In this compulsively readable, fascinating, and provocativeguide to classical music, Norman Lebrecht, one of the world's mostwidely read cultural commentators tells the story of the rise ofthe classical recording industry from Caruso's first notes to theheyday of Bernstein, Glenn Gould, Callas, and von Karajan. Lebrechtcompellingly demonstrates that classical recording has reached itsend point-but this is not simply an expos? of decline and fall. Itis, 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 thestory of how stars were made and broken by the record business; howa war criminal conspired with a concentration-camp victim to createa record empire; and how advancing technology, boardroom wars,public credulity and unscrupulous exploitation shaped the musicalbackdrop to our modern lives. The book ends with a suitable shrineto classical recording: the author's critical selectio
These free-wheeling, often exhilarating dialogues—which grewout of the acclaimed Carnegie Hall Talks—are an exchange betweentwo of the most prominent figures in contemporary culture: DanielBarenboim, internationally renowned conductor and pianist, andEdward W. Said, eminent literary critic and impassioned commentatoron the Middle East. Barenboim is an Argentinian-Israeli and Said aPalestinian-American; they are also close friends. As they range across music, literature, and society, they openup many fields of inquiry: the importance of a sense of place;music as a defiance of silence; the legacies of artists from Mozartand Beethoven to Dickens and Adorno; Wagner’s anti-Semitism; andthe need for “artistic solutions” to the predicament of the MiddleEast—something they both witnessed when they brought young Arab andIsraeli musicians together. Erudite, intimate, thoughtful andspontaneous, Parallels and Paradoxes is a virtuosiccollaboration.
