Product Description
* The major composers from Bach and Bartok to Rachmaninoff and Tchaikovsky
* Significant performers from Maurice Andre and Leornard Bernstein to Georg Solti and Yo Yo Ma
* The landmark works from Appalachian Spring to Don Juan
* A concise history of classical music
* A deconstruction of the art form
* The language of classical music
* Valuable resources for the Curious Listener ... Read more

Customer Reviews (7)

The NPR Curious Listener's Guide to Classical Music
Tim Smith, Music Critic of the BALTIMORE SUN, is one of the nation's most enlivening and insightful commentators on classical music. It is not surprising, then, that this 2002 publication of Grand Central Press makes for interesting and enjoyable reading.It fills a distinct niche in the literature.Written not for the complete neophyte, but rather for the listener who has discovered classical music, and who has learned to enjoy and love that which he or she has thus far heard . . . it is a book which encourages the reader to explore more widely, and to listen to the major works of the repertory--and a few not quite so main stream.

As with any writer, there is room to quibble with some of Smith's opinions, but in the main, there is nothing here not based in solid scholarship.For me, the highly select recommendations for possible compact disc purchase raised my eyebrows the highest.Talk about an area where devotees can disagree!! Still, tho' I would not have chosen many (most?) of the recordings Smith chose, I could understand WHY he chose them from among those readily available to his reading public.

This book renders a valuable service and will remain on my library shelves.

A Great Starting Point to learn about Classical Music
Just like NPR's Curious Listener's Guide to Opera, this book is a great starting guide for those interested in learning more about Classical Music. What is an Aria? What re there 3 movements in a single composition? All these questions and many more you would have never thought about are answered. You come away with new knowledge about Classical Music and it's importance, both historically and personally.

Curiously lame.
Full of flabby generalities, misstatements, and defensive assurances that classical music isn't elitist. The author unnecessarily compares classical music to musical styles about which he evidently knows nothing. With friends like this, classical music needs no enemies.

Disappointing
To say I was disappointed in this "guide" is an understatement.I expected so much more from NPR.I live in New Orleans and lost a lot of my books in the flood following Katrina, so I needed a new classical music reference.This one is not at all useful to me.

Not recommended because of competing products
This book reminds me of the old saying that "a camel is a horse built by a committee." This text isn't quite right for either beginners or intermediate lovers of classical music. It's not user-friendly or clever enough for beginners, and it's too thin and too passionless for intermediates. It's perfectly okay, but falls well short of the competition.

There are lots of really good classical-music guides on the market, however. Some fun, not-too-taxing ones are Marcus Weeks' "Music: A Crash Course" and Phil G. Golding's "Classical Music." Each of these is fun and fresh.

If you want something more substantive and brainy that will allow you to show off at your next embassy cocktail party, try Fred Plotkin's "Classical Music 101" or Jan Swafford's "The Vintage Guide to Classical Music." Plotkin's is better, but a bit stiff, and Swafford's has many more illustrations.

The very best is, believe it or not, is David Pogue's and Scott Speck's "Classical Music for Dummies." It comes with a good audio CD of sample classical tracks, and the two authors are both professional musicians and very bright people. It's a real and helpful treat. ... Read more

Product Description
The All Music Guide to Classical is the definitive source for composers, compositions, and genres. The book contains over 500 composer and 800 performer biographies, from traditional names like Beethoven, Vivaldi, and Bach to surprising entries like Brian Eno and Pete Townshend (for ambient music, which influenced the Minimalist movement, and the rock opera Tommy, respectively). Each artist entry includes vital statistics and album recommendations. The book covers thousands of compositions, including operas, symphonies, concerti, and ballets, and it includes 23 essays devoted to classical music’s major eras, forms, and genres. Choral works, songs, keyboard works, chamber music, and film scores receive dedicated sections. ... Read more

Customer Reviews (8)

All Music Guide to Classical Music
This big volume gives the reader an excellent overview of the periods in music by difining the era and then listing the composers in Alphabetic order with a further list of their music.
Great volume to have in your home library.
mDixon

ALL GUIDE TO CLASSIC MUSIC
I'LL SAY IT'S FAIR IN THE REVIEW. SOME CONDUCTORS WHERE NOT MENTIONED,
OUT DATED WITH CONDUCTORS NOW LIVING AND MAY BE NOT LIVING SOME NEWER
CONDUCTORS THAT ARE NEW WHERE NOT EVEN MENTIONED, SO I WOULD SAY ITS FAIR
NOT ENOUGH WHEN INTO RESEARCH ON CERTAIN, IN CLOSING SHOULD HAVE BEEN
IMPROVED.

Scholarship for the laymen and the learned....
This is a work of vast knowledge which encompasses not only biographies of composers and artists, but analysis of well known and obscure compositions. And although there are CD buying recommendations, this is not really the choice for that. If that is your preference then The 2008 Penguin Guide to Recorded Classical Music is a much better choice. This book is much more for enlightment than browsing.

Beware,though, of the fine print. If your vision is not the best you might want to buy a magnifying glass before purchasing this enormous wealth of information.

One could buy multiple volumes of other material before approaching what is found between the covers of this massive work. And you can't beat the pricefor what you'll get. Do yourself a favor and buy this book.

If you possessed limited knowledge of classical music before, after you purchase this book that will all change. And deepen your enjoyment of the greatest music ever written.

The Ultimate Encyclopedia of Classical Music
This is an extremely valuable reference book on classical music, even for the sophisticate music lover.Highly recommended.

3.75 stars -- outstanding guide for information and recordings
Published in 2005, the All Music Guide to Classical Music (AMG) is a direct competitor to the Rough Guide to Classical Music and does not directly compete with buying guides like The Penguin Guide and Third Ear. Like Third Ear, the AMG assigns composer coverage to a single individual -- usually more than one writer works on different sections of a composer's output; sometimes a different writer covers each symphony or concerto of a composer -- giving readers what amounts to an individual, not group, recommendation. This is one of the principal shortcomings of Third Ear, which operates the same way.

Among its best points, this is a comprehensive guide to composers and performers, perhaps more so for the latter than the former, giving both new and experienced collectors a tad of information on their favorite orchestras, ensembles, conductors and performers. I learned in this guide violinsit Joshua Bell was born in 1967, making him older than I suspected and two decades older than he appears on the cover of his new Tchaikovsky Violin Concerto. I'd never read his birthdate in any of his recordings or in the music dictionaries I own. I tried to find violinist Janene Jansen's age; she isn't represented in the book.

Another plus: the AMG provides recommended recordings for every individual and group it discusses. Fans of the English Concert may or may not agree with recommendations for its recordings of Haydn's "Sturm und Drang" symphonies, Handel Orchestral Suites, Vivaldi Concertos, Bach Brandenburg Concertos, and Handel's complete Organ Concertos. I've heard many of these recordings and the recommendations seem judicious.

