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on 29 April 2016
exellent
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on 12 August 2013
This book is a superb report that reveals with fluent words and meaning the methodology of rehearsals by very important conductors and orchestras. Each chapter is more fascinating than other: Mariss Janssons and Concertgebouw, Simon Rattle and Berlin Phil, Ivan Fischer and Budapest Festival Orchestra, are my preferred. Further, it's possible to translate the teachings of the conductors to other arts such as cinema, theater, and so on. Therefore every line of this book is telling something about arts. For example, the text tells something how an orchestra could reach the "Sternstunde" or the best possible musical performance. These concepts could be also translate to other arts.
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TOP 500 REVIEWERon 6 September 2017
Following his youthful attempts to become a maestro by pretending to be Karajan or Toscanini in front of a darkened window, the music critic and journalist Tom Service has done the next best thing by interviewing six conductors as they rehearse and perform, and talking with members of their orchestras.

The six are Valery Gergiev [b. 1953, London Symphony Orchestra/World Orchestra for Peace], Mariss Jansons [b. 1943, Royal Concertgebouw Orchestra], Jonathan Nott [b. 1952, Bamberg Symphony Orchestra], Simon Rattle [b. 1955, Berlin Philharmonic Orchestra], Iván Fischer [b. 1951, Budapest Festival Orchestra] and the late Claudio Abbado [1933-2014, Lucerne Festival Orchestra].

The ‘astonishing music-making’ that Service heard and discussed took place between 2008-10 and this might explain the absence of any women conductors. Even then the selected six are mostly rather similar in age and all are European. The inclusion of Nott is perhaps the surprise although there are many examples where the performances of a less-famous orchestra and a good conductor can prove inspirational, especially if their relationship has been built up over years.

Service seems rather in awe of his subjects, regularly finding them bringing something inspirational to their performances that he had not previously come across. The musical works described are all orchestral which on the one hand allows some degree of comparison but ignores the role of conductor in concerto performance where a mutual approach with the soloist is often, but not always, sought.

Some of Service’s prose is purple, as when Gergiev produces ‘explosive propulsions of his elbows, with violent convulsions of his shoulders, and even with bestial, laryngeal grunts’, which makes him sound more like a TV wrestler. Perhaps surprisingly it is Abbado, approaching his 80th year, who is found to be most relaxed as he works on Debussy’s Nocturnes with a group of musicians drawn from all over the world. Their communication and rapport is very different to that of, say, Rattle and his German musicians as they prepare and perform symphonies by Sibelius, not a composer that is highly regarded in Germany. Rattle’s association with that orchestra began in 2002, two years after Nott and his Bamberg players. Service offers a brief history of conducting that includes Arturo Toscanini and Wilhelm Furtwängler, the even more autocratic Fritz Reiner and George Szell, and reaches its culmination in the super-ego of Herbert von Karajan.

Service’s unconstrained enthusiasm for classical music is to be welcomed but perhaps a more considered and cooler style would have served his arguments better. Whilst the conductors differ in their relationships with their players, they are all driven individuals – driven by their art but also by the demands of global programming and recording schedules. Jansons is well known to have suffered a heart attack whilst conducting an opera but carried on to complete the performance. In addition to their regular orchestras they are all involved as guest conductors where the nature of their communication with unfamiliar players must differ, something also beyond the scope of this book.

Whilst some of the conductors’ interviews fascinate, it is perhaps the perspectives of the orchestra members that offer the greatest insights. These vary from chapter to chapter being most detailed for the Berlin Philharmonic and Lucerne Festival Orchestras. Better editing might have produced a more coherent story rather than what we have here: an introduction, six disparate chapters and an epilogue.

On balance this is a fascinating book that might have been better. It loses a star for the author’s tendency to over-write – as in ‘The difference between Gergiev and a conductor who is a perfect time-beater, for whom the music is about making the right noises in the right places, is the difference between a Newtonian physicist and a professor of string theory.’
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TOP 1000 REVIEWERVINE VOICEon 20 January 2013
Half a century and more ago there used to be a book on British conductors by an orchestral viola player called Bernard Shore. I remember reading it for the witticisms of Beecham, but unless my memory is deceiving me I think it was a fairly superficial treatment of the question that Tom Service poses here `What is it that conductors do up there?' Beecham knew what he did - `They make the notes and I make the music.' You could leave the issue at that; but if you want a serious attempt at defining a conductor's role in greater depth I can recommend this one.

Tom Service selects six contemporary conductors, all still living (so far as I know) as I write this notice in January 2013. In his Introduction he offers one generalised statement `If conducting is about anything, it is about communication.' He keeps his insights at the fully general level only in the first chapter (on Gergiev) and the last (Abbado). Very reasonably, he looks at conducting as practised by the other four maestri from more restricted viewpoints. With all six, he is concerned with the relationship between conductor and orchestra, not conductor and audience, but I can go along with that. He has bitten off quite enough to chew as it is. Both the histrionic Gergiev and even the restrained Abbado obtain the effects they want by force or charm of personality. The age of podium dictators seems to be over (to the chagrin of Ivan Fischer) but leadership is still leadership, and although democracy has advanced among orchestral players, there are realistic limits to what can be done on a strictly consensual basis among 30, 40 or more musicians.

