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The Rest Is Noise: Listening to the Twentieth Century, by Alex Ross
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The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky's Rite of Spring onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for The New Yorker, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life. The Rest Is Noise takes the reader inside the labyrinth of modern sound. It tells of maverick personalities who have resisted the cult of the classical past, struggled against the indifference of a wide public, and defied the will of dictators. Whether they have charmed audiences with the purest beauty or battered them with the purest noise, composers have always been exuberantly of the present, defying the stereotype of classical music as a dying art. Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies. We follow the rise of mass culture and mass politics, of dramatic new technologies, of hot and cold wars, of experiments, revolutions, riots, and friendships forged and broken. In the tradition of Simon Schama's The Embarrassment of Riches and Louis Menand's The Metaphysical Club, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.
- Sales Rank: #111091 in Books
- Brand: Farrar, Straus & Giroux
- Published on: 2007-10-16
- Released on: 2007-10-16
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 9.27" h x 1.44" w x 6.33" l, 1.98 pounds
- Binding: Hardcover
- 640 pages
Amazon.com Review
Anyone who has ever gamely tried and failed to absorb, enjoy, and--especially--understand the complex works of Schoenberg, Mahler, Strauss, or even Philip Glass will allow themselves a wry smile reading New Yorker music critic Alex Ross's outstanding The Rest Is Noise. Not only does Ross manage to give historical, biographical, and social context to 20th-century pieces both major and minor, he brings the scores alive in language that's accessible and dramatic.
From Publishers Weekly
Starred Review. Ross, the classical music critic for the New Yorker, leads a whirlwind tour from the Viennese premiere of Richard Strauss's Salome in 1906 to minimalist Steve Reich's downtown Manhattan apartment. The wide-ranging historical material is organized in thematic essays grounded in personalities and places, in a disarmingly comprehensive style reminiscent of historian Otto Friedrich. Thus, composers who led dramatic lives—such as Shostakovich's struggles under the Soviet regime—make for gripping reading, but Ross treats each composer with equal gravitas. The real strength of this study, however, lies in his detailed musical analysis, teasing out—in precise but readily accessible language—the notes that link Leonard Bernstein's West Side Story to Arnold Schoenberg's avant-garde compositions or hint at a connection between Sibelius and John Coltrane. Among the many notable passages, a close reading of Benjamin Britten's opera Peter Grimes stands out for its masterful blend of artistic and biographical insight. Readers new to classical music will quickly seek out the recordings Ross recommends, especially the works by less prominent composers, and even avid fans will find themselves hearing familiar favorites with new ears. (Oct.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Bookmarks Magazine
The classical music critic for The New Yorker, Alex Ross has a reputation as one of the most perceptive and humorous voices in the industry. Even so, The Rest Is Noiseâ€"a play on Hamlet’s last words, "The rest is silence"â€"is an ambitious undertaking, one that critics unanimously proclaimed a success. Ross’s lively, accessible prose and striking visual images bring the music he describes vividly to life. His anecdotes are amusing, and his revelations are far-reaching and profound. Though he arranges his material in chronological order, his narrative never descends into a clunky, decade-by-decade sequence of events. Instead, Ross gauges the legacy of classical musicâ€"its shaping of jazz, swing, pop, rock, and hip-hopâ€"in this compelling book.
Copyright © 2004 Phillips & Nelson Media, Inc.
Most helpful customer reviews
209 of 225 people found the following review helpful.
Not Noise But The Sound of the Twentieth Century in Words
By Michael Salcman
This magisterial book will, for many years, remain the definitive account of classical music (or art music, if you prefer) in the twentieth century, from the time of Richard Strauss and Gustav Mahler to the age of Steve Reich and John Adams. Ross situates his history of an art form within the swirl of contemporary developments in culture and politics. The many individual stories of composers and their chief works are unified through the use of literary themes, the philosophical musings of Theodor Adorno and a close analysis of Thomas Mann's novel Doctor Faust. Along the way, Ross gives us an absolutely riveting account of the musical scene in the Third Reich, covering the composers who stayed and were complicit with the regime, as well as those artists who either fled or perished. He covers music in the concentration camps and the life of composers under Soviet dictatorship. He makes links between modern performance practice and the rise of jazz, bebop and adventurous rockers like the Beatles and Radiohead. His knowledge is encyclopedic and his research prodigous. Here and there his enthusiasms betray him. The heavy emphasis on German music as the spine of musical development turns Wagner into the main 19th century ancestor to modern music, a leit motive throughout the book; he scants the incipient modernisms of Tchaikovsky and the Russian School, the contributions of Liszt, Berlioz and other French composers. The chapter on Sibelius is so long it feels like a Bruckner symphony, ditto the scene by scene analysis of Britten's opera Peter Grimes; these sections are among the few longeurs encountered in a historical text that generally reads like a mystery novel. This book is highly recommended for anyone who is afraid of modern music but be warned, it will make you go out and compulsively expand your library of discs!