The recording recommendations in this guide are safe and sometimes better. The writers often recommend very well known and long established recordings, always on major labels. In the section on British symphonist Ralph Vaughan Williams, each writer discussing VW's individual symphonies recommends the most well-known stereo recordings of Boult, Hickox and Barbirolli. Not a single writer recommended any Vaughan Williams recording of Vernon Handley, one of the best living interpreters of this composer. Nor does one recommend a single recording from the VW Naxos series that has garnered acclaim all over the place.

As a result, for all AMG's worthwhile descriptions of composers and performers, the recording recommendations require amplification from elsewhere. The book is also not thorough with every composer. Its section on one of my favorites composers, Franz Krommer, does not discuss or make recording recommendations on his best and most popular body of work, his Octet-Partitas. Neither is there any section describing the time and work from one of my favored minor composers, Joseph Triebensee; nor is there a section describing one of my favored lesser recorded conductors, Claus Peter Flor. So, while good, this tome is far from complete. You may located some missing material at the All Music Guide's Web site, if you choose.

The guide describes itself this way: "A handy, single-volume guilde to the kaleidoscopic world of classical music - one that doesn't cost a fortune and doesn't require an advance degree to understand." Maybe it doesn't cost a fortune; the one I have is labeled $34.95; you can get it for much less here. And maybe it's straighforward much of the time but not always. In fact, the composer sections and sections on recordings are written by musicologists that often go into musical detail beyond the average listener.

Here's an excerpt from the descripton of William Walton's Sympony No. 1: "Write a fugue...the result was a dam-breaking fugue three minutes into the movement before the pace switched from Brioso ed ardentemente (spiritiedly, ardently) to Vivacissimo, leading to a return of the Maestoso materials that began it."

The AMG is, in the main, a useful guide to the realm of classcial music performers and recordings. It is superior to the Rough Guide to Classical Music and operates in similar bandwidth. It tries to tell you a little about everything and, to some extent, it succeeds and gives information other books skip.

This is a excellent starting point for a beginner that offers a little about everything and everyone and is vastly superior to the Rough Guide. For more experienced listeners and collectors, it makes a meaningful addtion to your library that already contains the Penguin Guide, Third Ear and a good encyclopedic tool such as the Oxford Dictionary of Music of The Penguin Companion to Classical Music, all of which offer more detailed information in their specific areas of expertise. ... Read more

Product Description
A superb crossover title of enormous appeal to the vast selection of the population that enjoys classical music, but would like to know more about it. From Gregorian Chant to Henryk Gorecki, the first living classical composer to get into the pop album charts, here is the fascinating story of over a thousand years of Western classical music and the composers who have sought to express in music the deepest of human feelings and emotions. Polyphony, sonata form, serial music - many musical expressions are also explained - with the text illustrated by performances from some of the most highly praised recordings of recent years (all but a few taken from the Naxos and Marco Polo catalogues). ... Read more

Customer Reviews (3)

History simplified
Having been a fan of classical-style music for over fifty years, and read many books on the subject including biographies, I must say that I found 'The History of Classical Music' a first-class production. For the amateur student or enthusiastic beginner, it is perfectly paced and well pitched for them. The libretto is entertaining and not at all heavy. The story line, which moves along briskly, does not get bogged down in superfluous deep scholastic detail and thus maintains the interest and attention of the listener. Music, illustrating and supporting the spoken word, fades in and out in perfect harmony with the narrator Robert Powell. I was addicted to Roberts voice, and the entire production for the entire length of this 4 CD set. Extremely enjoyable, very entertaining and exceptionally satisfying.

A superbly recorded music history.
From Gregorian Chant to Henryk Gorecki (the first living composer to get into the pop album charts), Richard Fawkes' The History Of Classical Music presents the fascinating and informative story of more than a thousandyears of Western classical music and the composers who have sought toexpress in music the deepest human feelings and emotions. Welsh alsoexplains polyphony, sonata form, serial music, and other musicalexpressions with a text that is illustrated by performances from some ofthe most highly praised recordings of recent years. Fawkes' superb text isably narrated on in this four compact disc collection by Robert Powell(Running Time: 5 hours, 20 minutes). The History Of Classical Music is alsoavailable on audio cassette. Also highly recommended is the unabridgedNaxos Audiobook edition of Richard Fawkes' The History Of Opera.

A good quick survey
It seems the most popular budget classical music label, Naxos, not only makes most of the Western musical output available at very reasonable prices (no top stars who demand absurd fees make this possible), but it hasalso issued three very nice boxed sets of recordings on cassettes and CDs(I have the latter)that together give you a quick, fairly accurate, andquite enjoyable survey of three major topics.Perry Keenlyside's (NA 314412) is on three tapes or CDsand more or less delivers what the title promises in about 3 hours and 40minutes. The text is considerately divided into sections--"Mozart, thechild prodigy," "January 1762, the first journeys,""Paris and London, 1763-4," and so on--with tracking cues foreach section. The narration and quotations from letters and journals of thetime are accompanied by the appropriate music drawn from the bottomlessNaxos catalogue.Nigel Anthony is the narrator, aided by Paul Rhys(Mozart), Edward de Souza (Leopold Mozart), with David Timson and AnnaPatrick in "other parts." I have not seen the original books tosee how much of an abridgment this is, if at all, but that is immaterial.The voices are personable, the information digestible, the whole projectvery worth while, especially at the price.Those last two sentences aretrue for the other setsas well. Richard Fawke's (NA414012) and (417612)are both on 4 tapes or CDs and read solo by Robert Powell. I am afraid thatjust a little five hours is not enough to handle the first topic with anysatisfying degree of completeness; but it does give a 'Monarch Notes"glance at an enormously wide and complicated topic and is just enough foranyone who wants a head start before plunging into longer works. On theother hand, I greatly enjoyed the Opera set, timed at only 5 minutes morethan the other recording. Trying to cover less, it does it better; and iteven has room for some amusing incidents such as the one about the famousone-act opera that was entered into a contest (which it won) by thecomposer's wife who had more faith in it than did the composer. [No, youlisten to the recording to learn which opera I mean.]My only objectionto the Naxos recordings of books in the low recording level that makes it abit difficult to hear on a walkman set up on (say) a noisy train. But thisshould offer no problem to home hearing or even in your car. These sets arereally perfect listening for long trips. ... Read more

Product Description
With more than 200 stunning color photographs by noted photographer Wendy McDougall, Classical Destinations takes readers on a tour of the history and geography of classical music, examining the lives of the great composers as related to their places of birth, education, triumphs, and failures. For today's traveler the book comes full-circle, describing how, through their achievements, the great composers came to influence the places where they lived and performed. In these pages readers can visit Venice when it was home to Vivaldi, Salzburg as Mozart's prodigious talents emerged, Leipzig during the time of Mendelssohn and Schumann, Prague as growing Czech nationalism gripped Smetana, and the Vienna where Beethoven faced incurable deafness. The reader will accompany J. S. Bach through the towns of central Germany and tour St. Petersburg as Tchaikovsky knew it. Beyond the cities, Classical Destinations includes the dramatic landscapes of Norway and Finland that made so much of an impression on the music of Grieg and Sibelius. ... Read more

Customer Reviews (5)

fast and quick service
Such a nice book. Not so easy to find on market. Quick and great service

AnAbsolute Nesessity for MUsic Lovers
The book is not only educational, but it is extremely interesting and not in a text book way.Any person who enjoys classical music should buy this book.It is well worth the money.

