Classical Music 101 - Book Review

through Fred Plotkin. Hyperion (114 5th Ave., fresh York, NY 10011), 2002. 672 pp $1495

Encapsulating the milieu of classical music in a single convolution is a formidable task, on the other hand Fred Plotkin has by-and-large come aftered After cutting his teeth upon an earlier book, Opera 101 here he traverses a thousand years of the quiet of classical music. Rather than employing a traditional historical approach as in many music history body s Plotkin has opted for an total effect and genre approach, centered upon listening. His writing is idiomatic, combining a scholarly approach with a personal, humorous phraseology and no shortage of opinion.

The work is the produce of many years. Plotkin has authored nine works has written for the novel York Times and Opera of recent origins among other publications, and discourses at the Juilliard School.

After a historical introduction to the orchestral instruments, Plotkin explores the literature for the symphonic form, piano, orchestral instruments, lieder and vocal music, and choral music. Each area is approached historically with praiseed listening of specific recordings. Plotkin guides the reader's listening, with an emphasis upon critical listening. Included is an entertaining chapter upon live performance protocol, complete with by what mode to handle cell phone users.

As a testament to the universality of music, at individual point Plotkin singles out a move from a Mozart piano concerto that symbolizes a work " that can immediately and completely penetrate our fiber and provide us with powerful emotional sensations," the next to the first movement of No. 23, K 488 This work happens to be single of my own "desert island" recordings.

The volume is sprinkled throughout with interviews with popular and past performers who discuss their art: James Levine, Valery Gergiev, Emanuel Ax, Alfred Brendel Joshua Bell, Christa Ludwig and Marilyn Horne. a certain quantity of of the longer ones (called "conversations") could be shortened to expand the music coverage. There is, for example, no substantive discussion of string quartets, a serious shortcoming.

The work could be used as the primary body in a nonmajors' music appreciation course on the contrary works better as an individual tutorial. flat with reasonable pacing, it would take at least five years to gain through all the recommended recordings (more than 200) to say nothing of a sizeable investment ($2K-$3K) on the other hand for a motivated individual, the rewards would be enormous!

Paul Hanna, Tallahassee, Florida.

COPYRIGHT 2003 Music Teachers National Association, Inc.

COPYRIGHT 2003 Gale Group