Bernard of Hollywood: The Ultimate Pin-Up Book (Jumbo)

Book Description

Bernard's star-studded repertoire

He has been called the "Rembrandt of photography" and the "king of glamour". Though he also photographed male luminaries such as John Wayne, Gregory Peck, and Elvis Presley, Bernard of Hollywood made his name doing portraits of female stars and starlets of the 1950s such as Anita Ekberg, Jayne Mansfield, Brigitte Bardot, and Marilyn Monroe. He fled Nazi Germany in the 1930s, migrating to California and eventually establishing himself in Hollywood. By the 1940s, he was one of the most sought-after photographers there, with countless celebrities and hopefuls visiting his Sunset Boulevard studio to have their portraits taken. Bernard is remembered as the man who immortalized some of the century's greatest stars and mastered the art of pin-up photography better than any one else. This book is a testament to his long and illustrious career.

Customer Reviews:

Beyond STUNNING: truly "the ultimate" in classic pin-up glamour.......2007-08-11

Bruno Bernard - "Bernard of Hollywood", as his sobriquet ran - was one of classic Hollywood's greatest glamour and pin-up photographers. His specialty was "cheesecake" photography, of which he was the grand master, but he photographed untold legions of the loveliest of vintage Hollywood's actresses. Marilyn Monroe? Jayne Mansfield? Joan Collins? Lili St. Cyr? Anita Ekberg? Mamie Van Doren? Eartha Kitt? Candy Barr? Monique Van Vooren? They're all here, along with many, many others.

Susan Bernard, his daughter, has assembled hundreds of his best images into a truly dazzling work. Only Taschen, the German publisher renowned for its ultra-high-quality books on all sorts of unusual subjects, could truly have done justice to the project, and so they have, in a gorgeous oversize format crammed with full-page photography on high-quality paper, accompanied by extensive texts in English, French and German.

One of the most idiotic things I've done in the last five years is to sell off my first copy of this book. I needed to raise money, but that was no excuse. Works of art like this should never, ever be disposed of once you bring them into your collection, come hell or high water. Thankfully, I was able to get ahold of another copy this summer - and even more thankfully, for pretty close to the original list price. That's a minor prodigy in itself; because this book is in such high demand, sellers are naturally going to ask a corresponding premium. As well they should. This book is worth every single cent you may pay for it.

No one...and I mean NO ONE...who claims to be a fan of classic glamour photography or old-time Hollywood can be taken seriously as such without this book in their library. I'm serious. If you're reading this review, you're interested enough to buy this book - so do it today.

ABSOLUTELY AWESOME.............2002-10-28

This is truly the ultimate pin-up book. I have seen some of these photos over the years and it's satisfying to put a name to them. But what's really surprising is the vast quantity of output this man had. He was certainly prolific and there's no question as to why he was sought after by the rich and glamorous. He was a genius. These are amazing pictures and portraits of some of the most stunning women on the planet from the 40's and 50's. We'll never know another era like that. Beautiful clothes, costumes and jewelry adorn these women from a time when glamour was GLAMOUR. From starlets to cheesecake models to showgirls to stars---they're all here and captured in all their splendor. Even the stunning 50's stripper Lili St.Cyr is here in rare and incredible photos. Thanks to Susan Bernard (from "Faster Pussycat! Kill! Kill!") her fathers' work is receiving another round of applause and admiration. This book is embedded with legend. A MUST for auteurs of glamour photography and a MUST for nostalgia lovers. Recommended HIGHLY.

Eisenhower, eyes and wow.......2002-10-02

The photographs of Bruno Bernard are historic treasures documenting a period of Americana when purity and innocence masked the prurient. As teenagers when my friends and I joined the military after Pearl Harbor, we considered ourselves to be tough men; our images of naughtiness were induced by the pin-up.

The Ultimate Pin-Up is a coffee table collection of beautiful photographs--the colors are brilliant, the hair styles and clothing which drape the subjects who found their way to Hollywood or Las Vegas in the forties and fifties are significant representations of the American spirit post WWII; this being an era of US military might and rapid technological changes. Decades ago I felt these photographs were of loose women yet as I peruse the book I am amused by the sweetness and demurenss of the models and their poses.

The book is printed with high quality paper, the collection is heavy so it needs to rest on a table. It is fun to peruse; each page delights and tickles my memories of the days before the younger generation elected JFK to the White House.

This book makes me happy. Bernard of Hollywood will be remembered for his documenting history. Although the book is filed with the topic "Sex" I feel it should be referenced as "History". The images are certainly "Art". Smithsonian.

