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The Penguin Companion to Classical Music
 
 
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The Penguin Companion to Classical Music (Hardcover)

by Paul Griffiths (Author)
5.0 out of 5 stars See all reviews (1 customer review)

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Product details

  • Hardcover: 896 pages
  • Publisher: Penguin (7 Oct 2004)
  • Language English
  • ISBN-10: 0141009241
  • ISBN-13: 978-0141009247
  • Product Dimensions: 23.4 x 16 x 5.6 cm
  • Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 385,508 in Books (See Bestsellers in Books)

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Product Description

Michael Kennedy, The Sunday Telegraph, 3rd October 2004
'Superb'

Sir Simon Rattle
'An instant classic'

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The Penguin Companion to Classical Music
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The Penguin Companion to Classical Music 5.0 out of 5 stars (1)
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40 of 40 people found the following review helpful:
5.0 out of 5 stars The only one volume musical reference you'll ever need, 30 April 2005
The first composer entry in this companion is Carl Friedrich Abel and the last, Ellen Taaffe Zwilich. That gives you some idea of the sheer comprehensiveness of the book. Pretty much every composer you're ever likely to encounter is included here. Add to this all the musical terms, definitions, instruments, styles; plus may performers - both past and present -, major librettists (e.g Hoffmanstahl). I could go on, but you get the picture.
One feature of the original Penguin Dictionary of Music that is retained in this much expanded Companion, is separate entries for major and titled compositions (e.g The Hebrides Overture). This makes it a great reference book for the concert-goer and listener. A new feature, which is very much to be welcomed, is the referencing of web site addresses and important books related to individual entries. (There is, for instance, a web site dedicated to Joachim Raff. Or you can go to Steve Reich.com or Peter Maxwell Davies' website MaxOpus).
One feature of this book is the pithy and (often witty) style with which it gives a few key, interesting details that give insight into character, life or musicianship of a composer or performer. For instance, Alfred Brendel: "Austrian pianist, whose performances are the working of a lively, quizzical mind". Ambrose Thomas, "He held Wagner, Debussy, Faure and instrumental music in general all in him ample low esteem". This all helps make the book really enjoyable to read - look up one entry and you may find yourself browsing for hours! It also must be said that if offers a very balanced and fair critical assessment.
Accessible, enjoyable and comprehensive. I highly reccommend this book. It is the only one-volume general musical reference work you will ever need.
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