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(Book). This is the definitive source for composers, compositions, and genres. The book contains over 500 composer and 800 performer biographies. Each artist entry includes vital statistics and album recommendations. The book covers thousands of compositions, including operas, symphonies, concertos, and ballets, and it includes 23 essays devoted to classical music's major eras, forms, and genres. Choral works, songs, keyboard works, chamber music, and film scores receive dedicated sections. Includes 4,000 descriptions of composers' works and 12,000 recordings recommended by All Music Guide editors.
- Sales Rank: #956337 in Books
- Brand: Brand: Backbeat Books
- Published on: 2005-09-01
- Released on: 2005-09-01
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 2.40" w x 7.50" l, 4.72 pounds
- Binding: Paperback
- 1632 pages
Features
- Used Book in Good Condition
Most helpful customer reviews
79 of 80 people found the following review helpful.
A unique new guide ... but oh-so tiny print
By Alan Lekan
This giant, 5 lb, small-print guide is not exactly a book you nestle down with in your reading chair. Let the buyer beware: if you are a person who cannot or does not like to read really, really FINE PRINT, then this guide is probably not for you. It has by far the tiniest print I have seen in a book - even smaller than the "Third Ear Guide to Classical Music" if you are familiar with that one.
In my first look at this monster-of-a-guide, I could not get beyond this tiny print and the overly-plain visual layout. But, with another long look, the value of this unique guide started to stand out clearly. There is a reason for such tiny print - to cram in an unbelievably vast amount of information in one volume. The All Music Guide is enormously ambitious in what is contains:
o BIOGRAPHIES of over 500 composers AND 800 performers (unprecidented in one volume)
o Fairly detailed PROGRAM NOTES for an impressively large number of works (not just the major ones)
o Listings of 2-6 RECOMMENDED RECORDINGS for each work (but no comparison or explanations of the choices like Penguin)
o ESSAYS on the major musical periods and forms (difficult to read these longer sections with the tiny font size!)
The amount and level of detail of the program notes is impressive - giving musical history, perspective and minor analysis for not only a given category of work (say, Mozart's 27 piano concertos) but also most or all of the individual works! These essays are not unlike those found in a CD liner notes. So, with this guide, you can look up the background and musical insights of Mozart's concerto #20 as well as see what recordings/astists are recommended for that one concerto. The only other guide that does this is Penguin Guide. So, now can you appreciate why this book has such tiny print and weighs a ton? But, as enormous as this guide is, don't expect EVERY composition to be listed. For instance, under "Beethoven" there is ample discussion about the string quartets, there is little text or recordings for the ten violin sonatas and early string trios.
Another valuable aspect for many will be the biographies of the great past and present PERFORMERS. This volume contains fairly detailed highlights of each artist career (2-4 paragraphs) AND a listing of their finest recordings for performers like Argerich, Grumiaux, Perlman, Perahia, Rubinstein, Horowitz, Galloway, Holzinger, Bain and so on. (But some of your personal favorites may not be there - like Rachel Podger and Pamela Frank for me). However, I found the performer biographies a bit dry with not enough juicy details about their lives, styles and sometimes quirky sides to make it really compelling and interesting. (tip: one of the best books for fascinating personal stories on the great pianists is David Dubal's book, "The Art of the Piano").
Also, keep in mind that the AMG is NOT a CD/DVD guide as it only LISTS a few recommended recordings and does not compare/contrast/explain them (like Penguin, Third Ear, or Gramophone Guides). But, then again the title says "Guide to Classical Music" and not "Guide to CD's DVD's" like the others. So, its a different animal. But, I thought the AMG's focused recommendations were up-to-date and reliable overall, giving a good range of historic, modern, and budget choices. All-in-all, a valuable addition if you already have Penguin, Gramophone and Third Ear Guides to Classical Music.
33 of 35 people found the following review helpful.
