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The Indispensables: A Critic's Personal Guide to Classical Composers
An exploration into the question of greatness in classical music
In 2011, Chief Classical Music Critic of the New York Times Anthony Tommasini wrote a wildly popular series in which he somewhat cheekily engaged his readers to determine the ten all-time greatest composers. With his readers, Tommasini wrestled with questions of criteria. What made the greatest the greatest? Would a composer's popularity factor in? Should influence matter? What about someone whose range was narrow? And what do you do with opera? Readers went nuts. Commenters were inspired to make their own lists. Some railed against the elitism inherent to classical music, but then they raged when Mahler was left off the final list. Tommasini had hit a nerve, but he'd only just begun. Now in THE INDISPENSABLES, he makes the case for his own canon of composers--and what greatness really means in classical music.
Classical music lovers have always cared about greatness; but what does it mean to be canonical now? Who gets to say? And do we have enough perspective on the 20th century to even begin assessing it? This book is Tommasini's argument for the composers he finds indispensable and why.
To make his case, Tommasini draws on elements of biography, the anxiety of influence, the composer's relationships with colleagues, and shifting attitudes toward a composer's work over time. Because he has spent his life contemplating these titans, Tommasini also shares impressions from performances he has heard or given or moments when his own biography proves revealing.
As he argues for his particular pantheon of indispensable composers, Anthony Tommasini provides a masterclass in what to listen for and how to understand what music does to us.
Classical music lovers have always cared about greatness; but what does it mean to be canonical now? Who gets to say? And do we have enough perspective on the 20th century to even begin assessing it?
THE INDISPENSABLES is Tommasini's argument for the composers he finds essential and why. To make his case, he draws on elements of biography, historical background, the anxiety of influence, the composer's relationships with colleagues, and shifting attitudes toward a composer's work over time.
As he argues for his particular pantheon, Tommasini also provides a masterclass in what to listen for and how to understand what music does to us. If Alex Ross' THE REST IS NOISE used music to tell a history, Tommasini here is using history to explain music.
In 2011, Chief Classical Music Critic of the New York Times Anthony Tommasini wrote a wildly popular series in which he somewhat cheekily engaged his readers to determine the ten all-time greatest composers. With his readers, Tommasini wrestled with questions of criteria. What made the greatest the greatest? Would a composer's popularity factor in? Should influence matter? What about someone whose range was narrow? And what do you do with opera? Readers went nuts. Commenters were inspired to make their own lists. Some railed against the elitism inherent to classical music, but then they raged when Mahler was left off the final list. Tommasini had hit a nerve, but he'd only just begun. Now in THE INDISPENSABLES, he makes the case for his own canon of composers--and what greatness really means in classical music.
Classical music lovers have always cared about greatness; but what does it mean to be canonical now? Who gets to say? And do we have enough perspective on the 20th century to even begin assessing it? This book is Tommasini's argument for the composers he finds indispensable and why.
To make his case, Tommasini draws on elements of biography, the anxiety of influence, the composer's relationships with colleagues, and shifting attitudes toward a composer's work over time. Because he has spent his life contemplating these titans, Tommasini also shares impressions from performances he has heard or given or moments when his own biography proves revealing.
As he argues for his particular pantheon of indispensable composers, Anthony Tommasini provides a masterclass in what to listen for and how to understand what music does to us.
Classical music lovers have always cared about greatness; but what does it mean to be canonical now? Who gets to say? And do we have enough perspective on the 20th century to even begin assessing it?
THE INDISPENSABLES is Tommasini's argument for the composers he finds essential and why. To make his case, he draws on elements of biography, historical background, the anxiety of influence, the composer's relationships with colleagues, and shifting attitudes toward a composer's work over time.
As he argues for his particular pantheon, Tommasini also provides a masterclass in what to listen for and how to understand what music does to us. If Alex Ross' THE REST IS NOISE used music to tell a history, Tommasini here is using history to explain music.