Superb

I loved the whole tv series, bought the DVD and then the book.The book is basically the spoken words of the tv series and flows along beautifully, educating us in the basics of the classical music greats.Stunning scenery and insights into the beauty of classical europe, it takes us on a journer that we want to live in real life.

This is one to own......and if you love the book then make sure you have the DVD as well!!!

A delightful visual and written treat
CLASSICAL DESTINATIONS: AN ARMCHAIR GUIDE TO CLASSICAL MUSIC considers the history and geography of classical music in Europe's greatest cities, blending over 200 color photos in a new title tied to the TV series and national PBS special of the same name. It's more than a biography, though it does consider the lives of the great world composers - it blends in a travelogue to the places they lived and created in, it shows how their works were influenced by the cities they lived in, and it blends travel with classical music insights in a delightful visual and written treat recommended for any library collection strong in classical music history and culture.

great photos, great history
I wish that I would have had this book while planning my travels around Europe!The photos and stories that it comes with are absoultely amazing.As a person who loves to travel and majored in music, this book is able to tell and show the historic cities that inspired some of the greatest classical music ever!I can't wait for my next trip to Europe to see some of the things that I missed! ... Read more

Product Description
The complete works for lute solo by Johann Sebastian Bach. Newly transcribed and annotated, including historical and performance notes. ... Read more

Customer Reviews (7)

Good, clean edition
Willard has done a more than adequate job with the arrangements of the lute suites in this collection. The fingerings are, like many other editions, somewhat predictable, but nonetheless quite functional and reasonable. It goes without saying that advanced Bach for the classical guitar presupposes a reasonable level of familiarity with the idiom if one is to make full use of the scores. In that regard, this collection excels. A solid and professional edition.

A great edition for professional and student alike
I have to say that what Jerry Willard did in publishing his edition of J.S. Bach's Complete Works was to not inflict upon the music his musical conception, through over-fingering or ornamentation. It is perfect for the professional guitarist who wants a very reliable transcription in the accepted "guitar keys", as well as a great study version for any student of the guitar. Like his other publication of the Bach Inventions for the guitar by the same publisher, it is a diet staple both for me and my students.

It is generally accepted that one must study these suites with a great teacher who has familiarity with the style, (which Jerry Willard is!)and to read alot about performance practice to determine for yourself what the best choices are. All this is possible if you own this edition. In the end, Willard leaves the choices to us.

Excellent book!!

Great transcriptions at a great price!
This is a great compilation! These transcriptions are very musical, given the limitations of transcribing for modern guitar from a 13 course baroque lute...of course it was necessary to drop a lot of bass notes and the bass lines and even mid-register voicing just can't be made to match the original pieces all that well. You may want to alter some of the fingering, but everyone except rank beginners do this as a matter of course. The one star review is harsh and unnecessary. Go for it! My 1980s copy is well-loved and well marked up!

Save your money
I must first say that the only reason that I've given this book one star is because that's the lowest amount that I could give it and Bach's Lute Suites are in the book and the book didn't fall apart. This book gives you no real performance notes, no true historical perspective of the music and how it should be interpreted, and the fingerings are adequate at best. As a teacher,and performer I can only recommend this book if the Frank Koonce Bach book is out of print or you can't afford something else. Shame on you Ariel Publ. and Jerry Willard.

haven't run into a better one yet
About the fingerings I must say that in some pieces I tend to alter them a lot, but this is most of the time a matter of personal taste and style. It's just in a few cases that they realy need to be changed, and this is perfectly normal in a book that covers all of Bach's works for lute.
Concerning the musicall content, this is a very good edition. I also liked the "ottava bassa" indications on the basses. This way you get a clear picture of the original bassline, and anyone that has ever played this suites knows how important they are.
Price is also very appealing. ... Read more

Product Description
Western classical music has become as Chinese as Peking Opera, and it has woven its way into the hearts and lives of ordinary Chinese people. This lucidly written account traces the biographies of the bold visionaries who carried out this musical merger.Rhapsody in Red is a history of classical music in China that revolves around a common theme: how Western classical music entered China, and how it became Chinese. China's oldest orchestra was founded in 1879, two years before the Boston Symphony. Since then, classical music has woven its way into the lives of ordinary Chinese people. Millions of Chinese children take piano and violin lessons every week. Yet, despite the importance of classical music in China -and of Chinese classical musicians and composers to the world - next to nothing has been written on this fascinating subject.The authors capture the events with the voice of an insider and the perspective of a Westerner, presenting new information, original research and insights into a topic that has barely been broached elsewhere."Every chapter is as exiting as it is revealing. The book is thoroughly researched, with superb bibliography. I am ecstatic; my students will be electrified." - Clive M. Marks, Chairman, The London College of Music, Trestee, Trinity College of Music and The London Philarmonic Orchestra ... Read more

Customer Reviews (3)

From Ricci and Paci, via Mao and Mozart, to Tan Dun
"How and why did Western classical music develop such deep roots [in China]?This is a question that we [Sheila Melvin and Jindong Cai] have often asked ourselves-and been asked-and it is this that we set out to answer in writing Rhapsody in Red:How Western Classical Music Became Chinese."

This very readable short history of western classical music in China is more thoroughly structured than a "rhapsody," not just about music and certainly more colorful than just "red."The three most interesting chapters, in fact, cover the pre-communist era.It is generally known that the Italian Jesuit Matteo Ricci introduced Euclidean geometry to Chinese mathematicians in 1607, but did you know that he also presented Ming Emperor Wan Li with a clavichord?The chapter "Musical Voyages" tells the incredible story of this somewhat politically motivated adventure. In the beginning the Jesuits were sabotaged by the corrupt imperial eunuch Ma Tang and later, after the Emperor had finally received the gift, Father Pantoia, himself an amateur musician, had to instruct palace eunuchs in the art of playing the clavichord.Emperor Wan Li happened to be "on strike" and was unwilling to receive any guests.But he did seem curious enough to hear the sound of the clavichord and thus was the first "piano" recital in China given by palace eunuchs.

