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Listen to This Paperback – 25 Oct 2011

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Product details

  • Paperback: 380 pages
  • Publisher: Picador USA; Reprint edition (25 Oct. 2011)
  • Language: English
  • ISBN-10: 0312610688
  • ISBN-13: 978-0312610685
  • Product Dimensions: 13.9 x 2.6 x 20.8 cm
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Bestsellers Rank: 2,659,476 in Books (See Top 100 in Books)

More About the Author

Alex Ross has been the music critic of the 'New Yorker' since 1996. From 1992 to 1996 he wrote for the 'New York Times'. His first book, 'The Rest is Noise: Listening to the Twentieth Century', published in 2007, was awarded the Guardian First Book Award and was shortlisted for the Pulitzer and Samuel Johnson prizes. In 2008 he became a MacArthur Fellow. A native of Washington, DC, he now lives in Manhattan.

Product Description

Review

‘Chacona, Lamento, Walking Blues. This essay is Alex Ross’s own chaconne, one that only he could have written – a display of lateral thinking as virtuosic, in its own way. It alone is worth the price of the book, which I strongly encourage you to buy.’ Sunday Telegraph

‘One minute, you're immersed in Mozart, and then suddenly you're on tour with Radiohead and contemplating what it must have felt like for an unworldly Finnish conductor, Esa-Pekka Salonen, to take the reins of the LA Philharmonic. Reading the book is the literary equivalent of an iPod on shuffle; it offers fresh and unexpected stimulation at every turn.’ Guardian

‘The qualities that make him a top-notch critic become clearer in concentrated reading…Ross is an avowed buff. He loves music with a nerdish obsession and he wants you to love it as much as he does’ New Statesman

--This text refers to an alternate Paperback edition.

From the Back Cover

The main body of musical portraits and essays follows, with pop and classical topics intermingled. I will experiment with different options, and am open to suggestions, but I have in mind the following sequence: Mozart, Radiohead, and Esa-Pekka Salonen (music as a synthesis of disparate parts); Verdi, the St. Lawrence Quartet, and various innovators in music education (music as an act of communication and communal feeling); Debussy, Mitsuko Uchida, and Björk (the music of those who have traveled wide distances, either in physical space or in their imaginations); and, finally, Schubert, Lorraine Hunt Lieberson, and Bob Dylan (music as a radical expression of the individual consciousness).

Table of Contents:

1. LISTEN TO THIS: A Memoir of Listening
2. CHACONA: The History of a Bass Line
3. THE RECORD EFFECT: Music and Technology
4. THE STORM OF STYLE: Mozart
5. ORBITING: Radiohead
6. THE ANTI-MAESTRO: Esa-Pekka Salonen and the LA Philharmonic
7. VA, PENSIERO: Giuseppe Verdi
8. ALMOST FAMOUS: The St. Lawrence Quartet
9. LEARNING THE SCORE: Music Education
10. TITLE TK: Debussy
11. TITLE TK: Mistuko Uchida
12. EMOTIONAL LANDSCAPES: Björk
13. GREAT SOUL: Franz Schubert
14. FERVOR: Remembering Lorraine Hunt Lieberson
15. I SAW THE LIGHT: Bob Dylan

--This text refers to an out of print or unavailable edition of this title.

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Most Helpful Customer Reviews