384 pages, Hardcover
First published November 6, 2018
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Displaying 1 - 30 of 40 reviews
December 20, 2018
There could be a great deal of debate on why Tammasini chose these composers to include in his book rather than others, but that's not a debate that much interests me. This is part history, part memoir of a man who has lived a privileged (in the best way) music-oriented life, witness to many great concerts and also player of many great works on piano. He's been waved at by Stravinsky (he thinks, maybe) and roamed the streets with thoughtful, talented musicians. He emphasizes German composers, and operas and piano works over other genres, but those are the ones he chooses to talk about and that's his prerogative as the author. And I am happy to let him make those choices, because his excellent writing and moving personal stories make for a wonderful reading experience.
Diving into the book, I was braced for a reference book of sorts, and I got something much more meaningful and personal. I'd recommend it to anyone interested in what we call "classical" music. He has sections to explain basic concepts for the uninitiated. I'm a casual but earnest consumer of classical music, having never studied it formally, and there was something in each chapter that was new to me. I thought he couldn't tell me anything about Beethoven that I didn't already know, but his emphasis on Beethoven's improvisation skills was an interesting new angle, one that has implications for modern music culture of which Tommasini is well aware.
I hope this is marketed well as a personal story more than a dry history. Tommasini has a rich personal history to pull from to enliven the history he's telling, and he keeps the balance with impressive skill.
I got a copy to review from the publisher through Edelweiss.
Diving into the book, I was braced for a reference book of sorts, and I got something much more meaningful and personal. I'd recommend it to anyone interested in what we call "classical" music. He has sections to explain basic concepts for the uninitiated. I'm a casual but earnest consumer of classical music, having never studied it formally, and there was something in each chapter that was new to me. I thought he couldn't tell me anything about Beethoven that I didn't already know, but his emphasis on Beethoven's improvisation skills was an interesting new angle, one that has implications for modern music culture of which Tommasini is well aware.
I hope this is marketed well as a personal story more than a dry history. Tommasini has a rich personal history to pull from to enliven the history he's telling, and he keeps the balance with impressive skill.
I got a copy to review from the publisher through Edelweiss.
February 5, 2019
The "If Wagner's antisemitism concerns you, don't worry because I knew a Jewish guy who liked him" argument is beyond lame, but the rest of the book is fine, I guess.
February 15, 2019
A mix of memoir, biography, concert notes, and criticism that mostly works. Due to the author’s special love for opera, which I don’t share, I was able to skip whole sections and chapters. I especially enjoyed the Brahms and Debussy chapters.
December 8, 2018
I have been a reader of NY Times chief critic for years and this book is terrific! Loosely based on his Top Ten Composers project, an eight-week series of articles which caused a sensation in 2011, especially when he asked his readers to jump in with their own lists (I gleefully did), this book is his personal list of the composers he argues that one cannot live without.
There will be quibbles with his list by many (Mahler and Tchaikovsky didn't make the cut, Schumann and Bartok do), but his list is a good cross-section of composers and their respective times, with a scholars and critics insights into the composers musical periods and their contributions to the growth of classical music. He includes personal recollections of his encounters with some of these pieces as a musician and as a critic, which are enlightening.
After reading the epilogue, I thought of a new project for Tommasini: a similar list and analysis of other 20th Century composers and current 21st Century composers. I think that classical music could use a guide to recent/current composers and who better than Tommasini to write that book? As a critic, he has probably seen concerts, as well as done interviews and profile pieces, of many of these composers. I would find a survey of these composers by someone with his credentials fascinating.
There will be quibbles with his list by many (Mahler and Tchaikovsky didn't make the cut, Schumann and Bartok do), but his list is a good cross-section of composers and their respective times, with a scholars and critics insights into the composers musical periods and their contributions to the growth of classical music. He includes personal recollections of his encounters with some of these pieces as a musician and as a critic, which are enlightening.