Great reference for taking Classic styled Pin-Up Photos.......1999-06-19

Bernard of Hollywood Pin-Ups is a fun and fast way to get started recapturing the look and feel of the '40's and '50's styled Pin-Up Photography. Of course, this book's instruction applies to anytime, but the examples shown are all Classic Pin-up. Each page comes with a short summary of the thought behind each full page Black & White photo and a small diagram showing lighting and camera position. A bio of Bernard of Hollywood and the philosophy behind his photographs completes the book. It's straight forward and to the point, a worth while addition to a Pin-Up book collection, and a simple instructive guide for beginning photographers.

Amazon.com

When David Schiff finished his overview of Elliott Carter's music in 1983, Carter was already 75 years old. No one could have predicted the flood of marvelous new pieces (including three large-scale concertos and two string quartets) the composer would produce in the intervening years. This second edition is current through April 1998 and arrives in time for the composer's 90th birthday. Schiff is the ideal guide for this repertoire: a composer himself who studied with Carter, he has also conducted the Triple Duo. His writing is stylish--in the String Quartet No. 4, he writes, the second movement "seems to begin over the first violin's repeated objections." Schiff is lucid without ever being superficial. Instead of the strictly chronological organization of the first edition, he now groups the music by genre. (This system is especially helpful in understanding the five string quartets.) Each chapter has a brief general introduction--the first few paragraphs of the vocal music chapter in particular are a model of practical musical thought. There is a technical glossary, an eight-page bibliography (which might have mentioned Andrew Porter's enthusiastic New Yorker reviews of the pieces), and an 18-page discography. Although there are a few dozen musical examples, readers will need scores to follow some of the discussion. Of necessity, Schiff describes some of the most recent music instead of analyzing it. Anyone who wishes to gain a foothold in Carter's endlessly rewarding world might listen to the excellent Chicago Symphony recording of Variations for Orchestra and follow Schiff's elegant commentary. --William R. Braun

Book Description

Arguably the most important American composer of the century, Elliott Carter often has been more highly regarded in Europe than in his native land. Interest in his work has grown rapidly in recent years, however, and the celebration of his ninetieth birthday in December, 1998, accompanied by numerous performances and new recordings, undoubtedly will increase the attention of his fellow citizens to this remarkable figure.

Authoritative and gracefully written, The Music of Elliott Carter engages composers, performers, and critics, and speaks to concert-goers, whether attuned to or alarmed by the formidable difficulty of Carter's music. David Schiff views the music from the perspective of the composer's development and relates his compositional techniques to those nonmusical arts--contemporary American poetry in particular--with which Carter has been deeply involved. The volume benefits from Schiff's extensive discussions of Carter's works with their most noted performers, including Heinz Holliger, Oliver Knussen, and Ursula Oppens, and from the generous cooperation of the composer himself.

This new edition, a thoroughly reorganized, revised, and updated version of the book published in 1983, accounts for the many new works written by Carter since 1980 and accommodates the burgeoning critical literature on his music. Its features include many musical examples and a selected discography. In addition to the new foreword, the composer has provided his listing of three-to-six note chords and a note on "Voyage."

Customer Reviews:

Incredibly readable on great structural innovator.......2000-04-06

Schiff has done a lucid job here for the readers,he writes quite well, not slipping into piles of set theory or analytical jargoneze,that speaks to a diminishing elite. Many have labeled Carter an elite creator,but that's a matter of reference(well Carter did walk out on a performance in Chicago due to Leonard Slatkin's pre-concert remarks). Schiff remarkably covers all the great Carter works, the turbulent works of the Sixties and Seventies, the darkly brooding Piano Concerto(written in West Berlin) and the Concerto for Orchestra,a Sixties work of violence, a reflection on the Anti-War Times. The latter unaccompanied solos are all here as well, all works written,for the most part after the First Edition. Schiff frequently reflects upon what works in a piece, a purely function premise that explains much, and is food for thought to any youngster hoping to someday write just like Elliot Carter. I miss the photographs from the First Edition, those with Stravinsky and Boulez, and the Carter manuscript reproductions included there. Schiff seems quite lucid in speaking about all this complexity whether rhythmic,structural or pitchbound. I didn't know for instance that Carter has kept a harmony book, sort of a creative Oracle to refer to over ones life. The chapters divide things again quite clearly, The Chamber Music, The Vocal Music, The Piano Music and Orchestral, with a nice Appendix of Carter's Listing of Three to Six Note Chords, also a Chronological Catalogue of Works, a select Bibliography and Discography, a List of Charts. A shame however is, although the winner of numerous Pulitzers, Carter until quite recent times has been neglected here in this country fighting in his home territory, the Eastern Musical Establishment and the Bernstein Clique of the Sixties and Seventies. Boulez did much to repair this damage with The New York Philharmonic and now Barenboim has in Chicago, as well as premiere ensembles,Arditti and soloists,Chas Rosen and Ms Oppens. Schiff also always points to Carter's extracurricular interests in literature, where he frequently finds an impetus for a work, as well as the Italian language for a conceptual working premise. The Glossary at the beginning also is a wonderful clarifier, of forms we frequently hear about but seldom understand within the context of the subsequent work these terms refer to.

