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Composer, conductor, and pianist, Thomas Adès is one of the most diversely talented musical figures of his generation. His music is performed by great opera companies, symphony orchestras, chamber groups, and music festivals throughout the world. But Adès has resisted public discussion of the creative process behind his musical compositions. Until now, the interior experience that has fired the spectrum of his work―from his first opera, Powder Her Face, to his masterpiece The Tempest and his acclaimed orchestral works Asyla and Tevot―has largely remained unexplained. Here, in spirited, intimate, and, at times, contentious conversations with the distinguished music critic Tom Service, Adès opens up about his work. "For Adès, whose literary and artistic sensibilities are nearly as refined and virtuosic as his musical instincts," writes Service, "inhabiting the different territory of words rather than notes offers a chance to search out new creative correspondences, to open doors―a phrase he often uses―into new ways of thinking in and about music."
The phrase "full of noises," from Caliban's speech in The Tempest, refers both to the sounds "swirling around" Adès's head that are transmuted into music and to the vast array of his musical influences―from Sephardic folk music, to 1980s electronica, to Adès's passion for Beethoven and Janácek and his equally visceral dislike of Wagner. It also suggests "the creative friction" essential to any authentic dialogue. As readers of these "wilfully brilliant" conversations will quickly discover, Thomas Adès: Full of Noises brings us into the "revelatory kaleidoscope" of Adès's world.
- Sales Rank: #834267 in Books
- Published on: 2012-10-16
- Released on: 2012-10-16
- Original language: English
- Number of items: 1
- Dimensions: 8.56" h x .79" w x 5.91" l, .71 pounds
- Binding: Hardcover
- 208 pages
Review
“Energetic, honest, and warm, these conversations between friends reveal the intricacies of the creative process and a deep and abiding love of music.” ―Publishers Weekly
“Traverse[s] much of the geography of classical music, then and now . . . Arresting and memorable.” ―Kirkus Reviews
“Thomas Adès: Full of Noises is a brilliant self-analytical plunge into the mind of one of our greatest artists, the composer Thomas Adès, for whom composing begins with musical notes slipping and sliding across a sheet of paper with a will of their own, and writing an opera feels like swimming alone in a deep ocean. This book is a probing guide to the creative process, as virtuosic in its way as one of Adès's musical compositions.” ―Peter Gelb, general manager, Metropolitan Opera
“[Adès] has outgrown his status as the wunderkind of a vibrant British scene and become one of the most imposing figures in contemporary classical music” ―Alex Ross, The New Yorke
“[Adès] is one of the most accomplished and complete musicians of his generation.” ―Anthony Tommasini, The New York Times
“Even as the UK is brimming with wonderful young composers, I think few would dispute that Tom Adès may be the most extravagantly gifted of them all.” ―Sir Simon Rattle, Gramophone
About the Author
Thomas Adès is widely considered the foremost composer of his generation. His first opera, Powder Her Face, has been produced throughout the world; his 1997 orchestral piece Asyla won a Grawemeyer Award; and his 2004 opera The Tempest was staged at the Royal Opera House to huge critical acclaim. The Tempest premiered at the Metropolitan Opera in October 2012, with Adès at the podium. Adès was artistic director of the Aldeburgh Festival for a decade, has conducted orchestras from the New York Philharmonic to the London Symphony Orchestra, and has had festivals worldwide devoted to his music.
Tom Service writes about music for The Guardian, where he was chief classical music critic, and broadcasts for BBC Radio 3. He has presented Radio 3's flagship magazine program, Music Matters, since 2003. Service was the inaugural recipient of the ICMP/CIEM Classical Music Critic of the Year Award and a guest artistic director of the Huddersfield Contemporary Music Festival. He is the author of Music as Alchemy: Journeys with Great Conductors and Their Ochestras.
Most helpful customer reviews
3 of 3 people found the following review helpful.
Brilliant and deep
By Edufern
It certainly reads on one sitting but I think it takes a lifetime of rereading. Great, maybe the best book I have read about composition. Adès is supremely articulate, just like his music, and he illuminates the creative process fearlessly and honestly (not only his own; he seems to be inside the mind of Stravinsky, Debussy and several others). Tom Service's questioning is the ideal "straight man" to Adès and he is certainly not obsequent. To enjoy and recommend. The polemical comments about Wagner remind me of Bernstein's "I hate him on my knees". I find puzzling the absence of any reference to music before Mozart. It would be fascinating to know what Adès thinks of Bach or Monteverdi-
2 of 2 people found the following review helpful.
