1001 Classical Recordings You Must Hear Before You Die (1001 Must Before You Die) [Paperback]

I completely agree with Garth Winter's review. This book is part of a series of publications of 1001 'things' you shouldn't miss, which may suggest a publisher has just thrown together some classical CDs to make a up a music title. In fact, this is an extremely thoughtful guide and one I have found enormously rewarding since buying.

It differs from other classical CD guides available in the U.K. in a number of ways, the most obvious being that works are arranged in chronological order, from the 12th Century up to 2004. This actually makes a lot of sense; if you like one piece of music, in a style typical of its age, say a Tchaikovsky ballet, then browsing a few pages either side of Swan Lake (say), you find other works which may well appeal to you. More than, say, a Telemann concerto which would be listed in a conventional alphabetical guide. I think relative newcomers to classical music will particularly benefit from this (although as a long-standing collector I've already been inspired to try a number of works I've not heard before). Also this book is very well illustrated, with reproductions of CD covers, and full page photos of composers and conductors. I thought this was a bit of a waste of space at first, but there are some fine illustations; a front cover of Time magazine showing Shostakovich against a blazing Leningrad with the title 'Fireman Shostakovich' (although the CD cover illustrated for the Leningrad Symphony is completely wrong (Mendelssohn's Italian Symphony)). And on page 619 there is a delightful photo of Alban Berg and his young nephew, Erich; young Erich is looking up in something approaching awe at his uncle, whilst Berg himself seems to be on some literally, as well as physically, higher plane altogether. Grab a sight of this even is you don't buy the book.

Of course none of this would justify the book's publication if the advice offered wasn't sound, and here they also come up trumps. A number of highly experienced writers have contributed, including David Gutman, Erik Levi and David Nice. And what I particularly like is that they aren't just churning out old, much repeated, recommendations; where a recording really has stood the test of time (just a couple of examples- Previn's recording of Orff's Carmina Burana; the du Pre/Barbirolli Elgar Cello Concerto) then it's there. But which version of Dvorak's New World Symphony would you expect to be chosen? Kertesz? Kubelik? Their recommendation is Harnoncourt with the Concertgebouw. Listen to it and you'll know why. Also there are alternative recommendations for some works, but I think they were running out of space in what is already a hefty book.

It's a stimulating read for all, and a very good starter guide for newcomers. And I like the fact that Matthew Rye, the general editor, tells you in the introduction that you should really get out and hear music as was intended, in the concert hall. And then take advantage of the fabulous legacy of recordings Western civilisation has left us. And is continuing to do.

I like to think I'm a serious classical musician and collector, with thousands of CDs, but I found plenty in this book to send me in new directions, and for the relative newcomer to music it would be a truly fabulous resource. As the great cellist Steven Isserlis says in his foreword, the sheer variety of music available to us these days -- even within "just" the classical sphere -- is bewildering. Where are you to start? Well, this would certainly get you going, presenting as it does more or less the entire core repertoire of concert hall, opera house and chamber-music room.

The material is set out in clear chronological order, and the reviews of the suggested recordings of the music are written by well-known and respected critics. And in fact "1001 Recordings" is a considerable understatement, because they're not dictatorial about what they consider to be the best, and in many case they offer a list of equally interesting and worthy alternatives.

The book weighs a ton, but a heavy read it is certainly not. It is not the last word -- no book could ever be that -- but it is a steal at the price, and I recommend it wholeheartedly.

You might think (from my review title) "what's narrow about 1001 recordings. That seems quite a long list actually", well you might think differently if you have come across other well known Classical music CD review publications such as the Gramophone and Penguin guides (both of which have their own pros and cons too). If you haven't come across them, then you might think "great this book is going to tell me what to buy", which would be a shame if once you buy the recommended discs in this book, you find (a) you don't like the recordings and (b) you wish you had considered a wider selection of interpretations/performances before making your final choice(s). So based on those thoughts, I wonder therefore from who's point of view is this book an indispensable list - clearly the author thinks so, but at what cost to the reader? Sure I can see a market for it if you really haven't got time to read more about or sample other alternatives, but otherwise if you like researching a bit more, then this book will undoubtedly seem too prescriptive in its approach and rather one sided for the earlier periods of music, since it almost solely gives credence to "period instrument" performances. Some of these I agree with, but most need to be listened to next to more traditional performance styles which have developed through the turn of last century and also many of the younger conductors these days, bring about authentic performances (through musicological research) without necessarily using period instruments. So as a result I find myself becoming a bit cynical about this book as it does end up appearing more like a very large glossy sales/marketing brochures for a narrow band of labels and performers. If you like the idea of list books such as this "1001" title, then my personal view is that it must be used alongside the other available guides I have already mentioned, before you make your final choice about each piece of music you want to own in your collection/library.

MY verdict - if you are thinking of buying this book, do so with caution, and perhaps have a look in your local library before you buy your own copy with a permanent place for it on your own bookshelf.