String Quartet No. 2 (1959): Study Score

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more classic inshape water mark

String Quartet No. 2 (1959): Study Score

Manufacturer: Associated
ProductGroup: Book
Binding: Paperback

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ASIN: 0793567726

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First performed by the Julliard String Quartet in 1960. Awarded the 1960 Pulitzer Prize, the 1960 New York Music Critics Circle Award, and the 1961 International Rostrum of Composers Award (UNESCO). Duration ca. 20 minutes.

Customer Reviews:

more classic inshape water mark.......2005-09-14

with the Second Quartet 1959, you sense a greater undulating freedom of choice of materials,more compact,yet expansive for solo moments, texture is not as vigorusly pursued, of timbre, greater blends together, as if a common language has been now discovered/ / /the rhythmic conception is somewhat more static in nature,although you have incessant ties to identical tones over the barlines,something you might be torn asunder at a composition lesson as suggesting a course in music without meaning;at least Ralph Shapey would have told you so/ / / and you only see these dimensions within the maze of study of the First Quartet. There is greater diversity of everyone contributing toward an emotive center,more soloist lines exposed, the brilliant cello returns again , as in the First Quartet each part leading into the next player,interruptions only occur when new materials are needed to prod things along, like electric charges, or a new light added to the rhythmic maze pursued herein' each player entering fully conscious of the purpose of the phrase and direction of the proceedings herein, even if the materials are purely accompanimental and marginal to the quartets agenda. When characters emerge, they have longer declamations and come to dominate larger swabs of durational frames, as the First Violin attibuting a modest cadenza toward the latter parts of the third movement 'Andante espressivo'. Overall there seems to be greater assertiveness of purpose here, shorter time length half the time of the 40 minute First Quartet. This Second Quartet, seems to relish in the relative brevity of its existence,with cleaner threadbare lines, keeping less independence, yet not entirely so. The emotive thorny questioning state(from the First Quartet) is pulled in as well, there is far less ground to tread here, and the beauty comes through all the more. There are also a larger pallette(s) of extended sounds, three different pizz items with,Left-hand pizz, arco-pizz-arco, and the violent Bartok pizz, snapped against the fingerboard, and a fair amount of glissandi/ / / Carter advises in his introductory notes that tempi and polyrhythmic textures must be adhered to faithfully so to clearly experience the complexity sought after.This work won all sorts of prizes including the Pulitzer,but don't let that skew your view,music should be examined as it stands, and as it was written not what it has won, unless it is a race horse, and I imagine many composers today would like their music to take on such thorough-bred 'Seebisket"dimensions.

Elliott Carter: Collected Essays and Lectures, 1937-1995

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reflections of a great contemporary composer

Elliott Carter: Collected Essays and Lectures, 1937-1995
Elliott Carter
Manufacturer: University of Rochester Press
ProductGroup: Book
Binding: Paperback

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ASIN: 1580460259

Book Description

Elliott Carter (b.1908) is now generally acknowledged as America's most eminent living composer. This definitive volume of his essays and lectures - many previously unpublished or uncollected -shows his thinking and writing on music and associated issues developing in parallel with his career as a composer; his reputation became established in the 1950s, and the material in this book offers an important and knowledgeable commentary on the course of American and European music in the succeeding decades. Carter's articles on his own music have become classic texts for students of his oeuvre; he also writes on the state of new music in Europe and the United States and the relations between music and the other arts. Other pieces range from a consideration of aspects of music to the work of individual composers. As a whole, the collection is the expression of Carter's musical philosophy, and a valuable record for historians of modern music.