The Thoughts of a Man who Lives Music
By PETER FREUND
I first came across Thomas Adès' music at one of the yearly Chicago Humanities Festivals, where with the composer sitting some three seats away from me, I heard a rendition of his Arcadiana string quartet. It made such a deep impression on me that it feels like yesterday, but Google assures me it was fourteen years ago. I then got a CD of Adès' opera "Powder Her Face," and it reinforced in me the belief that Mr. Adès is a major composer. His latest opera "The Tempest" strongly confirms this belief. Moreover, at Carnegie Hall I heard a recital by the tenor Ian Bostridge with Thomas Adès at the piano. Not only is Adès a major composer, but he is clearly a major pianist as well. I mention all this, because with such a background, I did not hesitate a moment to purchase the Adès-Service book.
This is not to say it could not have been a dud, think Richard Wagner's "Das Judentum in der Musik." But the Adès-Service book transcends even my highest expectations. Thomas Adès lives music, and is able to accurately describe how he does that. He feels that notes exert a force on each other, he calls it a magnetic force, and this force sets the notes in motion and a piece of music develops.
In the course of this conversation with Mr. Service, who much to his credit holds his own, we get many a detail about what went into this or that Adès composition, as well as how major musicians fare in Adès' estimation. Brahms and Wagner, the two major, mutually antagonistic, German composers of the second half of the nineteenth century, both get their comeuppance. But they do so through readily understandable arguments. We are told that a country willing to take seriously Wagner's Kundry, without even cracking a smile, let alone roaring with laughter at a woman sleeping for aeons, and only waking when Wagner visits a "horrible chord" on her, marked this country for serious upcoming trouble. This brings to mind Oscar Wilde's quip "One must have a heart of stone to read the death of little Nell without laughing."
As to Brahms, Adès differentiates the composer of the "Song of Destiny," whom he identifies as the real Brahms, a "big passionate country symbolist peasant dreamer and poet", from the composer of the four symphonies whom he calls "a phoney." I too have made the distinction of these two "Brahmses," except that as far as I am concerned, with the exception of a few lieder, I dislike the vocal-music-Brahms and revere the symphonist. But then, in matters musical I cannot but yield to Adès. And then, there is the fact that the great composer Francis Poulenc also turned on Brahms, "All of Schumann's faults and none of the genius." The real question becomes, why Brahms affects great composers so very differently from how he affects the rest of us.
For that matter, on Mahler's "Symphony of a Thousand" (the eighth) we agree fully: Adès sees it as a major embarrassment for its composer, while my reaction to this work has always been that the civilization which produced something this pretentious and bombastic was bound to fall apart soon, and indeed, at the end of WWI the Habsburg Empire ended its centuries-long existence.
Much to my pleasure, the list of composers admired by Adès includes Beethoven, Berlioz, Liszt, Stravinsky, Nancarrow, Berg, Kurtág and Ligeti. It is a pity that Ligeti's opera "Le Grand Macabre" does not come up in the conversation. After all, there is this marvelous chain of operatic coloratura soprano roles starting with Mozart's Queen of the Night, continuing with Richard Strauss' Zerbinetta, then Ligeti's Police Chief and for the time being ending with Adès' Ariel.
All in all, this is a marvelous book and its high point is the announcement that Adès is working on a new opera based on Luis Buñuel's movie "The Exterminating Angel," something to look forward to.
5 of 7 people found the following review helpful.
Oddly Inspiring?
By Duzzi D
Putting to the side the frequent disparaging remarks about a number of composers (Verdi, Wagner, Stravinsky, Shostkovich, Stockhausen all fall under the axe) and frequent references to all those people that don't really understand music or composition, I found this book quite disappointing. One could not really expect too much from an interview, but still one would be hard pressed to find some actual specific information on music or composition in this, rather expensive, hardcover. Adès, when talking about music, his or others, constantly uses metaphors and slips into rather convoluted language or imagery. Some of this might be ok, and it might even be unavoidable (at the end of the story it is very hard to "talk" about instrumental music), but the result is an interview that often ends up close to be incomprehensible. Tom Service occasionally tries to keep things together, by asking for explanations or arguing a particularly obscure point, but he ultimately fails, or seem to give up after a few pages of going in circles.
Still the book, a C-day present, ended up being oddly inspiring. It served as a reminder of how not to think about music and art. A lighter touch, less noise, more clarity and some simplicity (Ernst Toch, The Shaping Forces in Music: An Inquiry into the Nature of Harmony, Melody, Counterpoint and Form (The Dover Series of Study Editions, Chamber Music, Orchestral Works, Operas in Full Score), comes to mind) are more enlightening and cheerful.
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