It has to be the same story, basically, when it comes to the other conductors, but Tom Service wisely changes his camera angle each time. I was fascinated by his account of the efforts that Simon Rattle has had to put into reconciling the (very democratised) Berliner Philharmoniker with Sibelius. In the first place I myself am such an aficionado of Sibelius that the German players' discomfort with his music is nearly unintelligible to me. In the second place Karajan (conductor for life prior to Abbado who was Rattle's own predecessor) had played and recorded much of Sibelius with this very orchestra decades ago; and thirdly an increasing proportion of the players are not even German now anyway. However, it seems there is still a hill to be climbed, and we get some glimpses of maestro Rattle climbing it. I hope he persists with the attempt: fine though Karajan's efforts were in some ways, both his general approach and the tone of this orchestra are surely rather too upholstered for Sibelius.

In some ways the most interesting chapter, although certainly the most unsatisfactory one, is the rather dry narration of Mariss Jansons coaxing what was apparently a well-received performance of Dvorak's Requiem out of the Concertgebouw. Tom Service does not choose to tell us what he thinks of the composition, but he drops enough hints that it is not exactly a crowd-puller. That is with good reason, as much of Dvorak's Requiem is in my own opinion tolerable only to the corpse. The scenario is actually rather a fascinating one - `selling' such a composition to the concertgoers of a sophisticated European capital. We do not lack for detail, as much of the players' reactions as of anything the conductor does or says, but I was still left wondering whether the seemingly enthusiastic audience was applauding the attempt as much as the music.

The chapter on Jonathan Nott is in effect just an interview, and the lengthy responses of this talkative maestro are certainly illuminating up to a point if not quite amounting to revelation. More interesting to me were the views of Ivan Fischer, who is out of sympathy with the idea of orchestral democracy and one-player-one-vote. I had not got the impression that this bothered Rattle, but perhaps he just conceals his feelings about it. Fischer thinks, not unreasonably, that anything less than wholehearted unity of purpose between band and conductor will lead to indifferent music-making, and I guess the answer is that the players have to be convinced rather than `led' in the old sense. It is bound to be the case that the playing we hear originates in the minds and hearts of the players to varying degrees and can't all be ascribed to the conductor. In the course of letting us know his philosophy, Fischer gets on to the dangerous concept of `the piece itself', which he contrasts with `interpretations'. He ought to know better. Any performance whatsoever is an interpretation, and `the piece itself' is something that can only be defined via contradictions, such as that such-and-such an interpretation is false to the spirit of the work.

However I have one recent example in mind that proves to me how a great conductor's mind and spirit can dominate a performance. What do you think of the trio of the scherzo from the Great C Major symphony? Tovey called it `one of the greatest and most exhilarating tunes in the world', which struck Arthur Hutchings in his Master Musicians volume as going over the top. Now hear Rattle do it, and you are hearing the barrel-organ from heaven itself - for all his conservatism and fixation with sonata forms and whatnot Tovey was often generations ahead of most of us in sheer musical insight. It took Rattle to show me what this passage amounts to, and you can't tell me that this insight was any joint or collective process. Well done Tom Service for this brave and sensitive effort in sharing insights with us, his own as well as his subjects'.
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on 12 January 2015
An interesting and entertaining book, certainly as far as the content is concerned, but one which could and should have been better edited - Mr.Service likes the word "tremulating" more than I do, and quite often his parentheses in the middle of sentences are too long, so that the two ends of the main part of any such sentence are too widely separated. Not everyone will find these things as grating as I do, but for me they detracted from the book and from the likelihood of my recommending it to others. Four stars for content, two for style, hence three overall.
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on 16 November 2013
Beautifully and engagingly written. Easily accessible for non-musicians too. Offers diverse insights into the role of conductors in bringing best out of orchestras.
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on 18 April 2017
Interesting book about conductors.
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on 25 May 2015
Fantastic, interesting book. Mr. service has delivered a fantastic easy read book, so interesting and very well written. I just keep going back to this book, needed to be 500 hundred more pages.
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on 14 January 2015
Bought for a present but the recipient appeared very pleased,
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on 27 January 2014
Tom Service has the remarkable ability to interview conductors in a way that takes the interviewees beyond mere platitudes and anecdotes. Both in this book and Tom Service’s numerous Guardian and Radio 3 interviews, conductors reveal aspects of their art with candour and honesty. I do hope Music as Alchemy is followed up soon with a sequel – another six conductors and their orchestras from the list of conductors referred to in his Epilogue.
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