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.