After reading the epilogue, I thought of a new project for Tommasini: a similar list and analysis of other 20th Century composers and current 21st Century composers. I think that classical music could use a guide to recent/current composers and who better than Tommasini to write that book? As a critic, he has probably seen concerts, as well as done interviews and profile pieces, of many of these composers. I would find a survey of these composers by someone with his credentials fascinating.
February 9, 2022
Tommassini embraces the subjectivity of music criticism and provides his own personal view on composers deemed "indispensable." It's a blend of music history, analysis, and Tommasini's individual engagement with great classic works. Come for the Beethoven and Brahms, stay for the arguments for Debussy and Puccini. A bit heavy on the opera and art song, but then again, it's a "personal guide".
February 9, 2021
A solid survey of composers starting in the Baroque era that served as a good intro to many different people. The author is the classical music critic for the New York Times, so he knows his stuff (I'd assume). His enthusiasm for music was obvious, even if I glossed over his summaries of famous operas...
November 28, 2020
So I decide I absolutely must pick up a book giving me a good overview of the history of classical music, and after doing a bit of research, decide on Harold C. Schonberg’s The Lives of the Great Composers. But a quick check on Amazon leads me to discover that there are only hard copies on offer, and since I am traveling and using my Kindle, it seems I am out of luck. So I settle on Anthony Tommasini’s The Indispensable Composers instead. Boy am I ever glad that I “settled” on it!
Overall the book met my needs quite well. Tommasini writes in an accessible manner, explaining difficult musical concepts for the more casual listener, and even offering web links for further information. Yet his description and analysis of the works he treats is penetrating, insightful, and very personal. He gives the basic biographic information about each of the composers, but does so in an engaging way, usually interspersing it with a focus on the music and each of their careers to produce a rich tapestry effect, instead of a dry timeline.
Overall I found the way he includes his readers into his experience of the music to be delightful. But Tommasini is himself a pianist with a great love for opera, and both of these loves tend to limit his own experience of other sorts of music. While piano sonatas and concertos are given a spiritual, in-depth treatment, and he might go for pages on a single opera, music for wind instruments and strings seem to get much shorter shrift. His favorite versions of compositions for harpsichord are even performed on piano! Indeed, if one did not know better, one might be led to conclude that Tommasini actively does not like strings in particular.
Granted, the book is billed as a “personal guide,” and it very much is, which is generally to its credit. But if Tommasini could learn to expand his love of opera to other non-piano works, to experience them on such a plane, and then to share that enjoyment with his readers, he would be so much more versatile and engaging to an even broader audience. Which is not to say he would have the same insight as Yo-Yo Ma, Dizzy Gillespie, or Izthak Perlman, the way he does with piano.
People can no doubt generate endless controversy over who the best composers are or even if there is such a thing. Tommasini generally makes a very convincing case for why each of the 17 composers he chose are included, and why they made a significant, lasting impact on the business. I got the impression that he might as well have sub-titled the book: If I Had Allowed Myself 18, I Would Have Included Franz Liszt.
But then again, his case in favor of Igor Stravinsky was the only weak link. Tommasini freely admitted that the man mainly stole from others, like Debussy, Rimsky-Korsakov (who didn’t even make the list!), and Mozart. And while Tommasini half-heartedly tried to argue that Stravinsky was the standard bearer of tonal music in the 20th century, as against atonal Arnold Schoenberg, that role might as well have gone to Bela Bartok (at least from Tommasini’s own presentation). Sorry, but causing a riot in Paris just doesn’t qualify for making one “indispensable,” plenty of one-hit-wonders have caused no end of sensation and scandal during their fifteen minutes of fame.
I’m not saying this because I have anything against Stravinsky, merely pointing out that when I finished reading what Tommasini had to offer, I saw no reason for Stravinsky's elevation to the equal of the other sixteen. Maybe Tommasini could have gotten Liszt in after all without busting seventeen…
Anyway, I very much enjoyed reading it and I learned a lot as well. While not exactly a beach read, it’s accessible, made the more so by the links if you need them. However, seeing as even Tommasini recommends Schonberg’s Great Composers, I still plan to track that one down in hard copy. In the meantime though, rest assured you are not missing out by “settling” for this one instead! A good read indeed.