During the reign of Qing Emperor Kangxi, Western music had become far less exotic to the monarch.He had taken lessons and "supposed himself to be an excellent musician" though he probably "knew nothing.""There was a cymbal or spinet in almost every apartment [of the palace], but neither he nor his ladies could play upon them; sometimes indeed with one of his fingers he touched a note, which was enough, according to the extravagant flattery practised at the court of China, to throw the by-standers into ecstasies of admiration [...]."Needless to say, these extravaganzas had no musical influence beyond the palace.

"The Best Orchestra in the Far East" is another very interesting chapter dealing with the pre-communist era.It tells the early history of the (then) exclusively non-Chinese Shanghai Municipal Orchestra under the leadership of the Italian pianist Mario Paci and also describes the beginning days of the Shanghai Conservatory.The exotic mix of Eastern and Western, that decadent yet energetic cultural atmosphere of Shanghai during the "Golden Twenties" and early Thirties has always fascinated me and this chapter is giving a vivid portrait of persons and events.Yet it is quite objective in its judgment of the period,which has sometimes been hyped as the non-plus-ultra in cultural refinement but was more often denounced as bourgeois and racist in politically tainted distortions.The picture that emerges after reading this chapter is, that the Western music culture in Shanghai at that time was indeed dominated by foreigners.But it was also the cradle of all those important Chinese musicians who became the founding fathers of China's present music life, of all those early composers conductors, educators, organizers, etc.and it seems that only this fundamental exposure to the vibrancy of Western music gave them the humanity to survive those later horrors of the "Great Proletarian Cultural Revolution."

I recommend the chapter "The Cultural Revolution" not so much for the description of the miserable yet popular model operas that were produced at that time under the supervision of Jiang Qing (Mao Zedong's wife) but rather for the touching stories about the individual fates of various musicians who either became victims or used various tactics to survive.At the Shanghai Conservatory alone 17 professors and spouses committed suicide.Some others, like the Conservatory's "hard-boned" director He Luting, defied their attackers without ever "lying down."By the time He, who reminds me a bit of Nien Cheng (Life and Death in Shanghai), was finally released from jail and rehabilitated he had written 64 rebuttals of the charges leveled against him. Central Conservatory president Ma Sicong (Sitson Ma) took a different approach: he escaped China in a very dramatic way which caused terrible suffering to many people related to him.Other famous musicians on the other hand seem to have managed to advance their careers during the Cultural Revolution.Even though Red Guards twisted the wrists of pianist Liu Shikun, he was later invited by Jiang Qing herself to play Liszt's First Piano Concerto.Pianist Yin Chengzong became a member of Jiang Qing's "inner circle of favorite artists" and contributed to the construction of the (in)famous Yellow River Concerto performing it frequently.Interestingly both pianists manage to adapt equally well to capitalism now and the Liu Shikun Piano Arts School, headquartered in Hong Kong, has branches all over China.

Personally I find the story of conductor Li Delun the most amazing document of human adaptability I have ever read."Rhapsody in Red" could also be called a biography of Li Delun, because his life is a metaphor of artistic survival and this is actually the "leitmotif" of "Rhapsody in Red." Especially revealing is the uniquely subtle manner in which he apparently went along with and yet manipulated the erratic moods of Jiang Qing.Sometimes I am reminded of the relationship between Shostakovich and Stalin, but the relationship between Mao's wife and the conductor seemed to be more flexible.

The last chapter about the "New Era" is a bit disappointing.Unlike the earlier chapters it fails to project personal experiences.The music life of China after the Cultural Revolution seems to have suddenly mutated into a carbon-copy of other Asian countries such as Japan, Korea, Singapore or Taiwan. What is lacking in this report is a clear explanation of how the earlier history has managed to influence this development and given China's music life a personal note which would distinguish it from that of the other Asian countries.Taiwan, for example, has had no "Shanghai" and no "Cultural Revolution."Yet all those modern "Chinese" phenomena described here, the (somewhat superficial) popularity of western classical music, the curious but sometimes strangely behaved audiences, the diligent but slightly narrow minded students, the naiveté, the will to succeed, the ambitious parents, the energetic but sometimes corrupt music market, etc.....; all those phenomena can equally be observed in Taiwan and in Japan and Korea as well.I fail to see what is particularly "Chinese" about this.The chapter also cannot make me believe that-inspite of the enormous outward success of China's music students-the spirit of western classical music has sunk deep roots into China's society.Music seems to be approached, rather, as an "Olympic discipline." The title "How Western Classical Music Became Chinese" may thus be somewhat misleading.

Nevertheless, I found this book to be a very interesting read and enjoyed listening to "Rhapsody in Red."

Bravo!
Ignore the drab cover, Rhapsody in Red is as dramatic, moving and packed with unexpected twists as China's own turbulent history. Although the theme is Western, classical music the book is really about the people who fought over its evolution in China. From missionaries and mandarins to maestros and Mrs. Mao, the lives described are full of bravery, treachery and above all passion for music and their country.

The style is refreshingly direct and although the research is extraordinarily thorough it never reads like a dry, academic history book. There are many wonderful anecdotes drawn from face to face interviews and the descriptive passages are beautifully written.

From imperial times right through to modern China the writers not only provide an incredible wealth of detailed information, but they also manage to capture the atmosphere of the times. Whether it be in the imperial court in the Forbidden city, or in Shanghai during the swinging thirties, or behind the scenes in China's first conservatories of music, or in the caves of Yanan where many of the theories about the role of culture in Communist China were first set out, the combination of the occasional poiniant descriptive passage, biographic details of individuals and thorough historical research really bring these places to life for the reader.

Western classical music also proves to be a fascinating vantage point from which to analyse and develop a deeper understanding of the many debates that raged about the role of culture in Chinese society as a whole, as well as how The Middle Kingdom should respond to foreign powers.

For musicians and musicologists, sinologists, historians and anyone interested in the cultural interaction between East and West, this is one of the very best books on the subject out there today.

best story this year
"How Western classical music became Chinese" doesn't capture the real subject of this book: this is probably one of the five best books in print on Chinese history and cultural interchange. Using "classical music diplomacy" as a uniting thread, these authors tell the story of China's encounter with Western Europe and North America from the mission of Italian Jesuit Matteo Ricci in the early 17th century through the "model operas" of the Cultural Revolution, one of which was performed for Nixon and Kissinger, to the break-through popular composers of contemporary China. They use fascinatingly detailed personal stories to illustrate these convergence points. Musicologists will love it, but it is no more about music than Nixon's diplomacy was about ping-pong. This book cannot be missed by anyone who loves a good story. ... Read more

Product Description
Features over 24 excerpts from the composer's best-known works, including "The Four Seasons", "The Double Trumpet Concerto", and "Il Gardellino". ... Read more

Customer Reviews (12)

A delightful introduction to the music of Vivaldi
This cd provides an excellent way to introduce the music of Vivaldi to children (and adults, also!).

