This book is a must for all music fans who wish to experience music more fully and deeply through one of the most inspired, and inspiring, music intellects of our time. Employing the creative device of "Imaginary Conversations" in the first section of his book, Bernstein illuminates the importance of the symphony in America, the greatness of Beethoven, and the art of composing. The book also includes a photo section and a third section with the transcripts from his televised Omnibus music series, including "Beethoven's Fifth Symphony," "The World of Jazz," "Introduction to Modern Music," and "What Makes Opera Grand."

    His mother, Olga Blumenfeld, was sister of Felix Blumenfeld, a distinguished pianist, conductor and teacher. Horovitz was one of his most famous pupils. Through his maternal grandmother he was related to Karol Szymanowski who became a lifelong friend.Heinrich Neuhaus was, strictly speaking, self-taught, and the main formative influence on his musical development came from Felix Blumenfeld. He made his first public appearance at the age of eleven, playing some Chopin Waltzes and an Impromptu. In 1902 he accompanied Misha Elman in a recital in Elisavetgrad. His first solo recitals took place in Germany and Italy while studying under Godowsky, in Berlin and Vienna. He returned to Russia at the outbreak of the First World War.In 1922 he began teaching at the Moscow Conservatoire and helped to create in 1932 the famous Moscow Central Music School for specially gifted children. From 1934 to 1937 he was Director of the Moscow Conservatoire, a post he relinquished so as to be able to devote himself entirely to teaching. Amongst his pupils were Radu Lupu, Emil Gilels and Sviatoslav Richter who called him an artist of unique genius, a great teacher and friend. Seldom have artistic gifts been so closely matched by the qualities of selfless devotion, deep humanity, true culture and a great capacity for bestowing and winning friendship. He died on 10th October 1964. This book bears witness to his achievements as a man, musician and teacher.

    He is also a writer, composer and painter and was recently described by the Economist as one of '20 Living Polymaths'.As an international performer he spends much of his life at airports, on planes, and in hotel rooms - and this book expands notes he has made, in his words, 'during that dead time on the road'.He writes about music and the life of a musician, from exploring the broader aspects of what it is to walk out on to a stage or to make a recording, to specialist tips from deep inside the practice room: how to trill, how to pedal, how to practise. He also writes vividly about people he's known, places he's travelled to, books he's read, paintings he's seen; and touches on more controversial subjects, such as assisted suicide and abortion. Even religion is there - the possibility of the existence of God, problems with some biblical texts and the challenge involved in being a gay Catholic.

    Schonberg presents vivid accounts of the artists’ performances, styles, and even their personal lives and quirky characteristics— such as Mozart’s intense competition with Clementi, Lizst’s magnetic effect on women (when he played, ladies flung their jewels on stage), and Gottschalk’s persistent nailbiting, which left the keys covered with blood. Including profiles of Horowitz and Van Cliburn, among others, and chapters detailing the playing and careers of such modern pianists as de Larrocha, Ashkenazy, Gilels, Gould, Brendel, Bolet, Gutierrez, and Watts, The Great Pianists is a comprehensive and fascinating look at legendary performers past and present.

    How can such sublime work have been produced by a man who (when we can discern his personality at all) seems so ordinary, so opaque—and occasionally so intemperate? John Eliot Gardiner grew up passing one of the only two authentic portraits of Bach every morning and evening on the stairs of his parents’ house, where it hung for safety during World War II. He has been studying and performing Bach ever since, and is now regarded as one of the composer’s greatest living interpreters. The fruits of this lifetime’s immersion are distilled in this remarkable book, grounded in the most recent Bach scholarship but moving far beyond it, and explaining in wonderful detail the ideas on which Bach drew, how he worked, how his music is constructed, how it achieves its effects—and what it can tell us about Bach the man. Gardiner’s background as a historian has encouraged him to search for ways in which scholarship and performance can cooperate and fruitfully coalesce. This has entailed piecing together the few biographical shards, scrutinizing the music, and watching for those instances when Bach’s personality seems to penetrate the fabric of his notation. Gardiner’s aim is “to give the reader a sense of inhabiting the same experiences and sensations that Bach might have had in the act of music-making. This, I try to show, can help us arrive at a more human likeness discernible in the closely related processes of composing and performing his music.” It is very rare that such an accomplished performer of music should also be a considerable writer and thinker about it. John Eliot Gardiner takes us as deeply into Bach’s works and mind as perhaps words can. The result is a unique book about one of the greatest of all creative artists.

    Gertrude Stein, Mae West, Margaret Mitchell, Eudora Welty, Ayn Rand, Doris Lessing, Anais Nin, Zora Neale Hurston, Marina Tsvetaeva, Hannah Arendt and Mary Mccarthy, and Olive Schreiner: Pierpont is clear-eyed in her examination of each member of this varied group, connectng her subjects firmly to the issues of sexual freedom, race, and politics that bound them to their times, even as she exposes the roots of their uniqueness."Pierpont['s] graceful essays are at once erudite and personal in their focus." ?The Boston Globe"One of the most ceaselessly interesting books I've read in some time." ?Lorrie Moore, The New York Review of Books

    Among its features:-- chronologically arranged essays on nearly 100 composers, from Guillaume de Machaut (ca. 1300-1377) to Aaron Copland (1900-1990), that combine biography with detailed analyses of the major works while assessing their role in the social, cultural, and political climate of their times;-- informative sidebars that clarify broader topics such as melody, polyphony, atonality, and the impact of the early-music movement;-- a glossary of musical terms, from a cappella to woodwinds;-- a step-by-step guide to building a great classical music library.Written with wit and a clarity that both musical experts and beginners can appreciate, The Vintage Guide to Classical Music is an invaluable source-book for music lovers everywhere.

