Here are 56 books that Secret Lives of Great Composers fans have personally recommended if you like
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My doctorate is in music, and although I am now more active as a composer, I was at one time a performer (pianist). Thus, I have both personal ties to the author (my mother) and professional insights into the subject matter. I have also interviewed a number of the world’s leading violinists (Bell, Chase, Markov, Zukerman, and others) and composed two works for the instrument (my Op. 4 and Op. 5, published by Broadbent & Dunn). Moreover, my series, The Passion of Elena Bianchi, also involves classical music and musicians, and echoes Paganini Agitato with concerts, poker, the great love of a child, and elements of the supernatural and/or demonic.
Of course, the entire notion of a ferocious enmity between Mozart and Salieri is fiction. They were actually friends and once even collaborated on a short cantata, Per la ricuperata salute di Ofelia [On the Recovery of the Health of Ofelia].
However, the story is a marvelous conception, seasoned by the central idea that the envious Salieri somehow ruined Mozart and drove him to his death (from overwork — also quite fictitious!). It truly “works” literarily. The play goes even further, accentuating the overbearing political influence of Italian musicians in the court.
I recommend the script of the play (from which the movie derived) so that the reader can get an even deeper appreciation for Salieri’s villainous character—and I can also recommend the award-winning movie!
0riginating at the National Theatre of Great Britain, Amadeus was the recipient of both the Evening Standard Drama Award and the Theatre Critics Award. In the United States, the play won the coveted Tony Award and went on to become a critically acclaimed major motion picture winning eight Oscars, including Best Picture.
Now, this extraordinary work about the life of Wolfgang Amadeus Mozart is available with a new preface by Peter Shaffer and a new introduction by the director of the 1998 Broadway revival, Sir Peter Hall. Amadeus is a must-have for classical music buffs, theatre lovers, and aficionados of…
My doctorate is in music, and although I am now more active as a composer, I was at one time a performer (pianist). Thus, I have both personal ties to the author (my mother) and professional insights into the subject matter. I have also interviewed a number of the world’s leading violinists (Bell, Chase, Markov, Zukerman, and others) and composed two works for the instrument (my Op. 4 and Op. 5, published by Broadbent & Dunn). Moreover, my series, The Passion of Elena Bianchi, also involves classical music and musicians, and echoes Paganini Agitato with concerts, poker, the great love of a child, and elements of the supernatural and/or demonic.
I cannot reasonably recommend Part Two without Part One. If we look at all the ghastly sins with which the eponymous hero has been involved by the end of that first drama, it seems inconceivable that he can possibly be redeemed.
Nevertheless, we have Goethe’s Part Two, completed twenty-four years after the earlier play, and by its conclusion, Faust has (somehow) been saved.
In fact, I sense some echo of Part One when Angelica’s unborn baby strangles on its cord: a far milder outcome for Paganini (who sired the child) than for Faust (whose Gretchen drowns their infant and is condemned to death). However, as the readers will see, Paganini truly loves the son he begets some years later.
"Greenberg has accomplished a magnificent literary feat. He has taken a great German work, until now all but inaccessible to English readers, and made it into a sparkling English poem, full of verve and wit. Greenberg's translation lives; it is done in a modern idiom but with respect for the original text; I found it a joy to read."-Irving Howe (on the earlier edition)
A classic of world literature, Goethe's Faust is a philosophical and poetic drama full of satire, irony, humor, and tragedy. Martin Greenberg re-creates not only the text's varied meter and rhyme but also its diverse tones…
My doctorate is in music, and although I am now more active as a composer, I was at one time a performer (pianist). Thus, I have both personal ties to the author (my mother) and professional insights into the subject matter. I have also interviewed a number of the world’s leading violinists (Bell, Chase, Markov, Zukerman, and others) and composed two works for the instrument (my Op. 4 and Op. 5, published by Broadbent & Dunn). Moreover, my series, The Passion of Elena Bianchi, also involves classical music and musicians, and echoes Paganini Agitato with concerts, poker, the great love of a child, and elements of the supernatural and/or demonic.
In fairness, I read this book hoping for insights into the identity of Beethoven’s “Immortal Beloved,” a mystery it certainly does not resolve. However, many other aspects make the book worthwhile reading, notwithstanding the large historical liberties the author takes.
Smith’s Beethoven has been unable to appreciate the love so many have had for him. Who better to enlighten him than Napoleon, to whom he originally dedicated his third symphony (“Eroica”), only to scratch out the dedication and write instead, “to the memory of a great man”? What better vehicles than powerful, dream-like scenes (since in a sense, the whole book is a deathbed dream)?
Above all, whether the author has used fantasies, ghosts, or spirits, he has provided an interesting technique to present the supernatural events the protagonist experiences.
Tap Dancing on Everest, part coming-of-age memoir, part true-survival adventure story, is about a young medical student, the daughter of a Holocaust survivor raised in N.Y.C., who battles self-doubt to serve as the doctor—and only woman—on a remote Everest climb in Tibet.