Overall the book met my needs quite well. Tommasini writes in an accessible manner, explaining difficult musical concepts for the more casual listener, and even offering web links for further information. Yet his description and analysis of the works he treats is penetrating, insightful, and very personal. He gives the basic biographic information about each of the composers, but does so in an engaging way, usually interspersing it with a focus on the music and each of their careers to produce a rich tapestry effect, instead of a dry timeline.
Overall I found the way he includes his readers into his experience of the music to be delightful. But Tommasini is himself a pianist with a great love for opera, and both of these loves tend to limit his own experience of other sorts of music. While piano sonatas and concertos are given a spiritual, in-depth treatment, and he might go for pages on a single opera, music for wind instruments and strings seem to get much shorter shrift. His favorite versions of compositions for harpsichord are even performed on piano! Indeed, if one did not know better, one might be led to conclude that Tommasini actively does not like strings in particular.
Granted, the book is billed as a “personal guide,” and it very much is, which is generally to its credit. But if Tommasini could learn to expand his love of opera to other non-piano works, to experience them on such a plane, and then to share that enjoyment with his readers, he would be so much more versatile and engaging to an even broader audience. Which is not to say he would have the same insight as Yo-Yo Ma, Dizzy Gillespie, or Izthak Perlman, the way he does with piano.
People can no doubt generate endless controversy over who the best composers are or even if there is such a thing. Tommasini generally makes a very convincing case for why each of the 17 composers he chose are included, and why they made a significant, lasting impact on the business. I got the impression that he might as well have sub-titled the book: If I Had Allowed Myself 18, I Would Have Included Franz Liszt.
But then again, his case in favor of Igor Stravinsky was the only weak link. Tommasini freely admitted that the man mainly stole from others, like Debussy, Rimsky-Korsakov (who didn’t even make the list!), and Mozart. And while Tommasini half-heartedly tried to argue that Stravinsky was the standard bearer of tonal music in the 20th century, as against atonal Arnold Schoenberg, that role might as well have gone to Bela Bartok (at least from Tommasini’s own presentation). Sorry, but causing a riot in Paris just doesn’t qualify for making one “indispensable,” plenty of one-hit-wonders have caused no end of sensation and scandal during their fifteen minutes of fame.
I’m not saying this because I have anything against Stravinsky, merely pointing out that when I finished reading what Tommasini had to offer, I saw no reason for Stravinsky's elevation to the equal of the other sixteen. Maybe Tommasini could have gotten Liszt in after all without busting seventeen…
Anyway, I very much enjoyed reading it and I learned a lot as well. While not exactly a beach read, it’s accessible, made the more so by the links if you need them. However, seeing as even Tommasini recommends Schonberg’s Great Composers, I still plan to track that one down in hard copy. In the meantime though, rest assured you are not missing out by “settling” for this one instead! A good read indeed.
February 10, 2019
As someone who enjoys classical music but doesn't know much about its history (or theory), this book provided a lovely overview of 17 of the most historically notable composers, obviously leaving out some major ones. For each person, Tommasini—a critic at the New York Times, but also a classically trained pianist—gives a biographical sketch, an overview of their historical importance, and commentary on a few major works.
Early on Tommasini admits something he has learned through years of writing about music for the lay audience: it is hard to write about how the music sounds and easier to write around the music. In this book he does this in several ways. His technical discussions of things like tonality (or "atonality"), structure, etc. were educational and made me want to learn more about music theory. His personal anecdotes about tackling some of the music himself were particularly interesting and revealing. Much less interesting were the lengthy blow-by-blow descriptions of the plots of operas; most egregious was in the chapter on Wagner, where a full ten pages were given to the plot of the Ring cycle.
