opera feels like swimming alone in a deep ocean. This book is a probing guide to the creative process, as virtuosic in its way as one of Ades's musical compositions. Peter Gelb, general manager, Metropolitan Opera

[Ades] has outgrown his status as the wunderkind of a vibrant British scene and become one of the most imposing figures in contemporary classical music "Alex Ross, The New Yorke"

[Ades] is one of the most accomplished and complete musicians of his generation. "Anthony Tommasini, The New York Times"

Even as the UK is brimming with wonderful young composers, I think few would dispute that Tom Ades may be the most extravagantly gifted of them all. "Sir Simon Rattle, Gramophone""

"Energetic, honest, and warm, these conversations between friends reveal the intricacies of the creative process and a deep and abiding love of music." --Publishers Weekly

"Traverse[s] much of the geography of classical music, then and now . . . Arresting and memorable." --Kirkus Reviews

"Thomas Ades: Full of Noises is a brilliant self-analytical plunge into the mind of one of our greatest artists, the composer Thomas Ades, for whom composing begins with musical notes slipping and sliding across a sheet of paper with a will of their own, and writing an opera feels like swimming alone in a deep ocean. This book is a probing guide to the creative process, as virtuosic in its way as one of Ades's musical compositions." --Peter Gelb, general manager, Metropolitan Opera

"[Ades] has outgrown his status as the wunderkind of a vibrant British scene and become one of the most imposing figures in contemporary classical music" --Alex Ross, The New Yorke

"[Ades] is one of the most accomplished and complete musicians of his generation." --Anthony Tommasini, The New York Times

"Even as the UK is brimming with wonderful young composers, I think few would dispute that Tom Ades may be the most extravagantly gifted of them all." --Sir Simon Rattle, Gramophone

Reseña del editor

Composer, conductor, and pianist, Thomas Adès is one of the most diversely talented musical figures of his generation. His music is performed by great opera companies, symphony orchestras, chamber groups, and music festivals throughout the world. But Adès has resisted public discussion of the creative process behind his musical compositions. Until now, the interior experience that has fired the spectrum of his work—from his first opera, Powder Her Face, to his masterpiece The Tempest and his acclaimed orchestral works Asyla and Tevot—has largely remained unexplained. Here, in spirited, intimate, and, at times, contentious conversations with the distinguished music critic Tom Service, Adès opens up about his work. "For Adès, whose literary and artistic sensibilities are nearly as refined and virtuosic as his musical instincts," writes Service, "inhabiting the different territory of words rather than notes offers a chance to search out new creative correspondences, to open doors—a phrase he often uses—into new ways of thinking in and about music."

The phrase "full of noises," from Caliban's speech in The Tempest, refers both to the sounds "swirling around" Adès's head that are transmuted into music and to the vast array of his musical influences—from Sephardic folk music, to 1980s electronica, to Adès's passion for Beethoven and Janácek and his equally visceral dislike of Wagner. It also suggests "the creative friction" essential to any authentic dialogue. As readers of these "wilfully brilliant" conversations will quickly discover, Thomas Adès: Full of Noises brings us into the "revelatory kaleidoscope" of Adès's world.