Customer Reviews:

reflections of a great contemporary composer.......2002-03-23

For anyone interested in modern music, by whatever name (contemporary classical composition, "new music"), this book is invaluable. Elliott Carter, in my view one of the two best composers of the late 20th century, along with Gyorgy Ligeti, has written fairly extensively over the years about his music. He was actually employed as a critic for Modern Music in the late 1930s, one source of these essays. Presented here are trenchant analyses of the difficulty of being a composer of advanced works in a commercial society, including the problems of orchestras and rehearsals ("the orchestral brontosaur"), reflections on American and European music, reminiscences of his studies with Boulanger in Paris, explanations of various compositions including the First and Second string quartets and the Concerto for Orchestra, and fascinating comments on other composers, including of course Charles Ives, along with Stravinsky, Varese, the Second Vienna School, Debussy and Mozart. Carter expresses the utmost respect for Webern's exquisite miniatures, while making clear his rejection of serialism, which he never adopted.

Elliott Carter enjoys a much higher level of recognition in Europe than in the U.S., where composers of schlocky film scores are vastly more popular (ie, "Star Wars"). While noticed by only a few today, these writings will play a part in establishing Carter's future reputation as one of the greatest composers of the 20th century -- an American composer whether he was recognized by his contemporaries at home or not.

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deeply compact, another water sign of the "anarchic"

Piano Concerto: Full Score

Manufacturer: Associated
ProductGroup: Book
Binding: Spiral-bound

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ASIN: 0793511305

Customer Reviews:

deeply compact, another water sign of the "anarchic".......2005-09-17

if I recall Carter had written much of this while in West Berlin teaching some students, it follows the ;Double Concerto;(then subsequent equally powerful "Concerto for Orchestra") in some respects yet now projecting an unencumbered, an un- burdened free soloist. Carter said he merely wanted to write music he thought was interesting in the Sixties and so he could under the neo-liberal order.
This is a dark,thorny,fully impassioned work yet it allows "sunshine",reflection(s) inside the texture of things in density and timbre,and in complexity to come through.
The piano solo and the orchestra begin their arguments,their probings as equals, very democratic,very exciting,the incessant assymetrical rhythms and poly-rhythms between the soloist and the winds/ / /,the orcehstration is interesting for the piano seems to mimic or stay within identical registers to whomever else in the orcehstra is uttering a declamation or idle intervallic thought/ / / no shifting of emphasis and function, of tossing and relaying music materials between, in fact the orchestra comes to "freeze" itself, in contracting itself in compacted clusters,cecoming less free as the work progresses,this while the piano tries to find an expressive way out of this cul de sac and never really does, even resorting to now full brutal dialogue( in the ;second movement;), the piano comes to ask questions, while maintaining its full virtuoso flair and expressive demeanor never succombing to the torrent of timbre in the orchestral forces.High register winds, snarling brass come to help cadences of moments, and the piano plunges right in to help disrrupt anything that claimed to be "unifying".At times as well the piano shares particular register to augment/further an argument as the "basso" regions with low tom-toms and tympani; The work is incredibly compact/impacted within two movements (of 10 minutes and 12 and one half minutes) respectively.This structure seems to work much better than the more fragmented "Concerto for Orchestra" which seems to meander and finds itself without purpose as it progresses,at least to this listener. On paper,in score I suspect all Carter makes clarity an art of shape and tone of rhythmic dimensions.In the "Piano Concerto" however Carter allows interestingly enough the full basso timbres of the piano to come through,single tones,like revealing yet another aspect of a persona, another side to a facial contour never seen prior in time. This can and does halt the rhythmic momentum,going forward,it does and does not at times, the rather dense convoluted textures which he allows are present as a given, and Gielen and Oppens(in their recording) are incredible in the clarity they bring to this complex score by anyones definition.There is a timbral beauty in Carter if you know where to look.His music looks forward by looking backwards;this gives his music a real powerful agenda,in that we come to re-experience, the quasi-romantic/expressionist charms and arrogant expressions.
Arnold Hauser in one of his "histories" on the visual arts says someplace that the entire "romantic" constitution comes from the"anarchic", the exposed,the abandoned premise, the unencumbered, of a new class fettered no more and finding new freedoms in merchant capitalism within the 19th Century. Well Carter is a traditional/modernist but one whose affinity resorts to these romantic dimensions of expressions in that his creative pallette did not venture to far afield,the center of his creativity remains within a predictable consciousness. His music will never surprise you,or take you unawares of some dimension of what modernity can do, or should do.I think that this is part of its wide appeal, that within the the alienation schemes practiced within the modernist language in music, Carter's music is knowable, one can come to follow it without too much arduous exchange within one's psychology.
There are exposed solo lines as well in the winds and a solo violin a la Richard Strauss primarily in the ;second movement; the flute, and the "new" timbre (for its time) the Bass Clarinet;nice round tones allowed to pass the tyrannical gaze of the piano. The work as it progresses wants to end itself, it becomes somewhat neurotic in not discovering a resolution for itself.It works nonetheless much better than the "Concerto for Orcehstra".

