In this vivid biography, Florence Noiville offers a glimpse into the world of this much-loved but persistently elusive writer: Isaac Bashevis Singer. Singer (1904–91) is generally recognized as the most popular Yiddish writer of the twentieth century. His widely translated body of work, for which he received the Nobel Prize in Literature in 1978, is beloved around the world. But although Singer was a very public and outgoing figure, much about his personal life remains unknown.
Singer was greatly influenced by his early years in Poland, with his rabbi father and rationalist, secular mother. His interest in themes of faith and dilemma stem directly from this set of conflicts; he bounced back and forth between revering and fighting orthodoxy. This was not the only paradox in his life, however: this man, who wrote many successful children’s books, had abandoned his first wife and only son in Poland as the Nazis began to sweep across Europe. His novels and stories are recognized for their mystical, folkloric tone and his public image was that of a grandfather or uncle; but he was wracked with self-doubt, a womanizer, and, as Noiville writes, a “modern virtuoso of anguish, inhibition, and fiasco.”
Noiville speaks to these and other paradoxes surrounding her subject, drawing on letters, personal stories, Singer’s own autobiographies, and interviews with friends, family, and publishing contemporaries. She travels as he did, from Poland to New York to Florida, tracing his journey from penniless immigrant to Nobel laureate. By pursuing Singer’s public and private past, she rebuilds his story and the story of the world he wrote from: a Yiddish world, a Poland removed from history by Nazi Germany.
Brilliant, practical, and humorous conversations with one of the twentieth-century’s greatest musicologists on art, culture, and the physical pain of playing a difficult passage until one attains its rewards.
Throughout his life, Charles Rosen combined formidable intelligence with immense skill as a concert pianist. He began studying at Juilliard at age seven and went on to inspire a generation of scholars to combine history, aesthetics, and score analysis in what became known as “new musicology.”
The Joy of Playing, the Joy of Thinking presents a master class for music lovers. In interviews originally conducted and published in French, Rosen’s friend Catherine Temerson asks carefully crafted questions to elicit his insights on the evolution of music—not to mention painting, theater, science, and modernism. Rosen touches on the usefulness of aesthetic reflection, the pleasure of overcoming stage fright, and the drama of conquering a technically difficult passage. He tells vivid stories about composers from Chopin and Wagner to Stravinsky and Elliott Carter. In Temerson’s questions and Rosen’s responses arise conundrums both practical and metaphysical. Is it possible to understand a work without analyzing it? Does music exist if it isn’t played?
Throughout, Rosen returns to the theme of sensuality, arguing that if one does not possess a physical craving to play an instrument, then one should choose another pursuit. Rosen takes readers to the heart of the musical matter. “Music is a way of instructing the soul, making it more sensitive,” he says, “but it is useful only insofar as it is pleasurable. This pleasure is manifest to anyone who experiences music as an inexorable need of body and mind.”
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