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Norman Lebrecht - The Life and Death of Classical Music: Featuring the 100 Best and 20 Worst Recordings Ever Made

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Norman Lebrecht The Life and Death of Classical Music: Featuring the 100 Best and 20 Worst Recordings Ever Made
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In this compulsively readable, fascinating, and provocative guide to classical music, Norman Lebrecht, one of the worlds most widely read cultural commentators tells the story of the rise of the classical recording industry from Carusos first notes to the heyday of Bernstein, Glenn Gould, Callas, and von Karajan. Lebrecht compellingly demonstrates that classical recording has reached its end pointbut this is not simply an expos? of decline and fall. It is, for the first time, the full story of a minor art form, analyzing the cultural revolution wrought by Schnabel, Toscanini, Callas, Rattle, the Three Tenors, and Charlotte Church. It is the story of how stars were made and broken by the record business; how a war criminal conspired with a concentration-camp victim to create a record empire; and how advancing technology, boardroom wars, public credulity and unscrupulous exploitation shaped the musical backdrop to our modern lives. The book ends with a suitable shrine to classical recording: the authors critical selection of the 100 most important recordingsand the 20 most appalling.Filled with memorable incidents and unforgettable personalitiesfrom Goddard Lieberson, legendary head of CBS Masterworks who signed his letters as God; to Georg Solti, who turned the Chicago Symphony into the loudest symphony on earththis is at once the captivating story of the life and death of classical recording and an opinioned, insiders guide to appreciating the genre, now and for years to come.

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Acknowledgements

As so often in a work of untold history, the ones who deserve greatest thanks are those who asked to have their names kept out of the book. Many of my other informants are acknowledged in the notes and have been thanked by the author in person. I am eft with the agreeable task of expressing my gratitude to those who, at one stage or other, provided encouragement or assistance in getting the story of classical recording finally on the record.

To my colleagues at the Evening Standard Veronica Wadley, Fiona Hughes, Sally Chatterton, and MaryAnn Mallet; at BBC Radio 3 Roger Wright, Tony Cheevers, Jessica Isaacs, Paul Frankl, Olwen Fisher and Cameron Smith; at Scherzo (Spain) Luis and Cristina Sunen; at www.scena.org (Canada) Wah Keung Chung and Mike Vincent; to my agents Jane Gelfman and Jonny Geller; to my publishers Marty Asher and Simon Winder; to my assiduous copy-editor Trevor Horwood and to my attentive reader Catherine Best.

And to all of those people in and out of the record business, some no longer alive, who shared with me their insights, ideas and access over the years:

Antonio de Almeida; Peter Alward; Peter Andry; Shirley Apthorp; Nicole Bachmann; Robert von Bahr; Mike Batt; Richard Bebb; Roxy Bellamy; Gunther Breest; Lucy Bright; Paul Burger; Marius Carboni; Schuyler and Ted Chapin; Matthew Cosgrove; Didier de Cottignies; Chris Craker; John G. Deacon; Peter Donohoe; Cor Dubois; Albrecht Dumling; Tony Faulkner; Ute Fesquet; Johanna Fiedler; Michael Fine; Ernest Fleischmann; Maureen Fortey; Simon Foster; Medi Gasteiner-Girth; Sir Clive Gillinson; Judy Grahame; Michael Haas; Ida Haendel; Gavin Henderson; Antje Henneking; Klaus Heymann; Bill Holland; Katharine Howard; Alexander Ivashkin; Peter Jamieson; Mariss Jansons; Jane Krivine; Gilbert E. Kaplan; Madeleine Kasket; Lotte Klemperer; Michael Lang; Mona Levin; Naomi Lewin; Susi and Martin Lovett; Richard Lyttelton; James Mallinson; Nella Marcus; Richard Marek; Lucy Maxwell-Stewart; Monika Mertl; Henry Meyer; John Mordler; Melanne Mueller; Christopher Nupen; Dr Stephen Paul; Ted and Simon Perry; Costa Pilavachi; Karen Pitchford; Christopher Pollard; Martha Richler; Terri Robson; Stephen Rubin; Peter Russell; Isabella de Sabata (Lady Gardiner); Karen Schrader; Jos Serebrier; Yehuda Shapiro; Sylvana Sintow; Ed Smith; Sir Georg and Lady Solti; Denise Stravinsky; Sheila and Adrian Sunshine; Inge and Klaus Tennstedt; Maria Vandamme; Alison Wenham; John Willan; Dolly Williamson; Claire Willis; Dr Marie-Luise Wolff.

