
Farrar, Straus and Giroux - Farrar, Straus and Giroux
Release date: 2007-10-16
Hardcover
Author: Alex Ross
Music History And Criticism +, Music, History - General History, Music/Songbooks, History & Criticism - General, History / Modern / 20th Century, Music / History & Criticism, Modern - 20th Century, 20th century, History and criticism




I was expecting a book that would explain more about 20th century [classical] *music*, but instead this book is mainly biography mixed with a bit of history. If you don't already have a strong background in music theory you will be lost; even if you have a strong background in pre-20th century music you will not learn much about 20th century music here. The book was a big disappointment in that respect.
The snippet from the Amazon.com review sums it up: "The second movement, by contrast, is a hallucinatory Scherzo...[t]he movement ends in a fearsome sequence of four-note figures, which are made up of fourths separated by a tritone...." If you don't know what "Scherzo", "fourths", or "tritones" are, this book will not explain them to you.
I'm learning a lot about 20th-century music from The Rest is Noise, but it's a tough read. The book is clearly well researched, however, in an effort to cite sources, the author disrupts the narrative flow. Consider the following sentence:
"Strauss sketched a choral work based on Goethe's text, and, as Jackson discovered, some of that material went into Metamorphosen."
"Jackson" here is Timothy Jackson, a researcher mentioned in an earlier paragraph. Inline citations like this are peppered throughout the book, making it very difficult to focus on the story at hand. I think it would have been better if these citations were in the form of endnotes.
The book takes a detached, scholarly tone throughout. Nonetheless, it is a very informative and thorough review of 20th century classical music, and I recommend it to anyone interested in the subject.
I found this book immensely edifying. I have no musical training but have an eclectic interest in music. This book is written in a very readable manner without reducing its scholarly value. I found in it some things I did know and much with which I was unfamiliar. It has led me to listen to music of some 20th century composers with whom I was less familiar or not at all familiar. I would highly recommend this work for all persons, scholared or unscholared, who have an interest in the history, present, and future of the classical music genre.