We love this!
We're a homeschooling family and we own and love several of the Classical Kids series. Vivaldi's Ring of Mystery is my oldest (9) daughter's favorite so far. They are learning so much from these CDs. They recognize the music of the different composers when they hear it other places and the CDs also lead to discussions of history and geography. The best part is that they ask to listen to them, especially in the car.

Vivaldi's Magical Musical Journey
Like other titles in the "Classical Kids" series, you can't go wrong with "Vivaldi's Ring of Mystery." It's a wonderful tale of Venice and violins, a magical musical journey that holds the interest of both kids and adults. It's the perfect CD to listen to in the car, especially for a long trip. But make sure you listen closely, and the kids are not yelling in the car, or else you'll miss the many magical moments of the story.

Fantastic
When I was a little girl, I used to listen to this CD, as well as Mozart's Magic Fantasy, almost every night as I fell asleep. The music and the story will stay with you forever. To this day, when I hear a Vivaldi piece, I am immediately drawn back to the magic that was created in this story. The entire series is a must for any child and adults alike! They will always remember it and will gain a great understanding for classical music.

Wonderful music and story!
I am a mother of two gifted boys ages 7 and 5.Both of them ask me everyday if we can listen to this in the car. They love it! ... Read more

Product Description
Time magazine music critic Michael Walsh has created for the mellowing rock 'n roll generation a complete and totally irreverent guide to listening to, collecting and enjoying classical music.Amazon.com Review
Walsh, the classical music critic for Time magazine,writes in a humorous, easy-to-read style that aids in making classicalmusic accessible. A good choice for those with a newfound interest ingood music. ... Read more

Customer Reviews (10)

A highly arbitrary, thoroughly opinionated review of Who's Afraid of Classical Music
Imagine that you are a music critic and a publisher asks you to write an introduction to classical music book for novices.You say, sure; you've got an ego, a book publication looks good on the resume, and you can knock down a few bucks as well.Heck, maybe you can even make a contribution to the spread and enjoyment of the music.But, after you sign the contract and get a small advance, it turns out you don't have the time, or the interest, or maybe the talent to write the book you had imagined.As your deadline nears you turn on your tape recorder and spew out your stream of consciousness trying to be humorous and occasionally outrageous.Although you claim you do, you really don't much take into consideration that your intended audience presently knows little or nothing about classical music.You just try to overwhelm that audience with the impression that you know a lot but you don't take it seriously.Well, if you wrote a book like that you'd have something remarkably like Who's Afraid of Classical Music by Michael Walsh.If you are, like me, largely ignorant of classical music but you want to learn more then don't bother with this book.Buy Classical Music for Dummies by David Pogue and Scott Speck instead.

A pleasure to read
I read this book way back in 6th grade.Even then, it was very enjoyable, honest, and witty.A must for anyone who loves classical music.

Insightful, with excellent recommendations
I enjoyed this book and still refer to its recommendations for music to listen to. Walsh's recommendations are not always the obvious warhorses and popular pieces; rather they are truly insightful and inspired choices that dig deep into the classical repertoire. For example, instead of recommending Beethoven's most popular 5th Piano Concerto (the famous "Emperor" concerto), he suggests the 4th instead, a piece which I also find to be a much more profoundly moving and enduring.

However, you have to put up with Walsh's constant attempts at irreverent humor, which I found tiresome and somewhat irritating.

I've also purchased "The Vintage Guide to Classical Music" by Jan Swafford and "Classical Music" by Phil Goulding. The former is an excellent introduction that is easy-to-read while being very educational about music history and major musical concepts as well. Its approach is more straightforward than the Walsh book, which is highly opinionated and idiosynchratic. Both books are worth getting and they are complementary to each other.

Goulding's book is the weakest of the three. It is not bad, but is more of a synthesis of conventional wisdom rather than a reflection of the author's own views and tastes. It tends to simplify a lot, but is presented in a very clear, easy-to-navigate format. If you already have the other two books, you can pass on this one.

Good for novices and musicians alike
This book, though by nature opinionated at times, is a very good look into classical music as something other than the sacred form it has taken. My favorite parts of the book look at composers not as demi-gods, but people. An amusing chart in the back lists major composers with their main vices! A joy to read, for sure.

Good intro, and more
This is a very good introduction to classical music.It's also very unconventional--it's not one of those books whose primary recommmendations are Eine Kleine Nachtmusik, the Nutrcacker, Pachebel's Canon etc.As Walsh says, he's trying to get you to love music, not appreciate it. Sometimes, yes, he does forget who his audience is and throws out a couple terms or names without explaining them (e.g. "scherzo" or Rossini), and his recommendations are, to say the least, electic--his first recommended opera is Berg's Wozzeck, and in the symphonic repetiore he skips, say, Haydn and Tchaikovksy entirely, and includes Ives and Messiaen.But this makes the book more unique and mind-opening, and means you can still read it even if you already know something about classical music. Walsh also includes a few biographical chapters about Bach, Mozart, Wagner etc., and a very interesting (but one of the most confusing) one about modern American composers.He discusses the problems with classical music today, such as the seemingly closed-circle repetoire and gap between composers and audience. In short, a very good introductory book that can give pleasure even for a more learned person than Walsh is writing for. (By the way, Walsh does indeed discuss the Beethoven sonatas and quartets, and his "more respected than loved" comment only refers to the Op. 18 quartets.) ... Read more

Product Description
During the last few decades, most cultural critics have come to agree that the division between "high" and "low" art is an artificial one, that Beethoven's Ninth and "Blue Suede Shoes" are equally valuable as cultural texts. In Who Needs Classical Music?, Julian Johnson challenges these assumptions about the relativism of cultural judgements. The author maintains that music is more than just "a matter of taste": while some music provides entertainment, or serves as background noise, other music claims to function as art. This book considers the value of classical music in contemporary society, arguing that it remains distinctive because it works in quite different ways to most of the other music that surrounds us. This intellectually sophisticated yet accessible book offers a new and balanced defense of the specific values of classical music in contemporary culture. Who Needs Classical Music? will stimulate readers to reflect on their own investment (or lack of it) in music and art of all kinds. ... Read more

Customer Reviews (8)

Taruskin got it right
Why do classical musicians, the worst offender being Adorno, think it's ok to be almost completely ignorant of popular music when they take it upon themselves to condemn, wholesale, a vast field of contemporary music? This book would fail if submitted as an essay in any of my undergraduate courses, as it commits major fallacies throughout. The most glaring is the threadbare false dichotomy that should be well-and-truly dead by 2010.

Thankfully, there are defenders of classical music who don't need to resort to straw man arguments against other genres. I'd recommend Andrew Ford's "In Defense of Classical Music". A good sign - this is a man who also writes books on Van Morrison.