ALSO BY NORMAN LEBRECHT

Mahler Remembered
The Maestro Myth
When the Music Stops
The Complete Companion to 20th Century Music
Covent Garden: The Untold Story
The Song of Names

Norman Lebrecht THE LIFE AND DEATH OF CLASSICAL MUSIC Norman Lebrecht - photo 1

Norman Lebrecht

THE LIFE AND DEATH
OF CLASSICAL MUSIC

Norman Lebrecht, assistant editor of the Evening Standard in London and presenter of BBCs lebrecht.live, is a prolific writer on music and cultural affairs, whose weekly column has been called required reading. Lebrecht has written eleven books about music, and is also author of the novel The Song of Names, which won the Whitbread First Novel Award in 2003.

www.normanlebrecht.com

Concise Bibliography

Gerben Bakker, The Making of a Music Multinational: The International Strategy of PolyGram, 194588, AFM Working Paper, University of Essex, 2003

Kevin Bazzana, Wondrous Strange: The Life and Art of Glenn Gould, New Haven: Yale University Press, 2004

Herbert Breslin and Anne Midgette, The King and I, New York: Double-day, 2004

Donald Clarke, The Rise and Fall of Popular Music, London: Penguin, 1995

Schuyler Chapin, Musical Chairs, New York: Putnams, 1977

John Culshaw, Ring Resounding: The Recording in Stereo of Der Ring Des Nibelungen, London: Secker & Warburg, 1967

Putting the Record Straight: The Autobiography of John Culshaw, London: Secker & Warburg, 1981

Frederic Dannen, Hit Men, London: Muller, 1990

Clive Davis, Clive: Inside the Record Business, New York: William Morrow, 1975

Dietrich Fischer-Dieskau, Echoes of a Lifetime, London: Macmillan, 1989

Otto Friedrich, Glenn Gould: A Life and Variations, London: Lime Tree, 1990

Wilhelm Furtwngler (tr. Shaun Whiteside), Notebooks, London: Quartet Books, 1989

F. W. Gaisberg, Music on Record, London: Robert Hale, 1947

Roland Gelatt, The Fabulous Phonograph, 18771977, London: Cassell, 1978

Suvi Raj Grubb, Music Makers on Record, London: Hamish Hamilton, 1986

Peter Heyworth and John Lucas, Otto Klemperer: His Life and Times, vol. II, Cambridge: Cambridge University Press, 1996

John L. Holmes, Conductors on Record, London: Victor Gollancz, 1982

Joseph Horowitz, Understanding Toscanini, New York: Alfred A. Knopf, 1987

John Hunt, The Furtwngler Sound, Exeter: Short Run Press, 1985

Kees A. Schouhamer Immink, The Compact Disc Story, Journal of the Audio Engineering Society, vol. 46, no. 5, May 1998

Wilhelm Kempff, Wass ich horte, wass ich sah, Munich: R. Piper & Co., 1981

Norman Lebrecht, The Maestro Myth, London: Simon & Schuster, 1991

When the Music Stops, London: Simon & Schuster, 1996

Brown Meggs, Aria, London: Hamish Hamilton, 1978

Pali Meller Marcovicz (ed.), Deutsche Grammophon Gesellschaft: eine Chronologie, Hamburg: DGG GmbH, 1998

George Martin (with Jeremy Hornsby), All You Need Is Ears, London: Macmillan, 1979

Peter Martland, Since Records Began-EMI, the First 100 Years, London: B. T. Batsford, 1997

Robert Metz, CBS: Reflections in a Bloodshot Eye, Chicago: Playboy Press, 1975

Bruno Montsaigneon (tr. Stewart Spencer), Sviatoslav Richter, Notebooks and Conversations, London: Faber and Faber, 2001

Paul Myers, Leonard Bernstein, London: Phaidon, 1998

John Nathan, Sony: The Private Life, London: HarperCollins, 1999

Jerrold Northrop Moore, Sound Revolutions: A Biography of Fred Gaisberg, Founding Father of Commercial Recording, London: Sanctuary, 1999

Charles OConnell, The Other Side of the Record, New York: Alfred Knopf, 1947

Richard Osborne, Herbert von Karajan: A Life in Music, London: Chatto & Windus, 1998

Luciano Pavarotti (with William Wright), My Own Story, London: Sidgwick & Jackson, 1981

Robert Philip, Peforming Music in the Age of Recording, New Haven: Yale University Press 2005

William Primrose, Walk on the North Side, Provo, Utah: Brigham Young University Press, 1978

Harvey Sachs, The Letters of Arturo Toscanini, London: Faber and Faber, 2002

Artur Schnabel, My Life and Music, Gerrards Cross: Colin Smythe, 1970

Harold Schonberg, Horowitz, London: Simon & Schuster, 1992

Elisabeth Schwarzkopf, On and Off the Record, London: Faber and Faber, 1982

Sam H. Shirakawa, The Devils Music Master, New York: Oxford University Press, 1992

Erik Smith, Mostly Mozart, Winchester: privately published, 2005

Georg Solti with Harvey Sachs, Solti on Solti: A Memoir, London: Chatto & Windus, 1997

Brian Southall, Abbey Road, London 1997

Wolfgang Stresemann, Zeiten und Klnge, Frankfurt a/M: Ullstein, 1994

H. H. Stuckenschmidt, Zum Hren Geboren, Munich: R. Piper & Co., 1979

Joseph Wulf, Musik im Dritten Reich, Gutersloh: Sigbert Mohn Verlag, 1963

Walter YetnikofF, Howling for the Moon, New York: Random House, 2003

. Matinee

One afternoon in 1920, a young pianist sat down in a shuttered room in the capital of defeated Germany and played a Bagatelle by Beethoven. At the return of the main theme, one of his fingers fractionally strayed, touching two keys instead of one. Donnerwetter! (dammit!), cried Wilhelm Kempff. He looked around and saw crestfallen faces. That was very beautiful, said the machine operator, but the recording is now ruined.

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