It is understandable that the author would devote so much space to Opera: he comes from New York, the most opera-centric classical-music city in America. But, that focus made my attention flag in chapters 10–13. The earlier chapters had focused on some of my very favorite composers, like Handel and Beethoven, and the final chapter was the satisfying payoff to all the theory we had learned along the way, in which Schoenberg, Stravinsky, and Bartok break with that theory.
Another great value of this book: I now have a long list of classical pieces I want to listen to.
Early on Tommasini admits something he has learned through years of writing about music for the lay audience: it is hard to write about how the music sounds and easier to write around the music. In this book he does this in several ways. His technical discussions of things like tonality (or "atonality"), structure, etc. were educational and made me want to learn more about music theory. His personal anecdotes about tackling some of the music himself were particularly interesting and revealing. Much less interesting were the lengthy blow-by-blow descriptions of the plots of operas; most egregious was in the chapter on Wagner, where a full ten pages were given to the plot of the Ring cycle.
It is understandable that the author would devote so much space to Opera: he comes from New York, the most opera-centric classical-music city in America. But, that focus made my attention flag in chapters 10–13. The earlier chapters had focused on some of my very favorite composers, like Handel and Beethoven, and the final chapter was the satisfying payoff to all the theory we had learned along the way, in which Schoenberg, Stravinsky, and Bartok break with that theory.
Another great value of this book: I now have a long list of classical pieces I want to listen to.
December 6, 2018
As with many books concerning music, one must allow time for listening when reading this one. For instance, imagine my amazement when Mr. Tommasini starts with Claudio Monteverdi, and I realize I don't have any recordings of Monteverdi's work! Everyone else was within easy reach, albeit a few pieces I wanted to hear needed to be YouTubed.
One of the nice touches here was the explanation for musical terms, a boon to many readers, I'm sure, although a drag for those who know what's what with the score. For middle-roaders like me, several explanations were tilted just a bit away from what my basic understanding was, and thus I came to understand more. Bonus points!
The composers selection is delightful, the discussion of the work informative, the Notes may be passed without harm, and the few poor syntactical blunders and usage errors forgiven.
Highly Recommended.
One of the nice touches here was the explanation for musical terms, a boon to many readers, I'm sure, although a drag for those who know what's what with the score. For middle-roaders like me, several explanations were tilted just a bit away from what my basic understanding was, and thus I came to understand more. Bonus points!
The composers selection is delightful, the discussion of the work informative, the Notes may be passed without harm, and the few poor syntactical blunders and usage errors forgiven.
Highly Recommended.
November 6, 2021
Part music history, part personal reflection on music, this book is a good guide through the life and works of fifteen or so of the greatest classical composers of all time. Tommasini is clear that he's talking about HIS indispensable composers, and another writer's might be slightly different (I'd probably ditch Monteverdi and Berg for Berlioz and Rachmaninoff). The book gives each of the composers Tommasini chooses a nice biographical sketch, but also a look into what makes that particular composer "indispensable", and a bit of personal reflection on Tommasini's experiences with that composer's music. A lot of this is interesting indeed; more and more I gravitate to writing about the arts that is personal in nature, and I generally dislike writing about the arts that talks about art, any art, as being somehow a thing alone in its own universe. Art IS personal and I think it's better when we acknowledge this.
(There's a passage in the Wagner chapter where Tommasini has to confront the fact that Wagner is one of the bigger examples of the problem of separating the art (Wagner's music is the work of staggering genius, some of the greatest art ever produced by ANY human artist, period) from the artist (Wagner himself was a boor of epic proportions, a racist and anti-Semitic womanizer who became a posthumous artist-hero of Germany's most regrettable political movement). This passage doesn't *quite* work. There's something a bit "Ewww" about "I know a Jew who loves Wagner's music!".)