86 of 96 people found the following review helpful.
A feast, a delight, a party
By Kevin McMahon
A history of 20th century music with the history left out, thankfully. Ross writes vividly about specific compositions and imparts his enormous enthusiasm. Everyone who dips into this book will compile a list of works to hear. His avidity is a model for other listeners: he approaches Metataseis with the same eager expectation of enjoyment as the Firebird. And happily his enthusiasm is focused solely on the music--the ideologies, manifestoes, movements and politics of 20th century classical music he approaches with extreme scepticism. He is especially good at teasing apart a composer's words from a composer's music. Naturally he has preferences: he provides several full-length portraits of Strauss and Stravinsky at different points in their long careers, and movingly profiles Shostakovich and Britten, but Schoenberg and Cage appear more as instigators than artists, and Boulez is given up as an obnoxious enigma. But overall, I can't imagine a better guide. While modernism in the visual arts has been pretty much embraced by culture at large (e.g. the crowds at MOMA or Tate Modern), musical modernism, the tradition of 20th century classical music, has not. Whatever the explanation, Alex Ross thinks it's a shame that more people don't know it and love it. He certainly loves it, and it's prompted some of the best writing on music since Bernard Shaw.
39 of 42 people found the following review helpful.
A Social History of 20th Century Music
By B. R. Townsend
Alex Ross' excellent book is what you might call a 'social' history. He doesn't ignore the analytical side (though following recent practice, there isn't a single bit of notation in the whole book) and gives pretty good prose evocations of how a lot of music was put together--Webern's partition of a twelve tone row into three-note segments, for example--but focuses rather on the whole flow of things, on the relationships between composers and with society. He isn't afraid to quote Webern's sycophantic praise of the Third Reich, for example.
The book is non-ideological in the sense that he steps back and views the infighting and political jockeying for position from outside. It becomes clear that virtually all 20th century music is political or politicized to a considerable degree. Or suffers from politics! The truth Ross isn't afraid to recount is that a lot of 20th century composers, especially among the 'progressives', were playing the avant-garde game of achieving fame through being merely annoying. Many accounts of 20th century music, when they weren't mere chronicles, are either dryly analytical or manifestos for one camp or another (such as Rene Leibowitz' book on Schoenberg and his school).
Ross is particularly keen to rescue certain composers from the condescension of the 'progressives'. Three in particular are Sibelius, Shostakovich and Britten. Boulez comes across as a particularly nasty piece of work on the condescending side. There is a large section on Hitler's musical tastes which is surprisingly relevant because, as Ross points out, it was the Nazis and their love of certain music (and in return the loyalty a remarkable number of composers and conductors showed them, Karajan, for example) that cost 'classical' music its moral authority. He points out that, pre-WWII, classical music was coded in popular culture with higher things. But afterward, we find that every villain loves classical music. The example that springs to mind is Hannibal Lector and the Goldberg Variations.
One interesting point Ross makes is that while there were few religious pieces written by major composers in the 19th century, the 20th century teems with them--everyone from Stravinsky to Messaien to Arvo Part. (He calls works like the Verdi and Berlioz Requiems concert music with Latin text, which is fair enough.)
Ross' book reminds me that we tend to forget how really beautiful a lot of 20th century music is: Messaien, Stravinsky (Symphony of Psalms), Shostakovich, Part, Adams and on and on. I will forgo the near-obligatory list of people he left out or said too much about.
This book is possibly the best history of 20th century music I have read and I have read most of them. It is refreshingly free of adherence to one camp or another and, while idiosyncratic, is enjoyably so. I would say that this would be the book on 20th century music I would most recommend even to a non-musician.
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