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More copies of this ISBN:This title in other formats:The Rest Is Noise: Listening to the Twentieth Centuryby Alex Ross
Awards2007 National Book Critics Circle Award Winner for Criticism
Review-a-Day (What is Review-a-Day?)"The problems with this history begin with the title page — with the self-assured title itself, which seems more promotional than informative, and with the subtitle Listening to the Twentieth Century, which grows more shifty the more you think about it. It might mean listening to the characteristic sounds of the twentieth century — the roar of the jet, the song of the cell phone, the ear- and brain-splitting din of carpet bombing — rather than listening to music. Twentieth century music, as Ross has stressed with much vigor, even spleen, is mostly popular, and increasingly international. But a writer whose ambition was 'to talk about classical music as if it were popular music and popular music as if it were classical' talks mostly about Western classical music as if it were classical." Joseph Kerman, The New Republic (read the entire New Republic review) Synopses & ReviewsPublisher Comments:The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky's Rite of Spring onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for The New Yorker, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life. The Rest Is Noise takes the reader inside the labyrinth of modern sound. It tells of maverick personalities who have resisted the cult of the classical past, struggled against the indifference of a wide public, and defied the will of dictators. Whether they have charmed audiences with the purest beauty or battered them with the purest noise, composers have always been exuberantly of the present, defying the stereotype of classical music as a dying art. Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies. We follow the rise of mass culture and mass politics, of dramatic new technologies, of hot and cold wars, of experiments, revolutions, riots, and friendships forged and broken. In the tradition of Simon Schama's The Embarrassment of Riches and Louis Menand's The Metaphysical Club, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music. Review:"'Ross, the classical music critic for the New Yorker, leads a whirlwind tour from the Viennese premiere of Richard Strauss's Salome in 1906 to minimalist Steve Reich's downtown Manhattan apartment. The wide-ranging historical material is organized in thematic essays grounded in personalities and places, in a disarmingly comprehensive style reminiscent of historian Otto Friedrich. Thus, composers who led dramatic lives — such as Shostakovich's struggles under the Soviet regime — make for gripping reading, but Ross treats each composer with equal gravitas. The real strength of this study, however, lies in his detailed musical analysis, teasing out — in precise but readily accessible language — the notes that link Leonard Bernstein's West Side Story to Arnold Schoenberg's avant-garde compositions or hint at a connection between Sibelius and John Coltrane. Among the many notable passages, a close reading of Benjamin Britten's opera Peter Grimes stands out for its masterful blend of artistic and biographical insight. Readers new to classical music will quickly seek out the recordings Ross recommends, especially the works by less prominent composers, and even avid fans will find themselves hearing familiar favorites with new ears.' Publishers Weekly (Starred Review) (Copyright Reed Business Information, Inc.)" Book News Annotation:Ross (music critic for The New Yorker) tells the story of 20th
century classical composition, which for him is an "untamed art, and
unassimilated underground." While composers from Richard Strauss to
John Adams lie at the heart of the narrative, Ross also places them
within a social and political world, describing the politicians,
dictators, corporate officers, art patrons, intellectuals, and
critics who have attempted to adjudicate and control musical
expression and the social upheavals that impacted the lives of
composers and the music they produced. He also goes beyond the genre
confines of classical to discuss connections to such artists as Duke
Ellington, Miles Davis, the Beatles, and the Velvet Underground.
Annotation ©2008 Book News, Inc., Portland, OR (booknews.com) Review:"With every page you turn, the story departs further from the old fairy tale of giants bestriding the earth and looks more like the twentieth century we remember, with fallible human beings reacting to, reflecting, and affecting with symbolic sounds a flux of conditions and events created by other fallible human beings. And turn the pages you do. A remarkable achievement." Richard Taruskin, author of the Oxford History of Western Music Review:"A rare and successful weaving together of musical and cultural history, at once sweeping and accessible, written felicitously by a seasoned music critic at home in the history of the last century. An enticing and bold invitation to learn something of the great themes of the past century." Fritz Stern, author of Five Germanys I Have Known Review:"A must-read for those who have struggled with understanding modern music and a benchmark book that should eventually become a classic history of the 20th century." Kirkus Reviews Review:"There seems always to have been a 'crisis of modern music,' but by some insane miracle one person finds the way out. The impossibility of it gives me hope. Fast-forwarding through so many music-makers' creative highs and lows in the company of Alex Ross's incredibly nourishing book will rekindle anyone's fire for music." Bjork Synopsis:Ross, music critic for The New Yorker, takes readers from Vienna before the First World War to New York in the 1970s. The result is not so much a history of 20th-century music as it is a history of the 20th century through its music. About the AuthorAlex Ross, music critic for The New Yorker, is the recipient of numerous awards for his work, including two ASCAP Deems Taylor Awards for music criticism, a Holtzbrinck Fellowship at the American Academy in Berlin, a Fleck Fellowship from the Banff Centre, and a Letter of Distinction from the American Music Center for significant contributions to the field of contemporary music. The Rest Is Noise is his first book. What Our Readers Are SayingAdd a comment for a chance to win!
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