My doctorate is in music, and although I am now more active as a composer, I was at one time a performer (pianist). Thus, I have both personal ties to the author (my mother) and professional insights into the subject matter. I have also interviewed a number of the world’s leading violinists (Bell, Chase, Markov, Zukerman, and others) and composed two works for the instrument (my Op. 4 and Op. 5, published by Broadbent & Dunn). Moreover, my series, The Passion of Elena Bianchi, also involves classical music and musicians, and echoes Paganini Agitato with concerts, poker, the great love of a child, and elements of the supernatural and/or demonic.
I suspect I’ll raise a few eyebrows with this recommendation, notwithstanding the Amazon series it spawned (which ran for four seasons).
The book was not uniformly applauded, and it is difficult to know how accurate certain details are, given Tindall’s use of more than thirty pseudonyms and numerous denials from people she named. However, the prevalence of sex, drugs, and power politics in classical music is a harsh, ugly fact.
Classical musicians often misbehave, and if even those struggling for orchestral positions are guilty, how much worse might it be with the superstars? Obviously, I am thinking about Niccolò Paganini, but readers should also consider recent scandalous allegations against Placido Domingo and the late James Levine.
In the tradition of Anthony Bourdain’s Kitchen Confidential and Gelsey Kirkland’s Dancing on My Grave, Mozart in the Jungle delves into the lives of the musicians and conductors who inhabit the insular world of classical music. In a book that inspired the Amazon Original series starring Gael García Bernal and Malcolm McDowell, oboist Blair Tindall recounts her decades-long professional career as a classical musician—from the recitals and Broadway orchestra performances to the secret life of musicians who survive hand to mouth in the backbiting New York classical music scene, where musicians trade sexual favors for plum jobs and assignments in…
I've been a working journalist for 50 years, and as a child of TV, especially in the 1960s, I grew up with some of the most memorable TV themes ever written. I started writing about TV in the 1980s, and since moving to Los Angeles in 1986, have used every opportunity to meet and interview all of my favorite composers of movie and TV music. The result is this book, which looks at the history of TV themes and, in a larger sense, music written for TV generally. Every genre of TV, from crime to sitcoms, westerns to adventure, has had fun, often compelling, and truly memorable music, and I've tried to celebrate it here.
Maybe the last of the great Viennese-born classical composers, Korngold enjoyed enormous success in Europe in the 1920s.
Invited to Hollywood in 1934, he began writing film music for the swashbucklers, costume dramas, and historical pageants of Warner Bros., often starring the likes of Errol Flynn, Olivia De Havilland, and Claude Rains: Captain Blood, The Adventures of Robin Hood, The Sea Hawk, Kings Row, and others.
Korngold thought of movies as "operas without singing" and wrote lavish, richly orchestrated scores filled with memorable melodies. Fleeing the Nazi tyranny in 1938, he became one of the greatest composers in the Golden Age of movies.
Carroll spent decades researching his life, it's a thorough and compelling read, and it saddens me that the book is now long out of print.
I am Frederick L. McKay, the youngest son of the composer and author George Frederick McKay (1899-1970), and I have re-issued and edited Professor McKay’s theory books and also authored his biography titled McKay’s Music: The Composer Chronicles. George Frederick McKay hoped to have more American music performed in the concert halls of our country and also involved cultural elements from around the world in his musical works, including poetry and whimsical pieces for young people studying music. His other works include Creative Harmony, How Music Begins and Grows, and Workbook for Creative Orchestration.
Penrod reminded the composer of the many adventures he had as a young boy along with his friends in the early decades of the 20th century.
McKay remembered when he helped the son of a doctor who was a boyhood friend as they made placebos for the doctor's practice out of bread and water in the basement of the doctor's home. He also recalled street fights with other boys that did not always turn out well for undersized kids but were considered sporting in those times in frontier towns.
A timeless novel in the spirited tradition of The Adventures of Tom Sawyer and Huckleberry Finn One of the most popular American authors of the late nineteenth and early twentieth centuries, Pulitzer Prize winner Booth Tarkington was acclaimed for his novels set in small Midwestern towns. Penrod tells of a boy growing up in Indianapolis at the turn of the twentieth century. His friends and his dog accompany him on his many jaunts, from the stage as the Child Sir Lancelot, to the playground, to school. They make names for themselves as bad boys who always have the most fun.…
This irreverent biography provides a rare window into the music industry from a promoter’s perspective. From a young age, Peter Jest was determined to make a career in live music, and despite naysayers and obstacles, he did just that, bringing national acts to his college campus atUW-Milwaukee, booking thousands of…
I have loved music since childhood. I grew up on a farm in Western Pennsylvania. My loving, hard-working parents gave my three brothers and me the best life possible. I began singing at our little Chewton Christian Church when asked to do so. Piano lessons began, and for 12 years, my sweet teacher, Joann Thurston, taught me piano, but I realized my true love was singing. She always allowed me to sing as well as play the piano. I attended Westminister College, majoring in elementary education with a music minor. Following graduation, my first job was teaching music to 1500 schoolchildren in Blacksburg, Virginia.