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golden fruits of maturity

Night Fantasies: Piano Solo

Manufacturer: Associated
ProductGroup: Book
Binding: Paperback

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ASIN: 0793552559

Customer Reviews:

golden fruits of maturity.......2005-09-12

this is Carter's most interesting piano solo,written late;a quadruple commission; it seems most of his piano repertoire,his thinking excursis for the keyboard has been skewed toward chamber settings(The Double Concerto),the Wind and String Quintets(also late bloomer works) and the massive penumbral "Piano Concerto", that which has equally more interesting orchestrations than the content for what is played on the piano. The earlier Brahmsian/Copland-esque "Piano Sonata" from the Forties, has its points of interests,rolling rotund resonant timbres,bombastic declamations but that is an earlier Carter,formative times and a different set of creative paradigms at work actually, prior to the maturity and interest that set in after the "First String Quartet". . . The golden fruits of maturity has seen many works even an opera of mixed quality,and predictable-ness some of the solos and duets,dedications as "Espirit rude" are quite glib materials,tossed off. Here however the "Night Fantasies" is an interesting piece of music,certainly one that has entered the modern piano literature, a modern nocturne of darkness for dark times which never seem to recede,simply differing gradations of it. This work has entered the mainstream and academia naturally and you can see it played on piano competitions,although difficult to perform in that all the suggestive timbral layers Carter employs/deploys need continuous clarity.He sets a large pallette of piano attacks,mixed with an equal distributions of dynamics sustained moments mixed with more percussive effects,staccato with sustained, cloistered-like chorals deployed.If this agenda for "layering" is abandoned well the work will cohere-melt into one quite boring unadorned glob of timbre, suggestive of Schumann or Brahms having lived through World War 2.Ursula Oppens and Charles Rosen have exhibited the most interesting readings I think,and quite recently Pierre Laurent Aimard,in a nice recording with his own commnetary thrown in.I would like to hear Frederic Rzewski play this work, with his overriding dynamic approach and technical clarity he can summon to his fingers and perhaps glean the overbearing romantic-nesses from the work, making it leaner and more articulated.That is always the problem with modernity of this kind,it always tempts the interpreter into a more facile reading,more direct, more bound to the aesthetic of the romantic as Solti playing Schoenberg as Brahms or as he had done with Carter's "Variations for Orchestra" he had takened on tour.. If you bring direct unencumbered musicianship to Carter the music will reward you, and if you acknowledge its intellectual agendas you will be twice blessed.
Jon Link has done excellent work on mapping the poly-rhythmic distributions of this work,and David Schiff's excellent book to a less exhaustive degree and Yes! some can hear all of it,the poly-rhythms, layered textures if you have a map inside your head, and have some pre-requisite home study of the score prior to a listening experience, but short of that the work still harbors a neo-romanticism with an affinity for modernity, the wonderful fast furioso filigree displays, "fugitive" lines wanting to escape from the work's structural tyranny has a kind of other wordly quality.

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8 Pieces for 4 Timpani: (One Player)

Manufacturer: Associated
ProductGroup: Book
Binding: Paperback

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ASIN: 0793548489

Book Description

Includes Recitative and Improvisation.

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Au Quai

Manufacturer: Boosey and Hawkes
ProductGroup: Book
Binding: Paperback

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ASIN: 1423410335

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Written for the London Sinfonietta for Oliver Knussen's 50th birthday, and first performed by members of that ensemble in 2000 at Queen Elizabeth Hall, London. Recorded by Peter Kolkay, bassoon, and Maureen Gallagher, viola, on Bridge Records. The composer states: "The title of this piece was suggested by Arnold Schoenberg's short story 'To the Wharfs' in which he describes the mounting anxiety of the members of a French fishing village as the boats and the sea-bound fisherman failed to appear after a storm and several days' absence. When they were suddenly sighted all shouted 'to the wharfs, aux quais, O.K.'" 3 minutes.

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Brass Quintet 1974
E. Carter , and Elliott Carter
Manufacturer: Hal Leonard Publishing Corporation
ProductGroup: Book
Binding: Paperback

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ASIN: 0793525128

Canon for 3 in Memoriam of Igor Stravinsky

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Canon for 3 in Memoriam of Igor Stravinsky
Carter Elliott
Manufacturer: Associated
ProductGroup: Book
Binding: Paperback

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ASIN: 0793514320

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For 3 equal C or Bb intruments.

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Carter (Biblioteca di cultura musicale)
Elliott Carter
Manufacturer: EDT/Musica
ProductGroup: Book
Binding: Unknown Binding

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ASIN: 887063051X

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