    Her column, Rock, Etc., ran for seven years and established Willis as a leader in cultural commentary and a pioneer in the nascent and otherwise male-dominated field of rock criticism. As a writer for a magazine with a circulation of nearly half a million, Willis was also the country’s most widely read rock critic. With a voice at once sharp, thoughtful, and ecstatic, she covered a wide range of artists—Bob Dylan, The Who, Van Morrison, Elvis Presley, David Bowie, the Rolling Stones, Creedence Clearwater Revival, Joni Mitchell, the Velvet Underground, Sam and Dave, Bruce Springsteen, and Stevie Wonder—assessing their albums and performances not only on their originality, musicianship, and cultural impact but also in terms of how they made her feel.Because Willis stopped writing about music in the early 1980s—when, she felt, rock ’n’ roll had lost its political edge—her significant contribution to the history and reception of rock music has been overshadowed by contemporary music critics like Robert Christgau, Lester Bangs, and Dave Marsh. Out of the Vinyl Deeps collects for the first time Willis’s Rock, Etc. columns and her other writings about popular music from this period (includingliner notes for works by Lou Reed and Janis Joplin) and reasserts her rightful place in rock music criticism.More than simply setting the record straight, Out of the Vinyl Deeps reintroduces Willis’s singular approach and style—her use of music to comment on broader social and political issues, critical acuity, vivid prose, against-the-grain opinions, and distinctly female (and feminist) perspective—to a new generation of readers. Featuring essays by the New Yorker’s current popular music critic, Sasha Frere-Jones, and cultural critics Daphne Carr and Evie Nagy, this volume also provides a lively and still relevant account of rock music during, arguably, its most innovative period.

    In the insightful How Music Works, Byrne offers his unique perspective on music - including how music is shaped by time, how recording technologies transform the listening experience, the evolution of the industry, and much more.

    Listen to This, which takes its title from a beloved 2004 essay in which Ross describes his late-blooming discovery of pop music, showcases the best of his writing from more than a decade at The New Yorker. These pieces, dedicated to classical and popular artists alike, are at once erudite and lively. In a previously unpublished essay, Ross brilliantly retells hundreds of years of music history—from Renaissance dances to Led Zeppelin—through a few iconic bass lines of celebration and lament. He vibrantly sketches canonical composers such as Schubert, Verdi, and Brahms; gives us in-depth interviews with modern pop masters such as Björk and Radiohead; and introduces us to music students at a Newark high school and indie-rock hipsters in Beijing.Whether his subject is Mozart or Bob Dylan, Ross shows how music expresses the full complexity of the human condition. Witty, passionate, and brimming with insight, Listen to This teaches us how to listen more closely.

    With an afterword by Michael McClure.

    Two centuries later, pioneering musicians began to take advantage of breakthroughs in audio recording to make Bach’s music the sound of modern transcendence. The sainted organist Albert Schweitzer used wax-cylinder recordings to broadcast Bach’s organ works beyond the churches. Pablo Casals, cutting 78s at Abbey Road Studios, made Bach’s cello suites existentialism for the living room; Leopold Stokowski and Walt Disney, with Fantasia, made Bach the sound of children’s playtime and Hollywood grandeur alike. Glenn Gould’s Goldberg Variations opened and closed the LP era and made Bach the byword for postwar cool; and Yo-Yo Ma has brought Bach into the digital present, where computers and smartphones put the sound of Bach all around us. In this book we see these musicians and dozens of others searching, experimenting, and collaborating with one another in the service of Bach, who emerges as the very image of the spiritualized, technically savvy artist. Reinventing Bach is a gorgeously written story of music, invention, and human passion—and a story with special relevance in our time, for it shows that great things can happen when high art meets new technology.

    RIP IT UP AND START AGAIN is a celebration of what happened next.Post-punk bands like PiL, Joy Division, Talking Heads, The Fall and The Human League dedicated themselves to fulfilling punk's unfinished musical revolution. The post-punk groups were fervent modernists; whether experimenting with electronics and machine rhythm or adapting ideas from dub reggae and disco, they were totally confident they could invent a whole new future for music.

    Written in 1828, in the last months of the young Schubert's life, 'Winterreise' ("Winter's Journey"), has come to be considered the single greatest piece of music ever written for the male solo voice. Deceptively brief - the twenty-four short poems are performed uninterrupted in 70 minutes - it nonetheless has an emotional depth and power that no music of its kind has ever equalled. Originally intended to be sung to an intimate gathering, performances of 'Winterreise' now pack the greatest concert halls around the world. Drawing on his firsthand experience with this work (he has performed it more than one hundred times), on his musical knowledge, and on his training as a scholar, Ian Bostridge teases out the enigmas and subtle meanings of each song, exploring the world and the states of heart and mind in which Schubert created them, and the exquisite resonance and affinities that continue, even today, to move us so profoundly.

    Includes a 30-page bibliographical essay, numerous illustrations, and a full-color pictorial biography of the composer.