The New York Times Essential Library: Classical Music: A Critic's Guide to the 100 Most Important Recordings

The New York Times Essential Library: Classical Music: A Critic's Guide to the 100 Most Important Recordings book cover

The New York Times Essential Library: Classical Music: A Critic's Guide to the 100 Most Important Recordings

Author(s): Allan Kozinn (Author)

  • Publisher: Times Books
  • Publication Date: August 2, 2004
  • Edition: First Edition
  • Language: English
  • Print length: 384 pages
  • ISBN-10: 9780805070705
  • ISBN-13: 9780805070705

Book Description

A dazzling appraisal of the definitive classical music performances available today.

For classical music lovers, there is nothing more beguiling and exciting than the range of technique and emotion that can capture or transform the great works in the hands of a conductor and musicians. But with hundreds of recordings released every year, discovering the jewels is a challenge, for newcomers as well as for connoisseurs.

New York Times classical music critic Allan Kozinn offers the ultimate collector’s guide, packed with a rich history of the composers and performers who stir our souls. From Bach’s eloquent Goldberg Variations performed by master pianist Glenn Gould at the beginning and end of his career in startlingly different interpretations, to a lyrical performance of Rimsky-Korsakov’s Scheherezade conducted by Kiril Kondrashin shortly after his defection from the Soviet Union, Kozinn places each work in the greater context of musical development and stretches the listener’s understanding of each pivotal composition.

These original essays on the one hundred greatest recorded classical works provide both practical guidance for building a library and deep insight into the transcendent power of music itself.

Editorial Reviews

From Booklist

In introducing this volume of the New York Times Essential Library, Kozinn notes the quixotic nature of choosing the top 100 classical music recordings. Unlike jazz or rock, classical music is an interpretive and re-creational art. There is only one Kind of Blue; other recordings of its exact program don’t diminish its definitiveness, for jazz is essentially individualistic and improvisatory. But, to cite Kozinn’s example, the “definitive” recording of Bach’s sonatas and partitas for solo violin can be Nathan Milstein’s for the 1970s, Gidon Kremer’s for the ’80s, and Christian Tetzlaff’s now; and none ever displaces the others. Kozinn’s strategy for dealing with the fact that very different interpretations of the same music are equally “valid” is to opt generally for more recent recordings and to note often, within the context of appraising the pieces at hand and their composers, other fine versions of particular scores. Historically, Kozinn’s selections span from the twelfth-century sacred songs of Hildegard of Bingen to masterpieces by a dozen living composers. An excellent book of its kind. Ray Olson
Copyright © American Library Association. All rights reserved

About the Author

Allan Kozinn is a classical music critic for The New York Times. Before joining the staff of the Times in 1991, he was a contributing editor for the classical music magazines High Fidelity, Opus, and Keynote, and he was the music critic for The New York Observer. He lives in New York City.

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