9 of 9 people found the following review helpful By Tiernan Henry on 3 Dec. 2010
Format: Hardcover
Alex Ross has one of those great jobs that seem to only exist in movies and/or in New York: he writes about music for the New Yorker. Then he goes all over the place talking about and reading what he's written. If he didn't write so well, so passionately and so engagingly it would be easy to hate him. And, by all accounts, he's a nice man too. Feck sake.
After the deserved success of "The Rest Is Noise" Ross has followed up with "Listen To This", which is essentially a collection of essays and pieces that he's written (mostly from the New Yorker). It's a really well collated collection and it displays his catholic tastes, from Bjork and Dylan to Brahms and John Luther Adams, and it also allows him to rove and range with an idea across the musical landscape: his long and engrossing piece on bass lines makes the book worth purchasing alone. But don't think this is a fusty exercise in musical elitism; Ross is extremely knowledgeable about music and he writes beautifully about structure, melody and composition, but his real gift is how he draws readers in and takes them on his journey too. His enthusiasm for his subjects is open and unguarded (but not uncritical) and he sweeps you along.
I'd been reading his pieces only every so often when I first read his great tale of his road trip with Dylan back in 1998. I was taken aback with how well he wrote about Dylan's music and his performances; I've been a Ross fan since then. Writing about music and musicians is fraught, at best. When it goes wrong, or more commonly when it goes flat and stale, it can be dreadful; when it works it really works. Good writing about music is unusual and the best of writers soar with the songs and melodies. And, most importantly, they send you back to the music.
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13 of 14 people found the following review helpful By Jeremy Persaud on 9 Feb. 2012
Format: Paperback
Alex Ross has spent most of his life dedicated to writing about classical music and does so with such a keen ear and consummate skill with words it doesn't really matter whether you are a classical music buff or not. It is a joy to read such a passionate and knowledgable writer sharing his thoughts on the subject with such enthusiasm and erudition, each sentence resonates with a vibrancy that makes you wish you had a greater experience of the classical music tradition.

Ross explores the relevance of classical music in a post modern world, the challenges it faces to engage a new generation and the stuffy elitist image that hampers that progress. As with its economic progress, China looks set to dominate that particular music scene in the future now that it has enthusiastically embraced the tradition, with millions of young people in the country already taking up instruments it can only be a matter of time before China becomes a major player on the scene.

The writer's love of music is not limited to classical, as he writes about going on the road with Radiohead and spends time with Bjork as she creates an esoteric musical masterpiece. It doesn't matter what musical genre Ross is writing about, he always perfectly captures every tone and texture with a precision that is a masterclass in musical reportage.

All the chapters are individual so that they can be read in any order like music articles, personally my favourite is the superb piece about Marian Anderson entitled Voice of the Century, this piece encapsulates all the qualiites that make Ross such a brilliant writer. If you love music and enjoy excellent writing on the subject, then I cannot recommend this book enough.
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4 of 4 people found the following review helpful By Martin Fielding on 10 Feb. 2013
Format: Paperback
I don't know why its taken me so long to find this as I loved The Rest Is Noise - the brilliance of Ross's writing about music is that whilst these are relatively academic pieces, they are understandable to the casual consumer of music who just wants to expand their knowledge. I particularly liked the essay on the effect that recorded media has had on music since the inception of recording in the late 19th century.
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3 of 3 people found the following review helpful By Josep Bonet on 10 Nov. 2012
Format: Paperback Verified Purchase
This book is a good follow-up for 'All the rest is noise'. Many of the concepts explained in the latter are developed in a series of articles compiled in the form of a book. Ross combines references to 20th century composers and classical performers with interesting analysis of 'popular' songwriters and singers. Very interesting and illustrative.
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1 of 1 people found the following review helpful By fraxinus on 27 Sept. 2013
Format: Paperback
I spent an unseasonably cold weekend camping in a cabin next to the Tamar Lakes, on the border between Devon and Cornwall. Any distress at the cold was made up for amply by two things - the beautiful scenery and (particularly) this book, which I had brought with me. I have always been a big fan of The Rest Is Noise. As a collection of essays, rather than as a grand narrative, this book has quite a different feel but it still moves and convinces.

One of Ross's assets is his fine disregard of genre boundaries. Another is his mysterious ability to empathise with creative musicians. This came through clearly in The Rest Is Noise where he showed unflagging interest in the creative motivations of a very wide range of composers - including some composers with deeply flawed characters and questionable political records.

For me the highlight of the book is the concluding trio of essays, about Bob Dylan, Lorraine Hunt Lieberson and Brahms. The piece about Dylan is revealing and often very funny. That about Brahms is downright moving. Some of the insights may have come from Jan Swafford's superb biography of Brahms, but I have Ross's book to thank for encouraging me to read it. Even as a child, I somehow felt that Brahms's music spoke to me in a startlingly direct manner - Ross's comments may have helped me start to understand why his music has had such an effect on me, and continues to do so.
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