In their introduction, the authors - he's a sociology professor,
she's a freelance writer on music - present this collection of 32
interviews as a sociological document about classical music-making
in America, one that will illuminate such themes as
"socialization," "mobility" (horizontal and vertical), and the
European Connection. And they are scornful of the many "uneven
compendia" already on the market. But the first-person discourses
here - "painstakingly assembled out of taped and transcribed,
three-way, open-ended interviews" - are no more focused than most
such transcriptions (some ramble badly) and, presented without
commentary, they don't consistently relate to the Rosenbergs'
issues. So what we have in fact is an uneven compendium - though
more varied that most, including composers, critics, performers,
managers, teachers - and only a few of the selections rise above
the and-then-I-did sort of mini-autobiography. But Aaron Copeland
is reliably articulate, Eileen Farrell is dependably irreverent,
and readers with specific musical interests will find informative,
inspiring passages among the detailed words of Milton Babbitt,
Michael Tilson Thomas, Claudio Arrau, Dorothy Maynor, Edward
Dowries, Larry Adler, Rudolf Bing (nothing he hasn't said before),
and two dozen others. As a concept book, however, it makes no
sound, let alone music. (Kirkus Reviews)
Thirty-two composers, conductors, performers, scholars, patrons,
critics and others integrally involved in the American classical
music milieu offer perceptions, criticisms and praise in assessing
the music world and their experiences.
General
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