Proof that music is not just in notes; it’s also in words.
A potpourri of pieces (most about music) in a variety of keys and rhythms.
A prolific classical pianist, recording artist, and writer, Hough (The Final Retreat, 2018) has a lot on his mind. There are scores of entries here—the table of contents consumes eight pages—as the author addresses countless topics, from “The Soul of Music” and “Can Atonal Music Make You Cry?” to “Debussy: Piano Music Without Hammers” and “The Three Faces of Francis Poulenc.” Some are adaptations of previously published pieces, and others are versions of Hough’s blog posts. His subject matter ranges from music (history, technique, personalities, pianos, autobiography, even some obituaries) to sexuality (he writes in several places about being gay) to religion (he’s a Roman Catholic) to art museums, abortion, and more. All of the pieces are tightly focused—some are not even a page long, some of which readers may find themselves skimming over—and most are articulate and packed with questions for readers to ponder. (“I’m allergic to telling anyone what to do,” he writes early on.) Hough educates us on his routines, including how he likes to dress up to play and his practice methods while on the road, and he is unafraid to point out his own embarrassments—e.g., a broken pants zipper just before a performance. The author also consistently credits others who have greatly affected him: early teachers, colleagues, performers from earlier eras. Of course, some of the more technical pieces about playing the piano—uses of the pedals, how to play trills—will be of principal interest to other musicians. But much of the book is for general readers: Hough’s thoughts about wallpaper music (he hates it), comments about smoking, generous remarks about Americans (he’s from the U.K.), and discussions of favorite writers (he loves Willa Cather).
Proof that music is not just in notes; it’s also in words.Pub Date: Feb. 4, 2020
ISBN: 978-0-374-25254-0
Page Count: 464
Publisher: Farrar, Straus and Giroux
Review Posted Online: Nov. 18, 2019
Kirkus Reviews Issue: Dec. 15, 2019
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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