A unique chronicle of the hundred-year period when the Jewish people changed the world - and it changed them Marx, Freud, Proust, Einstein, Bernhardt and Kafka. Between the middle of the nineteenth and twentieth centuries a few dozen men and women changed the way we see the world. But many have vanished from our collective memory despite their enduring importance in our daily lives. Without Karl Landsteiner, for instance, there would be no blood transfusions or major surgery. Without Paul Ehrlich no chemotherapy. Without Siegfried Marcus no motor car. Without Rosalind Franklin genetic science would look very different. Without Fritz Haber there would not be enough food to sustain life on earth. These visionaries all have something in common - their Jewish origins and a gift for thinking outside the box. In 1847 the Jewish people made up less than 0.25% of the world's population, and yet they saw what others could not. How?

Although Gustav Mahler was a famous conductor in Vienna and New York, the music that he wrote was condemned during his lifetime and for many years after his death in 1911. "Pages of dreary emptiness," sniffed a leading American conductor. Yet today, almost one hundred years later, Mahler has displaced Beethoven as a box-office draw and exerts a unique influence on both popular music and film scores.
Mahler's coming-of-age began with such 1960s phenomena as Leonard Bernstein's boxed set of his symphonies and Luchino Visconti's film "Death in Venice, " which used Mahler's music in its sound track. But that was just the first in a series of waves that established Mahler not just as a great composer but also as an oracle with a personal message for every listener. There are now almost two thousand recordings of his music, which has become an irresistible launchpad for young maestros such as Gustavo Dudamel.
Why Mahler? Why does his music affect us in the way it does?
Norman Lebrecht, one of the world's most widely read cultural commentators, has been wrestling obsessively with Mahler for half his life. Pacing out his every footstep from birthplace to grave, scrutinizing his manuscripts, talking to those who knew him, Lebrecht constructs a compelling new portrait of Mahler as a man who lived determinedly outside his own times. Mahler was--along with Picasso, Einstein, Freud, Kafka, and Joyce--a maker of our modern world.
"Mahler dealt with issues I could recognize," writes Lebrecht, "with racism, workplace chaos, social conflict, relationship breakdown, alienation, depression, and the limitations of medical knowledge." "Why Mahler? "is a book that shows how music can change our lives.

"From the Hardcover edition."

Inflated egos. Corporate insanity. Slave labour. Sexual excess. Dazzling genius. Welcome to the world of classical recording. Maestros, Masterpieces and Madness is a sparkling expose of the strange truth and sheer brilliance behind the classical music recording industry. Leading music critic Norman Lebrecht charts its rise since the great Caruso's first gramophone bestseller of 1902 and predicts the industry's imminent doom in the face of schmaltzy crossover albums and new technology. From the imperious Karajan to the perfectionist Toscanini and charismatic Bernstein, the leading figures are all here, depicted in witty, incisive pen portraits. Including Lebrecht's own selections of 100 recorded masterpieces and twenty that should never have been made, this is a compelling story of flamboyant maestros, lifelong alliances, disastrous personality clashes and entrepreneurial masterstrokes.

Here is one of the most enjoyable and illuminating books ever published for the music lover, a feast of delightful anecdotes that reveal the all-too-human side of the great composers and performers.
There are stories of appetites (Handel eating dinner for three), embarrassments (Brahms falling asleep as Liszt plays), oddities (Bruckner's dog being trained to howl at Wagner), and devotions (a lovely admirer disrobing in tribute to Puccini). There are memorable accounts of Stravinsky telling Proust how much he hates Beethoven, of Tchaikovsky's first bewildering telephone call, of Dvorak's strange love of pigeons, and of Verdi's intricate maneuvering to keep the now-famous melody of "La donna e mobile" top secret.
There is also wonderful trivia (Beethoven loved to cat "bread soup" made with ten raw eggs), along with eccentric strategies (Verdi, disturbed by the sound of street organs playing arias from his operas, hired them all for a season and kept them locked in a room). There are examples of musicians munificent generosity (Haydn called Mozart "the greatest composer known to me, either in person or by name"), and scathing dismissal ("Have you heard any Stockhausen?" the conductor Sir Thomas Beecham was asked. "No," he replied, "but I believe I have trodden in some").
Collected from thousands of books, articles, and unpublished manuscripts (with historical sources provided in extensive notes), these anecdotes appear in their original form, throwing fresh light on familiar figures in the musical hall of fame. For browsing, reading, research and amusement, this book is a grand entertainment for concert-goers, record-buyers, operamanes, gossips and music lovers everywhere.

20th century music has been remarkable for its pluralism. The various styles - atonality, neo-classicism, nationalism, serialism, jazz, computer music, minimalism, electronics, folklorism, "happenings", sheer chance - have been far from monolithic, and experimentation has been, perhaps, the century's only defining feature. With over 2500 entries, The Companion to 20th-Century Music is the first book to comprehensively define and applaud this diversity. Norman Lebrecht celebrates variety and innovation, assessing composers and musicians according to artistic merit rather than ideological or institutional eminence. He states that his purpose is "to demythologize, to enlighten, and to entertain", so he writes in a readable, narrative style, free of jargon and abbreviations. The end result is the perfect companion to the music of our time.

Why Mahler? Why does his music affect us in the way it does?
Norman Lebrecht, one of the world's most widely read cultural commentators, has been wrestling obsessively with Mahler for half his life. Following Mahler's every footstep from birthplace to grave, scrutinizing his manuscripts, talking to those who knew him, Lebrecht constructs a compelling new portrait of Mahler as a man who lived determinedly outside his own times. Mahler was--along with Picasso, Einstein, Freud, Kafka, and Joyce--a maker of our modern world. "Why Mahler? "is a book that shows how music can change our lives.

In this compulsively readable, fascinating, and provocative guide to classical music, Norman Lebrecht, one of the world's most widely read cultural commentators tells the story of the rise of the classical recording industry from Caruso's first notes to the heyday of Bernstein, Glenn Gould, Callas, and von Karajan.
Lebrecht compellingly demonstrates that classical recording has reached its end point-but this is not simply an expos? of decline and fall. It is, 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 the story of how stars were made and broken by the record business; how a war criminal conspired with a concentration-camp victim to create a record empire; and how advancing technology, boardroom wars, public credulity and unscrupulous exploitation shaped the musical backdrop to our modern lives. The book ends with a suitable shrine to classical recording: the author's critical selection of the 100 most important recordings-and the 20 most appalling.
Filled with memorable incidents and unforgettable personalities-from Goddard Lieberson, legendary head of CBS Masterworks who signed his letters as God; to Georg Solti, who turned the Chicago Symphony into " the loudest symphony on earth"-this is at once the captivating story of the life and death of classical recording and an opinioned, insider's guide to appreciating the genre, now and for years to come.