The New York Times Essential Library: Classical Music
A Critic's Guide to the 100 Most Important Recordings
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- 10,99 €
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- 10,99 €
Descrição da editora
A dazzling appraisal of the definitive classical music performances available today
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.
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It's always a tricky task to pick a list with as sweeping a title as this, but Kozinn, a music critic for the New York Times, has done a sterling job. Not only does he write concisely and informatively about the works in hand, offering an excellent potted history of the composer and his composition, but Kozinn also sets forth sound reasons why he has chosen the recording he has and in most cases he offers recommended alternatives, too. His list contains most of the expected big guns in classical masterpieces, but with an unusually extended list of contemporary works as well 25% of the pieces he cites were written in the 20th century: Britten and Glass and Reich, of course, but also such lesser-known figures as Milton Babbitt and Gregorio Paniagua. In performance, he has soft spots for the work of Leonard Bernstein and George Szell, but also for Pierre Boulez as a conductor, and is a great admirer of Columbia's composer-as-conductor series featuring Stravinsky and Copland. Best of all and to keep the arguments flowing he offers at the end a list of another 100 discs almost as essential and hints at many more. It's a treasure trove for record collectors though they should be aware that Kozinn's choices do notinclude opera.
