Louis Andriessen is the Netherlands? foremost composer of contemporary music. 'Writing to Louis Andriessen: Commentaries on life in music' surveys significant works from Andriessen?s career. The book will be substantial in its commentary on the span of his work, with contributors from the UK, the Netherlands and the US contextualising his music from a European critical perspective, linking outwards to American minimalism, so too surveying his international importance. It will be in the English language.0Louis Andriessen has exerted influence not only as a teacher at the Koninklijk Conservatorium, Den Haag but also internationally in the expanse of works presented. Celebrating his eightieth birthday in 2019, former students, now also significant voices internationally, and contemporaries join together to write to Louis Andriessen in a book of critical reflection and celebration. Amongst those writing will be Donnacha Dennehy, Rose Dodd, David Dramm, Anthony Fiumara, Ron Ford, Christopher Fox, Liz Haddon, Yannis Kyriakides, Jan Nieuwenhuis, Ian Pace, Martijn Padding, Johanneke van Slooten and Julia Wolfe.0Designed by Joost Grootens, the visual presentation within the book will comprise letters from Andriessen?s personal correspondence with the iconic American mezzo-soprano Cathy Berberian, music materials and programme booklets, musical score excerpts and archive photos, all in lush presentation.

The one book about Stravinsky Stravinsky would have liked. Richard Taruskin.

The Dutch composer, Louis Andriessen, has been writing and talking about his own work and everything which is directly, indirectly, or nothing at all to do with it, for many years now and The Art of Stealing Time is a collection of these articles, lectures and interviews. Andriessen talks about his childhood memories, his literary and cinematic preferences, colleagues he admires and ensembles he has established. He also talks about his own work, from De Staat [The Republic], the piece with which, twenty-five years ago, he changed the face of the musical landscape in the Netherlands up to and including the last opera he created with Peter Greenaway, Writing to Vermeer. Andriessen's style is informal, direct and always engaging, and through his use of anecdote, he is able to convey complex ideas to the widest of audiences, musicians and non-musicians alike. Controversial, funny, stimulating and thought-provoking, The Art of Stealing Time gives us a unique insight into the mind and working methods of one of the most significant composers alive today. This is, without doubt, a book to return to again and again.

This book presents the musician in dialog with a Polish-Canadian musicologist and three of his Dutch friends and collaborators, Reinbert de Leeuw, Elmer Schönberger and Frits van der Waa. Topics include his artistic evolution, his relationship to minimalism, his prevalent interest in mysticism and meaning, the use of quotation and writing for

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

Both in opera studies and in most operatic works, the singing body is often taken for granted. In Postopera: Reinventing the Voice-Body, Jelena Novak reintroduces an awareness of the physicality of the singing body to opera studies. Arguing that the voice-body relationship itself is a producer of meaning, she furthermore posits this relationship as one of the major driving forces in recent opera. She takes as her focus six contemporary operas - La Belle et la Bête (Philip Glass), Writing to Vermeer (Louis Andriessen, Peter Greenaway), Three Tales (Steve Reich, Beryl Korot), One (Michel van der Aa), Homeland (Laurie Anderson), and La Commedia (Louis Andriessen, Hal Hartley) - which she terms 'postoperas'. These pieces are sites for creative exploration, where the boundaries of the opera world are stretched. Central to this is the impact of new media, a de-synchronization between image and sound, or a redefinition of body-voice-gender relationships. Novak dissects the singing body as a set of rules, protocols, effects, and strategies. That dissection shows how the singing body acts within the world of opera, what interventions it makes, and how it constitutes opera’s meanings.