An outstanding guide for information and recordings
By Larry VanDeSande
Published in 2005, the All Music Guide to Classical Music (AMG) is a handy home version of some features from its webpage. As a published guide, is more a direct competitor to the The Rough Guide to Classical Music and does not directly compete with buying recommendation guides like The Penguin Guide to Recorded Classical Music and Classical Music: Third Ear. Like Third Ear, the AMG assigns composer coverage to a single individual -- usually more than one writer works on different sections of a composer's output; sometimes a different writer covers each symphony or concerto of a composer -- giving readers what amounts to an individual, not group, recommendation. This is one of the principal shortcomings of Third Ear, which operates the same way.
Among its best points, this is a comprehensive guide to composers and performers, perhaps more so for the latter than the former, giving both new and experienced collectors a tad of information on their favorite orchestras, ensembles, conductors and performers. I learned in this guide violinsit Joshua Bell was born in 1967, making him older than I suspected and two decades older than he appears on the cover of his new Tchaikovsky Violin Concerto. I'd never read his birthdate in any of his recordings or in the music dictionaries I own. I tried to find violinist Janene Jansen's age; she isn't represented in the book.
Another plus: the AMG provides recommended recordings for every individual and group it discusses. Fans of the English Concert may or may not agree with recommendations for its recordings of Haydn's "Sturm und Drang" symphonies, Handel Orchestral Suites, Vivaldi Concertos, Bach Brandenburg Concertos, and Handel's complete Organ Concertos. I've heard many of these recordings and the recommendations seem judicious.
The recording recommendations in this guide are safe and sometimes better. The writers often recommend very well known and long established recordings, always on major labels. In the section on British symphonist Ralph Vaughan Williams, each writer discussing VW's individual symphonies recommends the most well-known stereo recordings of Boult, Hickox and Barbirolli. Not a single writer recommended any Vaughan Williams recording of Vernon Handley, one of the best living interpreters of this composer. Nor does one recommend a single recording from the VW Naxos series that has garnered acclaim all over the place.
As a result, for all AMG's worthwhile descriptions of composers and performers, the recording recommendations require amplification from elsewhere. The book is also not thorough with every composer. Its section on one of my favorites composers, Franz Krommer, does not discuss or make recording recommendations on his best and most popular body of work, his Octet-Partitas. Neither is there any section describing the time and work from one of my favored minor composers, Joseph Triebensee; nor is there a section describing one of my favored lesser recorded conductors, Claus Peter Flor. So, while good, this tome is far from complete. You may located some missing material at the All Music Guide's Web site, if you choose.
The guide describes itself this way: "A handy, single-volume guilde to the kaleidoscopic world of classical music - one that doesn't cost a fortune and doesn't require an advance degree to understand." Maybe it doesn't cost a fortune; the one I have is labeled $34.95; you can get it for much less here. And maybe it's straighforward much of the time but not always. In fact, the composer sections and sections on recordings are written by musicologists that often go into musical detail beyond the average listener.
Here's an excerpt from the descripton of William Walton's Sympony No. 1: "Write a fugue...the result was a dam-breaking fugue three minutes into the movement before the pace switched from Brioso ed ardentemente (spiritiedly, ardently) to Vivacissimo, leading to a return of the Maestoso materials that began it."
The AMG is, in the main, a useful guide to the realm of classcial music performers and recordings. It is superior to the Rough Guide to Classical Music and operates in similar bandwidth. It tries to tell you a little about everything and, to some extent, it succeeds and gives information other books skip.
This is a excellent starting point for a beginner that offers a little about everything and everyone and is vastly superior to the Rough Guide. For more experienced listeners and collectors, it makes a meaningful addtion to your library that already contains the Penguin Guide, Third Ear and a good encyclopedic tool such as the Oxford Dictionary of Music of The Penguin Companion to Classical Music, all of which offer more detailed information in their specific areas of expertise.
1 of 1 people found the following review helpful.
There is much to like here. The book is massive
By Alan L. Saltzstein
There is much to like here. The book is massive, but also generally well written and even occasionally with a sense of humor. Don't be turned off by the small print. Pretend you are reading the New York Times. I have only scratched the surface, but already have learned a great deal.
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