(There's a passage in the Wagner chapter where Tommasini has to confront the fact that Wagner is one of the bigger examples of the problem of separating the art (Wagner's music is the work of staggering genius, some of the greatest art ever produced by ANY human artist, period) from the artist (Wagner himself was a boor of epic proportions, a racist and anti-Semitic womanizer who became a posthumous artist-hero of Germany's most regrettable political movement). This passage doesn't *quite* work. There's something a bit "Ewww" about "I know a Jew who loves Wagner's music!".)
January 6, 2019
New York Times chief classical music critic Tommasini proves to be an engaging guide through the history of classical music, focusing on the heavyweights from the Renaissance (Monteverdi), Baroque, (Bach, Handel), Classical (Haydn, Mozart, Beethoven), Romantic (Schubert, Chopin, Schumann, Brahms, Wagner, Verdi, Puccini), Impressionistic (Debussy), and Modern (Schoenberg [12 tone], Stravinsky, Bartók) styles/ages. Since he comfortably blends biography, history, musical analysis, and personal anecdotes, the book never feels like an academic treatise. I leave it with a better understanding of the relationships among these composers. I’m also interested in exploring new music, even the intimidating Schoenberg or late Stravinsky. The work’s one shortcoming is Tommasini’s tendency to offer lengthy summaries of opera plots. A shorter treatment would have been sufficient to inspire me to investigate further— I hardly wanted to know the endings. Also, he would have had more space to cover other notable composers like Dvorák, Mahler, Tchaikovsky, Rachmaninov, and Shostakovich.
February 6, 2019
The key to this book is the subtitle: it is a PERSONAL guide to some seventeen of the major composers of classical music. Tommasini, the chief classical music critic for the New York Times, has written about Monteverdi, J.S. Bach, Handel, Haydn, Mozart, Beethoven... To varying degrees, there is a full biography (these seem to peter out as the book progresses), as well as a discussion of their work and why the author considers each to be indispensable. There are some passages when the discussion gets somewhat technical, but, for the most part, the book is written for the lover of classical music who may have little-to-know musical training. Interspersed with the discussion are various glimpses into the author's own experiences of music and musical performance. -- I suppose one might quibble with an inclusion or an exclusion here and there (I wonder about Puccini, and I was always under the impression that Western music began with Palestrina, but...); on the whole, however, 'the usual suspects' are here and well-treated.
June 1, 2019
"The Indispensable Composers: A Personal Guide" is a decent introduction to the life and works of several famous composers. Well known composers such as Bach and Beethoven are present and there are a couple of "interesting" lesser known ones as well, Bartok for instance. It was great to see Stravinsky included.
Overall the writer gives a mini-biography of the featured composer and then delves into some analysis of their works. At times this seemed to be needless padding, as a musician I was more interested in the actual musical analysis and not scene by scene descriptions of some of the operas.
Since he writes for the New York Times, it should come as no surprise that he felt the need to throw in his "social agenda" at times, and this proved to be a needless distraction which took away from the exposition and cheapened the content.
Overall this can serve as a decent introduction to various composers and features a nice list in the back of the book of recommended recordings.
Overall the writer gives a mini-biography of the featured composer and then delves into some analysis of their works. At times this seemed to be needless padding, as a musician I was more interested in the actual musical analysis and not scene by scene descriptions of some of the operas.
Since he writes for the New York Times, it should come as no surprise that he felt the need to throw in his "social agenda" at times, and this proved to be a needless distraction which took away from the exposition and cheapened the content.
Overall this can serve as a decent introduction to various composers and features a nice list in the back of the book of recommended recordings.
November 14, 2018
A wonderful, personal, informative review
Starting with a justification of an exercise he is uncomfortable with ( it flows out of a New York Times series on the top 10 composers) the author writes convincing arguments about his selections and their place. I found the discussion of Schubert's struggles and the related reflections from the authors life to be especially mind expanding. (As one working at understanding the writing of Teilhard de Chardon it makes me yearn for the manifestation of the Omega point.)