Rather repetitive and dry
I awaited this book with much anticipation,but I have been somewhat disappointed by its contents and style.-I found it repetitive, as well as very dry, condescending and pseudo-highbrow.-It certainly has its interesting points,but these are far in between and repeated over and over again.-

Good, though rather short and incomplete
As someone who stands out for having no interest in popular music and a love of classical music, I was overjoyed to discover this book. Finally, someone out there who finds current trends in music as depressing as I do, someone who is willing to defend classical music from the myriad of charges against it (and there are certainly many).

I was surprised by Johnson's approach. I was expecting something comparing the complexity of classical music to popular music when I first heard about it. Nonetheless, I was surprised and pleased to see that Johnson followed a more philosophical approach, focusing on the purpose of classical as compared to pop. Specifically, Johnson argues that classical music is important because it represents art rather than mere entertainment.

Although I found it to be a very good book, I withheld a star because it does have some shortcomings. It is a very short read and I think it would have been better if it went into more depth on issues it only touched on. Johnson notes that rock music is quite rhythmically impoverished and that popular music relies on decidedly archaic harmonic language, for example. These are very good points, but he does not elaborate on them as much as I hoped he would.

I would have also liked to see his take on the various forms of jazz and progressive rock that I often see cited by those arguing in favor of popular music. Many seriously argue that they constitute art on the same level as classical music. Given that, it seems unlikely that a staunch fan would find this case for classical music particularly convincing. Though Johnson makes a good case that there is more than taste at work, I fear that alone will do little to save classical music.

Thoughts of an age 25 white male
First off, this is not a an academic or musicological book. But it is a very thoughtful one. It felt like a grouping of essays from which one could base discussions.

During this last paragraph of this book I was reminded of Wynton Marsalis' comment in the Ken Burns Jazz documentary that, Beethoven does not come to you, you have to come to him. Johnson seems to be expressing that classical music requires determined effort to truly appreciate.

I personally came to classical music from the standpoint that a good deal of effort is put into creating it and much of it require virtuosity, so surely a good deal of insight can be gained from it, as long as one puts forth the patience and can maintain some modesty towards it. At the very least, it should be respected. Classical music requires that you don't use it as mood music, but that you earnestly devote your attention and immediate focus to it.

In the final chapter, Johnson goes on a bit more of a modern society rant. e.g. Television being the antithesis of classical music in that only the most minimal involvement is required to absorb its full meaning.

Although he makes some decent arguments for setting classical music apart as mindful art music, there are errors in his logic/proofs. Surely some Satie, Chopin, Schubert lieder, and works of Bach are no different from our songs (lieder) of today of a similar ABA structure. Though he used Beethoven's Fifth as a example of the discursive quality of classical... it would be hard to lose the argument if all classical music were as potent!

Self-referrentiality, also, was a component of his argument for classical, yet Jazz and Hip Hop are loaded with it. Jazz has its references to bop, dixieland, cool jazz, free jazz, etc. I think it is hard to see some Hip Hop being respected 50 years on when every other line makes a soon-to-be-outdated pop culture reference. (But then Beethoven and Mozart used Janissary music references - pop culture in their time, yes?)

Don't get me wrong, there are a lot of great morsels in here, like his reference to the popularity of the fade-out as the "solution" to the lack of denouement in pop songs. I also appreciated his reference of the polarity of modern life: think hard at work so you can come home and turn off your brain via TV or the Spice Girls. Rarely do we budget our meager free time towards leisure activities requring mental effort.

While his overall argument has its foibles, myriad directions are delightfully taken that would otherwise be ignored in a less thorough and less entertaining survey.

A compelling argument for classical music
Julian Johnson confronts the complex issue of the value to society of art music -- and the differences between art music and popular music. Although densely written (this is not a book for skimming, nor for light reading), I found the book compelling and cogently argued. Johnson tries to define the relationship between art music and our human qualities -- and argues convincingly that there are real differences between popular and serious culture, and that those differences should not be minimized in the name of political correctness.It is not easy to summarize the book, because of the complexity of its subject and the depth of his argument. But anyone with an interest in the place of classical music in our society today should read this. ... Read more

Product Description
This is the most comprehensive guide to classical music recordings. Drawing on the reviews by Gramophone magazine's unparalleled roster of critics, the guide offers authoritative opinions on over 3000 recordings from popular works like the Beethoven symphonies to more obscure repertoire for the classical music aficionado. ... Read more

Customer Reviews (7)

Gramaphone Classical Music Guide
I've always used The Penguin Guide but bought Gramaphone, too, the last time I ordered. I won't make that mistake again. Gramaphone has nothing Penguin doesn't have; in fact, it has a lot less.

Highly mixed
There are a lot of great recommendations in this book.I have found some wonderful recordings through this guide.That said, there are many odd omissions and insignificant inclusions.Grofe is not listed anywhere - granted, he is not the most influential composer, but his "Grand Canyon Suite" is very popular, so why no mention anywhere in the Music Guide?Then Lou Harrison is mentioned in the history section as being a modern influential composer worth listening to, but his recordings get no mention in the alphabetical listings.What gives there?What are his best recordings?Also, there is no Terry Riley, whose "In C' is considered a modern classic and has several recordings.Instead, we get listings for some truly obscure composers - Maw, Mayerl, McCabe and Medtner - to give just the M's.They may have produced work of value, but they can hardly be considered "important". Why include them and not the others?It seems a little haphazard, like a collection of recordings that happened to cross the editors desks, rather than a collection of who is important in recorded music.

not as good as Penguin
I thought it would be interesting to have alternate opinions on classical music, but I still find myself picking up the Penguin guide.It is better written and more comprehensive.The authors of Gramophone seem stuck in the past and don't consider more modern recordings as much.Penguin does better comparisons as well.While I do not always agree on their evaluations, for the most part, it is a very reliable guide.

Good but Quirky
Anyone wanting to use this guide should be aware that I have found it very quirky. For example I looked up Kurt Weil and thought I would find some reviews for the Three Penny Opera. To my surprise there was nothing. Also it does lean heavily to the english side of things for performers and composers. Overall, its good and that you could say it has personality and is individualistic.

Excellent Classical Music Guide
The Gramofone Classical Music Guide (2008) is the best source of Classical Music information that I have found in recent times.Highly recommended.I am still looking for good information and I will take suggestions.

reader1 ... Read more

Product Description
20 beloved carols expertly arranged by Phillip Keveren in the spirit of the classical masters. Includes: Angels We Have Heard on High * Away in a Manger * Bring a Torch, Jeannette, Isabella * Come, Thou Long Expected Jesus * Coventry Carol * God Rest Ye Merry, Gentlemen * Joy to the World * Lo, How a Rose E'er Blooming * O Holy Night * Still, Still, Still * We Three Kings of Orient Are * and more. ... Read more

Product Description
Eighteen beautiful solos and duets by Mason Williams. Includes lots of photos and text highlighting the career of this 60s icon, including hiswork as a composer, as head writer for the legendary Smothers Brothers Comedy Hour and as an artist. Songs include Classical Gas, La Chanson de Claudine, Riding the Low Moon, Chico Hot Springs, Sunflower, Baroque-a-Nova, Shady Dell, Guitar Carol, Country Idol, Fettuccini Western, In Honor Of..., Shenandoah. The CD contains every song in the book, plus multiple versions of several songs, including an orchestra-minus guitar version of "Classical Gas" for you to play along with. ... Read more

Customer Reviews (9)

Damaged item
The CD came with one side damaged and the place in the back of the book where the CD was held was damaged.The CD won't work since the side is damaged.The book is great but it would be nice to have a CD that works.

