What do you think?
Rate this book
Reverberations: interviews with the world's leading musicians
GREAT CONDITION HARDCOVER WITH DJ BOOK+ CLEAN AND TIGHT+ FAST SHIPPING
308 pages, Hardcover
First published January 1, 1974
1 person want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 of 1 review
March 9, 2015
A generally engaging collection of medium-length interviews with a cross-section of leading classical musicians in the early '70s. Many of the interviews seem to have been conducted for Opera News, though Jacobson also speaks with instrumentalists and orchestral conductors. The style is not "US Weekly" - Jacobson focuses almost exclusively on artists' professional pursuits, giving views into their personal lives only when relevant to their careers (such as where they studies and where they choose to perform). All of the artists are active when interviewed, though they range from early in their careers (Placido Domingo, Michael Tilson Thomas) to the late (Ljuba Welitsch, Leopold Stokowski). Opera fans will enjoy the interviews with Martina Arroyo, Dorothy Kirsten, Jess Thomas, and other New York stalwarts.
Taken as a whole, the book communicates an coherent and interesting view of the classical music industry in the late '60s/early '70s, especially in New York City. There's an underlying uncertainty about whether the increasingly academic style of mid '50s composers would catch on, the relevance and roles of the symphony orchestra and opera house after the cultural upheaval of the '60s, and the increasing professionalization of international musicians.
Though it's not a general interest book, Reverberations would appeal to armchair historians of the American performing arts industry and to concertgoers who saw and heard these artists in their primes.
Taken as a whole, the book communicates an coherent and interesting view of the classical music industry in the late '60s/early '70s, especially in New York City. There's an underlying uncertainty about whether the increasingly academic style of mid '50s composers would catch on, the relevance and roles of the symphony orchestra and opera house after the cultural upheaval of the '60s, and the increasing professionalization of international musicians.
Though it's not a general interest book, Reverberations would appeal to armchair historians of the American performing arts industry and to concertgoers who saw and heard these artists in their primes.
Displaying 1 of 1 review