The arguments in this book also helped understand and place Schoenbergs 12 tone system in the historical development of music. And the book finishes with very sensible arguments about being open to new music without worrying about its place in the canon. And the new understanding this book has given me will help me more thoroughly appreciate the wealth of recordings in the new Bach 333 set.
Starting with a justification of an exercise he is uncomfortable with ( it flows out of a New York Times series on the top 10 composers) the author writes convincing arguments about his selections and their place. I found the discussion of Schubert's struggles and the related reflections from the authors life to be especially mind expanding. (As one working at understanding the writing of Teilhard de Chardon it makes me yearn for the manifestation of the Omega point.)
The arguments in this book also helped understand and place Schoenbergs 12 tone system in the historical development of music. And the book finishes with very sensible arguments about being open to new music without worrying about its place in the canon. And the new understanding this book has given me will help me more thoroughly appreciate the wealth of recordings in the new Bach 333 set.
December 4, 2022
If you're new to classical music or don't have any other interest than occasionally listen to it (so no interest in the life of the great composers, music theory, etc), than this book is NOT for you. May be Tommasini is a great critic (I never read his articles), but his writing skills are not particularly impressive. His narrations of the scores or opera plots are a bore but you can skip those pages (they are not a few). On the other hand, his knowledge on music history, cultural context in which classical masterpieces were created and music theory is impressive. The salt are the anecdotes he tells here and there. All in one, Tommasini is an impressive erudite so you can learn A LOT about music by reading this book and it would be a great idea to listen to many of the pieces he's writing about. It's like going to an intensive really good course on classical music. Challenging, sometimes unpleasant, but if you stick with it highly rewarding in the end.
May 25, 2024
Can I give it a 2.5? Possibly to no fault of the author, but I was so glad to be done with this book. I commend the author that this was a very well researched book by someone who clearly has a very good grasp of music and composers. I am not that person. So much of the music theory was well over my head, as well as many of the references to the compositions.
I read this book because I was looking for a book about the lives of great composers. I did learn things about the composers, but I’m not sure how much will stick. This book is much more than a biography of their lives. There are very long stretches of in depth looks into pieces of music and discussions musical adaptations and developments. This isn’t what I was looking for, and the biographical information kind of got over shadowed by all of that information.
So, for me, this is not the book I was looking for and wasn’t as enjoyable of a read as I wanted. For someone else, it’s probably fantastic!
I read this book because I was looking for a book about the lives of great composers. I did learn things about the composers, but I’m not sure how much will stick. This book is much more than a biography of their lives. There are very long stretches of in depth looks into pieces of music and discussions musical adaptations and developments. This isn’t what I was looking for, and the biographical information kind of got over shadowed by all of that information.
So, for me, this is not the book I was looking for and wasn’t as enjoyable of a read as I wanted. For someone else, it’s probably fantastic!
January 25, 2019
A lovely, passionate presentation of Tommasini's favorite composers and music. This is his personal journey in this repertoire of music. Tommasini's prose is lively, and conveys to the reader his excitement and love for this music. As many have noted, however, there are a few snubs, Gustav Mahler being the most glaring. But, after all it is Tommasini's story and his choices - I just don't agree with that omission. There is not a single mention of Anton Bruckner either, arguably one of the greatest symphonists of the Romantic era. Tommasini is also far more of a fan of opera than I am, including Wagner, Puccini and Verdi in his list of indispensable composers. This book did spark a renewed interest in Schumann's piano oeuvre; a revisit of Bach's Well Tempered Clavier and to be thrilled once again listening to Brahm's 2nd Piano Concerto.
August 3, 2025
This book is good because Tommasini is an excellent writer, but the whole concept of the book is questionable. Top ten lists are fun (stupid, but fun), but what the hell is a top 17 list? He should have just written a personal history of Classical music which could have included many masterpieces not featured in this book like The Four Seasons or The Barber of Seville.