Wish More Guitar Tab Books Were Made This Way!
If you are looking at learning the acoustic guitar there are basically two ways you can do it: you can get a good basic instructional book from a good teacher and start learning with generic exercises like this one: Arlen Roth's Complete Acoustic Guitar or you can get this book and learn from one of the best ever at the craft by learning how to play some of his best ever works.This book also has introductions and performance notes by none other than Mason himself as well as memories of the times the songs were written and a very useful cd so that you know if what you're playing sounds like it's supposed to.The fonts are of a good size to make it easy to read and play along with the cd.The only down point I can think of is that the binding isn't the best as it doesn't stay open to the page you want without some hard pressing near the spine which I fear may result in the pages coming off at some point although thankfully that isn't happening with my copy yet.If you are like me and got this mainly for "Classical Gas" you won't be disappointed as both the solo and orchestra versions are included here on the cd as well as transcribed accordingly.The transcriptions are also very good and mostly accurate and with the accompanying cd you can't really go wrong if you feel you need to make minor adjustments to what's written.Another plus is the arrangement of pieces not just for solo guitar but also for ensembles so that you can play along with your friends; there are arrangements for flute and violin and guitar and for all guitars.Clearly this book was produced by a true musician for other fellow musicians and it shows in the form of an exceptional product.

Highly recommended for fans of Mason Williams and for fans of acoustic guitar or for guitarists looking to expand their repertoire.

Classical Gas-Itsa Gas!
Great book & CD!As a beginning classical guitarist, my goal is to be able to play anything Mason Williams, esp. "Classical Gas", some day.It's good to know the backgrounds of his compositions, have the music and, above all, hear it!Did I make 75 words?

great book
This book helped me to finally learn the elusive "Classical Gas".I don't often play classical guitars since long fingernails are incompatible with my active lifestyle, but there's some good music in here.

Just Great!Worth twice the price
What a treasure. I have followed Mason Williams since my teen age days in front of the black & white watching the Smothers Brothers. Classical Gas turns 40 years old this year and with the help of this book I am going to finally learn all of it! And the CD is a bonus that makes it all that much better. If you play guitar and know any of the music of Mr. Williams, you will love this book.
... Read more

Customer Reviews (3)

Classic Music by Leonard Ratner
The book was in good condition and I got it for an excellent price.

Ren Merry

Excellent
Thorough, laid out clearly, covers all the points needed to understand the forms.Highly recommended.

One of the best around
Damn Good!Well structured and laid out.Clearly defined and very informative. ... Read more

Product Description
Timpani Tone and the Interpretation of Baroque and Classical Music explores the nature, production, and evolution of timpani tone and provides insights into how to interpret the music of J. S. Bach, Handel, Haydn, and Mozart. In drawing on 31 years of experience, Steven L. Schweizer focuses on the components of timpani tone and methods for producing it. In so doing, he discusses the importance of timpani bowl type; mallets; playing style; physical gestures; choice of drums; mallet grip; legato, marcato, and staccato strokes; playing different parts of the timpano head; and psychological openness to the music in effectively shaping and coloring timpani parts.

In an acclaimed chapter on interpretation, Schweizer explores how timpanists can use knowledge of the composer's style, psychology, and musical intentions; phrasing and articulation; the musical score; and a conductor's gestures to effectively and convincingly play a part with emotional dynamism and power. The greater part of the book is devoted to the interpretation of Baroque and Classical orchestral and choral music. Meticulously drawing on original sources and authoritative scores from the seventeenth through nineteenth centuries, Schweizer convincingly demonstrates that timpanists were capable of producing a broader range of timpani tone earlier than is normally supposed. The increase in timpani size, covered timpani mallets, and thinner timpani heads increased the quality of timpani tone; therefore, today's timpanist's need not be entirely concerned with playing with very articulate sticks. In exhaustive sections on Bach, Handel, Haydn, and Mozart, Schweizer takes the reader on an odyssey through the interpretation of their symphonic and choral music.

Relying on Baroque and Classical performance practices, timpani notation, the composer's musical style, and definitive scores, he interprets timpani parts from major works of these composers. Schweizer pays particular attention to timpani tone, articulation, phrasing, and dynamic contouring: elements necessary to effectively communicate their part to listeners. ... Read more

Product Description
For classical music lovers, there is nothing more beguiling and exciting than the range of technique and emotion that can capture or transform the great works in the hands of a conductor and musicians. But with hundreds of recordings released every year, discovering the jewels is a challenge, for newcomers as well as for connoisseurs. New York Times classical music critic Allan Kozinn offers the ultimate collector's guide, packed with a rich history of the composers and performers who stir our souls. From Bach's eloquent Goldberg Variations performed by master pianist Glenn Gould at the beginning and end of his career in startlingly different interpretations, to a lyrical performance of Rimsky-Korsakov's Scheherezade conducted by Kiril Kondrashin shortly after his defection from the Soviet Union, Kozinn places each work in the greater context of musical development and stretches the listener's understanding of each pivotal composition. These original essays on the one hundred greatest recorded classical works provide both practical guidance for building a library and deep insight into the transcendent power of music itself. ... Read more

Customer Reviews (6)

Quickly outdated but still beneficial
I garnered some great information from this 2004 book. I listen to classical music at a minimum of 8 hours per day (mostly CDs), every day and I have a nice collection of about 500 recordings. I was pleased that many of the CDs recommended in here were already to be found in my stash.

I thought that Kozinn was a little heavy on Leonard Bernstein performances but, other than that I have few criticisms of his recommendations. Given that this is a New York Times book, I cannot say that I'm terribly surprised to the numerous allusions to Bernstein. But the chief point here is that nothing less than top-notch performances are recommended.

The reader intially gets 100 detailed recommendations and then Kozinn gives us a second 100 preferred CDs which were initially shaved from the top contenders. There's some terrific information about the composers in those first 100 essays and that is the strength of the book, given that it otherwise deteriorates as time goes on and as aggressive recording companies like Naxos continue to turn out numerous updated classical recordings.

What does this book do for you? Chiefly, it gets the newer listeners to classical music buying some historic and quality performances rather than wasting money on marginal ones. Secondarily, one garners some useful biographical information about the composers and the respective conductors.