The author, Mike Venezia, believes in having fun. If you want to introduce children to composers and music, make it fun for them. While reading the delightful, imaginative story about Aaron Copland play compositions such as Rodeo, Appalachian Spring, Billy the Kid, and Fanfare for the Common Man.
Mike Venezia has a very interesting, engaging way of introducing art, inventions, and period photography. Visual images bring his numerous children’s classical music books alive. He makes his composers become real people, like you and me.
I've been a working journalist for 50 years, and as a child of TV, especially in the 1960s, I grew up with some of the most memorable TV themes ever written. I started writing about TV in the 1980s, and since moving to Los Angeles in 1986, have used every opportunity to meet and interview all of my favorite composers of movie and TV music. The result is this book, which looks at the history of TV themes and, in a larger sense, music written for TV generally. Every genre of TV, from crime to sitcoms, westerns to adventure, has had fun, often compelling, and truly memorable music, and I've tried to celebrate it here.
Bernard Herrmann is revered as one of the movies' greatest composers.
Imagine starting your Hollywood career with music for Citizen Kane!
He enjoyed a very productive 10-year relationship with director Alfred Hitchcock, which produced such masterpieces as Vertigo, Psycho, and North by Northwest; he also worked with Francois Truffaut on Fahrenheit 451, composed the original Twilight Zone theme, and capped his career with music for Martin Scorsese's Taxi Driver.
Yet he could be cantankerous and difficult, antagonizing both friends and colleagues with his temperamental behavior and insistence upon the highest standards of music and drama.
I love the fact that Smith writes as well about the music as he does about the composer, and the reader walks away knowing lots about both.
No composer contributed more to film than Bernard Herrmann, who in over 40 scores enriched the work of such directors as Orson Welles, Alfred Hitchcock, Francois Truffaut, and Martin Scorsese. In this first major biography of the composer, Steven C. Smith explores the interrelationships between Herrmann's music and his turbulent personal life, using much previously unpublished information to illustrate Herrmann's often outrageous behavior, his working methods, and why his music has had such lasting impact. From his first film ("Citizen Kane") to his last ("Taxi Driver"), Herrmann was a master of evoking psychological nuance and dramatic tension through music, often…
I have loved music since childhood. I grew up on a farm in Western Pennsylvania. My loving, hard-working parents gave my three brothers and me the best life possible. I began singing at our little Chewton Christian Church when asked to do so. Piano lessons began, and for 12 years, my sweet teacher, Joann Thurston, taught me piano, but I realized my true love was singing. She always allowed me to sing as well as play the piano. I attended Westminister College, majoring in elementary education with a music minor. Following graduation, my first job was teaching music to 1500 schoolchildren in Blacksburg, Virginia.
This book encourages readers to travel through the ages with our most famous classical composers, big bands, jazz, and popular music innovators. It introduces the reader to time periods beginning with primitive man and ending with the Beatles arriving at Buckingham Palace to receive honors from the Queen of England. Tidbits of information are gleaned as one progresses from page to page through the periods.
Piero Ventura’s fascinating art helps us visualize everyday life and gain insight into our most famous composers. One can almost see the composers walking the streets, attending opening night concerts, operas, and ballets while showing us they were real people, just like us. One never knows what influence these great composers or any one of us might have on society from generation to generation.
The internationally acclaimed artist and author has created a work that helps teach young people about the world's greatest composers and describes the history of music from primitive rhythms to the era of the classical masters
I have loved music since childhood. I grew up on a farm in Western Pennsylvania. My loving, hard-working parents gave my three brothers and me the best life possible. I began singing at our little Chewton Christian Church when asked to do so. Piano lessons began, and for 12 years, my sweet teacher, Joann Thurston, taught me piano, but I realized my true love was singing. She always allowed me to sing as well as play the piano. I attended Westminister College, majoring in elementary education with a music minor. Following graduation, my first job was teaching music to 1500 schoolchildren in Blacksburg, Virginia.
George Gershwin is brought to life as we read this book. Prior to Rhapsody in Blue being played by our hometown orchestra, I took the liberty of paraphrasing this entire book and showing pictures on the big screen, which engaged the audience. They truly loved it!
Suzanne Slade has a delightful way of expressing the feelings of George. He heard music in everything. Perhaps we could take a lesson from George and pay more attention to our surroundings. George heard music while roller skating down the street. He heard melodies in the clatter and noise of New York’s bustling street. What new and exciting adventure will you discover if you only STOP, Look Around, and LISTEN?
George Gershwin heard music all the time--at home, at school, even on New York City's busy streets. Classical, ragtime, blues, and jazz--George's head was filled with a whole lot of razzmatazz! With rhythmic swirls of words and pictures, author Suzanne Slade and illustrator Stacy Innerst beautifully reveal just how brilliantly Gershwin combined various kinds of music to create his masterpiece, Rhapsody in Blue, a surprising and whirlwind composition of notes, sounds, and one long wail of a clarinet. Includes author's note, timeline, and bibliography.