Also, it's a shame he didn't include any composers more recent than Stravinsky. I think John Cage, Philip Glass, Robert Ashley, Olivier Messiaen, Conlon Nancarrow, Morton Subotnick, and so many more recent composers are more indispensable than Robert Schumann. Classical music feels dead when you don't talk about any music written in the last 50 years.
Also, it's a shame he didn't include any composers more recent than Stravinsky. I think John Cage, Philip Glass, Robert Ashley, Olivier Messiaen, Conlon Nancarrow, Morton Subotnick, and so many more recent composers are more indispensable than Robert Schumann. Classical music feels dead when you don't talk about any music written in the last 50 years.
November 19, 2020
A great overview of a number of important and influential composers. Tommasini's style of interweaving the biographical and the musicological was very engaging. His autobiographical interjections added a beautiful human touch.
As with all music writing, a knowledge of music theory and history will make this a more enjoyable read, however, I feel that Tommasini does a very effective job of describing the important points while not overburdening the neophyte.
I will keep this book on my shelf for future reference and as a book I see myself lending to interested friends and family.
As with all music writing, a knowledge of music theory and history will make this a more enjoyable read, however, I feel that Tommasini does a very effective job of describing the important points while not overburdening the neophyte.
I will keep this book on my shelf for future reference and as a book I see myself lending to interested friends and family.
March 28, 2019
I really enjoyed this book! It took a long time to finish because I had to go listen to something every few pages. I don't have the same enthusiasm for classical music as the author (but the music for me usually didn't live up to his delightful descriptions). But, I've gained a much greater appreciation knowing the personal stories of these composers. I liked understanding more about the culture in which each composer lived, and how they influenced each other and innovated upon former masters.
March 21, 2022
Not everyone has interesting things to say about great composers. Tommasini avoids the tired anecdotes in favour of brief testaments to each artist's strongest contributions. In doing so, he raises fascinating questions about them - how many times have you had meaningful, not rhetorical fanboy, questions asked about Mozart? Better still, he has the confidence to offer answers, or perhaps the directions in which answers might lie.
March 8, 2024
Excellent prose. Though I attempted to find recordings that Tommasini mentioned for each composer, the descriptions alone drew me into an experience. The blend of history and explication for each of the composers was well balanced. I do not possess much of a musical background yet found the passages that defined and elaborated on concepts well placed and created a source of continuity as the parade of composers proceeded.
February 5, 2020
A good review of musical and personal history for a specific set of composers--if your personal criteria of "indispensability" are different from those of the author, you may not be entirely happy. But that's a subjective statement, just as the one (mentioned by a previous reviewer) that too much space is dedicated to operas, especially Wagner. That said, an informative and entertaining text.
January 25, 2019
Both personal and technical depth
As a lover of music but not a scholar, I enjoyed the insights and stories of composers. However, I skimmed the comprehensive treatment of many pieces.
As a lover of music but not a scholar, I enjoyed the insights and stories of composers. However, I skimmed the comprehensive treatment of many pieces.
January 29, 2021
A quirky, but comprehensive guide to the great composers, although inexplicably he left off Mahler! Far more detailed than Swafford's book, with a lot more time spent on musical concepts and themes, and much more analysis of the individual works of these composers.
January 19, 2023
Anthony Tommasini is a pianist and the NY Times' main classical music writer. Even if you've had your share of music history/musicology courses over the years this book is a great read! Highly recommended.
April 15, 2023
This book is a must read!! Tommasini gives a thoughtful and comprehensive look at some of the bests composers in history in making his list of indespensible composers. It sent me on a mission to make my own list! A fantastic read!!
November 17, 2018
I was surprised and somewhat disappointed that Aaron Copland didn’t make the cut.
June 26, 2019
Far too much space devoted to synopses of the plots of operas.
July 10, 2019
This read was pretty interesting but at times it was a little too technical. I would have like it better if there was more biographical information.
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