This book is definitely worthwhile reading for the classical music lover and it's a good value.

STAY AWAY!!!
This guide is much more a "pinhead's guide" to classical music than something that defines the "essential" library. I am not a classical music expert but have built a decent collection with solid representation from Baroque, Classical, Romantic, and Modern composers also balancing symphonies and full orchestal works, concertos, sonatas, and chamber music -- NO OPERA.

I looked to this guide for an informed opinion of if someone were starting from scratch, what albums would give a listener a satisfying balanaced collection of classical music for all occasions. I hoped it would help me assess the quality of my collection so far and give me some interesting ideas of where to go next.

It failed miserably. There is way too much emphasis on obscure composers and lesser known performers. Regardless of hobby collections, there are always some obscurists and elitists, but such hobbyists hardly do justice to the quest to define "essential."

In evaluating classical music, obviously there is no absolute best performance of Beethoven's "Piano Concerto #5" for instance. There are plenty of great choices. There are some that by virtue of record company hype or the reputation of a marquee performer, conductor, or orchestra get a lot of attention despite missing the quest for excellence completely.

I'm a listener who loves piano sonatas. Haydn and Schubert have scored many. Cut to the chase. Which are the best? Who's the best pianist? Look at all those symphonies Mozart and Haydn penned. I can't buy all of them. Which ones count? I love romantic piano concertos, aside from the big names, are there some others? I found Saint Saens, for instance, very satisfying.

I would love to see a critic be able to first identify the essential works by composer and then recommend top performances based on the collector's needs and desires. Some listeners must have superb, realstic, state-of-the-art sound quality. As such, this listener would never be interested in old monophonic recordings no matter how great a Toscanini or Furtwangler Beethoven performance could be. Some want descent sound, but the best performance is primary. Some are guided by budget concerns.

That gives a casual fan a lot to sort through to find satisfying results. A good reviewer then should be able to guide the listener through the world of options to find satisfactory results.

Price, and "latest and greatest" thinking does not mean success. Expensive CD's are those by the big name stars, big world-class city orchestras, and a big hype machine. There are plenty of lesser known high quality recordings, but finding them is not so easy. Naxos is a relatively new label that hit the jackpot by opening shop soon after the fall of the Iron Curtain and having plenty of available talent not well-known but incredibly talented kept from the world stage by their communist governments.All Naxos single CD's are less than $10.00. Deutche Grammophon offers its "Originals" series. These are incredible performances from their pre-digital days.

Anyone new to classical music, the casual listener, or the classical music fan who had a great vinyl collection now looking to upgrade to digital will find none of the advice given above. I picture myself visiting a friend who'd show me these albums as the classical albums on his shelf, I'd ask, "Hey dude, you got some really rare stuff here. Cut to the chase, for a guy who likes pretty much all the normal stuff, what are three or four of these albums a regular guy like me would like?"

Sadly, The New York Times is an exercise of ivory tower pinheads writing for ivory tower pinheads. Having looked through the book, I found nothing that said, "Wow, I want to check that one out!" I did not find any reviews of works I already have that might make me want to hear a fresh approach to that beloved work, a different version with something new to offer. (I'm a fellow with six versions of Beethoven's 9th, each has its own appeal!)

For that purpose, The NPR Guide to Building a Classical CD Collection : The 350 Essential Works is far superior. There's something for everyone there with good solid advice for the nervous novice.

The great thing about shopping for classical music today is vendors like Amazon provide the ability for you to sample works before you buy. Many times, a little clip of a composition gives the listener just enough to decide if the selection is worthwhile.

Maybe someday I write my own guide. "A Casual Listener's Guide..." It looks like my comments above reviewing someone else's work is a halfway decent start!

New York Times Essential Library of Classical Music
This book tries to cover too much. The author, who I must admit recommends recordings that I totally agree with, tries to cover both symphonic and chamber music in a single volume. Some essential music that I would have included, e.g. Beethoven Piano Concerti, are not reviewed. What is reviewed must be taken seriously by any classical music record collector. The author definitely looked at the recorded history of each selection he investigates and informs his readers of alternative recordings. This book will be great fun for lovers of classical music in general and record collectors in particular. I compliment the author for his inclusion on older records that have been beautifully remastered for CD. This is especially useful for collectors that are of younger generation, i.e., under 40.

Ross Scimeca

More than a library borrow
I had been wanting to expand my classical music knowledge away from those little snippets of classical favourites so favoured by the commercial classical radio stations. I first borrowed this book from the library and enjoyed it so well that I bought it. It's an excellent book to help you get started and exploring. I like the varied choices, from over so many different time periods, and the personal and detailed commentary. Yes, other books like Penguin give you everything, but you have no clue where to start. This is a great beginning.

Not Nearly Comprehensive Enough
Missing basic coverage.There is no word or review on any Wagner works - that strikes me as strange.

Far better to get the annual guide Deutsche Gramophone puts out. ... Read more

Product Description
A comprehensive introduction for the newcomer, Teach Yourself Classical Music takes the listening experience at its starting point and gradually fills in the technical and historical details. New topics include distinguishing different musical periods and styles, the architecture of musical forms and structures, instrumentation, and more. Also included is a 60-minute CD that features extracts from well-know pieces to highlight what readers should listen for when they hear the works in full. ... Read more

Product Description
Classical Music Stories innovatively introduces elementary-age students to the fascinating world of classical music. This resource comprises twenty sections, each featuring a different piece of music. By concentrating on the narrative qualities of theclassical music stories, the incredible world of classical music leaps to life! Teachers can also use the cross-curricular approach in this book to introduce subjects as varied as social studies, history, art, creative writing, math, and science.Biographies of the composers highlight the sections, followed by a variety of suggestions, activities, or reproducible worksheets. This is a wonderful way to incorporate music education into your classroom. ... Read more

Customer Reviews (2)

Music Stories and World Language
I am a middle school French/World Language teacher.Our 6th grade program allows our students to "sample" languages from across the globe: French, German, Spanish, Russian, Japanese, Arabic, and Hebrew.Part of our curriculum is also to highlight the history and culture of the countries that speak those languages.Music is part of culture and to introduce composers and their music, this book is ideal.Thanks so much!

Creative and fun
My kids are very musical and especially enjoy and appreciate classical music. This is a fun and enjoyable way to add culture, history of the arts and the magic of classical music into their world. I homeschool my kids, and we have enjoyed several activities from this book for our music appreciation segment ... I think it is a good buy for your activity library at home. ... Read more

Product Description
The Anthology of Romantic Piano Music is paired with the Performance Practices in Romantic Piano Music DVD for a comprehensive look at the literature, performing conventions and musical style of the Romantic era. On the DVD, Dr. Hinson performs music from the Anthology, and shares interesting historical anecdotes about the composers represented therein and the writers and artists who influenced them. ... Read more

Product Description