The Symphony: A Listener's Guide

I couldn't help but notice the seemingly endless complaints about works that aren't included in this book. Well, let's turn to the first page of Michael Steinberg's introduction, where he states that "Most of these essays began life as program notes for symphony concerts." In other words, he wrote about what the Boston and San Francisco Symphony Orchestras, which he worked for, were actually playing in the 1970s and '80s. If the Franck Symphony and the Copland Third, let alone any of C.P.E. Bach's twenty or so symphonies, aren't among the "electives" in this book, blame it on the orchestras' music directors, or perhaps the purchasers of season tickets. Steinberg has the rare talent of writing about music in prose as precise and informed as it is imaginative and informal. He opens our ears to music that so often passes as background noise that we've nearly forgotten how to listen to it. Here, for example, is a stunning passage about the slow movement of Haydn's Symphony no. 102 in B flat: "For the Adagio, Haydn borrows a movement from the Piano Trio in F-sharp minor he had written earlier that year...The actual sound of the movement is the most remarkable that Haydn ever imagined. Trumpets and drums are muted, a solo cello injects its gently penetrating timbre into the middle of the texture, and just before the end, the two trumpets in their lowest register contribute a sound so extraordinary (literally) that it still tends to frighten conductors, many of whom remove it." A lifetime's worth of listening, learning, and writing have been distilled into this book, and gems of observation are on nearly every page. Try Steinberg on the question of Nowak vs. Haas in the slow movement of the Bruckner Eighth: "I am talking about thirty-five seconds of music, but the difference is stunning." Then there's the question of "composer approved" cuts in the Rachmaninov Second: "Some of the standard deletions consist of petty impatiences like reducing the four measures of accompaniment at the start of the first Allegro to two, but they have also entailed such brutal surgery as the removal of the entire principal theme from the recapitulation of the Adagio. Cuts do not solve formal problems: they merely shorten the time you have to spend dealing with them." We also learn of Schumann's homage to Bach in the Second Symphony, and of how much Mahler learned from Schumann's example; of the surprising parallels between Beethoven's rollicking Eighth Symphony and his "Serioso" opus 95 string quartet; and on the seemingly intractable second movement of the Sibelius Third: "Not only can you yourself reverse your hearing of the melody much as you can make the tick-tock of a clock change step, but Sibelius also calls in the basses ever so softly to contradict the flutes and clarinets or the violins in their rhythmic reading. And those basses, though they hardly ever rise above mezzo-forte, want very much to be heard." Steinberg tells an irresistable anecdote of how Leona

Since the glories of this book have already been trumpeted enough, I'll just suggest some great works that I think merit inclusion when Mr.Steinberg gets around to revising. As has been pointed out: Copland's Third, Saint-Saens' Third, Franck D minor... but also Chausson's B minor, and even D'Indy's "French Mountain Air" symphony. Symphonies by Bax, Arnold, Rubbra, Simpson, and Bliss. Not to mention Liszt's "Faust Symphony"! And for a good read-about at the very least: Havergal Brian's "Gothic", which is a great work.

A wonderful book. Michael Steinberg is probably the premier writer of program notes for symphony orchestra concerts in the English-speaking world, and his two books, The Symphony: A Listener's Guide (Oxford University Press, 1995, 678 pages), and its companion volume The Concerto: A Listener's Guide (Oxford UP, 1998, 506 pages), are probably the two best collections of program notes on the symphony and the concerto that have ever been published in English. Steinberg formerly wrote the program notes for the Boston Symphony Orchestra and currently writes them for the New York Philharmonic and the San Francisco Symphony Orchestra. He was music critic of the Boston Globe for twelve years. These two books come with glowing recommendations from such distinguished musical figures as Seiji Ozawa, Michael Tilson Thomas, Andre Previn, Herbert Blomstedt, Roger Norrington, and John Adams. Speaking as one who has attended countless symphony orchestra concerts on the East Coast, West Coast, and in Dallas for more than forty years, and has always read the program notes, I can say that I've never read any as good as these. They are readable, learned, witty, accessible, and delightful, full of important biographical and historical information, and of course musical description, evaluation, and analysis that is genuinely illuminating and enlightening, without being so technical you need to be a musicologist or seated at a piano to understand it. (Inevitably, there are some musical examples, but these are relatively few, usually fairly simple, and you don't have to understand them to grasp the meaning of the text.) I would recommend these two books strongly to any lover of classical music, anyone who attends symphony orchestra concerts.Having said this, I can't help noting a few unfortunate omissions. The Symphony is a thick book and perhaps one is ungenerous to cavil at such a generous and generally inclusive and comprehensive volume. All the Beethoven symphonies are included, of course, as are all the symphonies of Brahms and Schumann, and all the major symphonies of Haydn (only two symphonies before No. 86), Mozart (no Mozart symphonies earlier than No. 35, "Haffner"), Tchaikovsky (three symphonies), Dvorak (four symphonies), and Bruckner (six symphonies). The two greatest twentieth-century symphonists, Mahler and Sibelius, are covered in full, including all of their published symphonies and the unfinished Mahler Tenth (but not the early Sibelius "Kullervo" symphony). The third great twentieth-century symphonist, Shostakovich, is represented by seven of his fifteen symphonies. Both Elgar symphonies are included. The most striking lapses are in the French repertoire: the Franck D minor symphony and the Saint-Saens Third ("Organ") are unaccountably omitted, and these are serious omissions. The Schubert Fifth is omitted. Copland is represented by his Second ("Short Symphony"), not his much better known and more frequently performed Third. The s

The other reviewers here have given you the perspective of die-hard classical music fans. I am not really expert enough to comment on ommisions and such. But I would like to present another possible reason to purchase this book. Classical music can seem kind of inscrutable to the outsider, but this book sort of walks the reader (and listener) through each piece. I've used it to pick what piece to track down next. This book will enrich the listening experience and the listening skills of the musically minded amateur i think. It did for me.