Arch Street Press
In clearing the path for genership, Castro offers much more than a critique of traditional leadership practices. In a series of meaty chapters, he meditates on specific and interrelated organizational practices central to creativity within groups: Listening, CoThinking, CoVisioning, Relationships, Conflict and Learning, Systems Thinking, Creativity and Group Dynamics. In each arena, Castro employs potent examples to explore how traditional leadership can evolve into more powerful genership skills, delivering not the rote implementation of a messianic leader’s vision but rather the full engagement of communities in shared creative projects. Some of these passages tread ground that will be familiar to students learning organizational theory, which Castro acknowledges has informed his perspectives. This work, however, provides something profoundly new: an overarching idea—genership—that has the potential to change the conversation within organizations about the meaning and practice of leadership. If leadership does evolve into genership, as Castro advocates, there is no doubt that organizations around the world will change in ways that open significant new possibilities for human progress.
Phillip Thomas, Philadelphia Social Innovations Journal
"Rmm here explores the lives and artistic contributions of eight late 19th- to mid-20th-century pianist-composers. He also includes interviews with and commentary on contemporary composer Marc-André Hamelin, a gifted interpreter of their works. Rimm deftly weaves together the lives and careers of the composers by discussing them in pairs, while also exploring their influences on each other. The artists range from familiar names (Sergei Rachmaninov) through some known more for writing difficult music than for being performed (Charles Alkan, Kaikhosru Sorabji), to at least one with very little resonance today (Samuel Feinberg). Rimm delves into musical criticism, virtuosity, the erotic muse, the art of transcription, and the future of the piano itself, and the whole work shows evidence of extensive research. Especially welcome are quotes from the artists themselves, contemporary critiques of performances or recordings, and archival photos. ... A comprehensive list of works for solo piano (including transcriptions), a discography of recordings by the artists of their own or others' compositions, a wide-ranging bibliography, and index round out this excellent addition to all music collections serving an informed clientele."
Barry Zaslow, Miami University Libraries
“Page after page, the book persuades you to hear in new ways.... Rimm is often sylistically elegant, making The Composer-Pianists a pleasure to read.”
Peter J. Rabinowitz, Fanfare
“Rimm provides a wealth of interesting biographical information and researched material with lively discussions and comparisons of each pianist’s role as performer, writer, transcriber, composer, and international personality.”
D. L. Patterson, Choice
“Very informative reading.”
“Robert Rimm’s entertaining volume should be especially interesting to everyone interested in the Romantic pianists....”
Polish Piano Music: Works by Paderewski, Scharwenka, Moszkowski and Szymanowski
Introduction by Robert Rimm
While thoughts of Polish music tend to focus on Chopin and his redefinition of national dances—those evocative mazurkas and heroic polonaises—it is to four other Polish composer-pianists that we turn our attention in this exceptional volume. The composers represented in this new compilation belong to what is widely known as the “Golden Age of Piano”—roughly those years straddling the late 19th and early 20th centuries. ... The excellent introduction by Robert Rimm provides the reader with a brief factual and historical context and comparison of these four composers. Every detail in this sheet music is given to ensure its adherence to the original. Even the dedications are preserved for posterity. It is nice to know that these works will not be forgotten. Future generations of pianists will be able to carry on the tradition of these compositions and resurrect the reputations of these composers for years to come. One can thank the foresight of the publishers of such editions for preserving the Polish legacy in piano repertoire.
Gary Fitelberg, Polish Music Center, University of Southern California