Product Description

Berlioz. Vaughan Williams. Schubert and Schumann. Mozart after the Jupiter Symphony, Bach beyond the Brandenburg Concertos, opera after The Magic Flute. In his informed and indispensible guide with over 157,000 copies in print, National Public Radio's Ted Libbey takes listeners by the hand through the classical repertory to build a music library. For the second edition, with five years of new performances to consider, five years of new releases to review, and five years of reissues to re-evaluate-the author has completely revised and updated the book.

While sticking to the essential 300 works, there are now one-third new selections and reviews, and a 50% change in discography to keep all suggested CDs up to date. The NPR Guide tp Building a Classical CD Collection will make every music lover's core collection complete.

Product Details

• Amazon Sales Rank: #20822 in Books
• Published on: 1999-09-01
• Original language: English
• Number of items: 1
• Binding: Paperback
• 536 pages

From the Back Cover
Where Do You Go After Mozart's Jupiter? After Bach's Brandenburg Concertos? After Beethoven's Third?

In this informed and indispensable guide, now in a second edition featuring a hundred new recordings, National Public Radio's Ted Libbey takes you by the hand through the classical repertory and helps you build an essential CD collection. Not just another rating book, this is a foremost expert's thoughtful and entertaining appreciation--work by work, performer by performer, recording by recording--of the symphonies, concertos, chamber pieces, keyboard works, sacred works, and operas that belong in every music lover's library. It includes the core 20 works for starting out, recommendations especially suited for young listeners, and an appendix listing additional works, beyond those covered in the first edition, that the author feels most passionate about.

PRAISE FOR THE FIRST EDITION:

"I have been lost in this book for a week...Libbey('s) comparisons are wonders of lucidity, differentiation, and those 'open ears' Rostropovich spoke of." --Chicago Tribune

"An extensive guide and perfect companion to the basic classical repertory." --Digby Diehl, Playboy Magazine

About the Author
Ted Libbey is one of America's most highly regarded music critics. A former music critic for The New York Times, he is known to millions of NPR listeners as curator of the Basic Radio Library on "Performance Today." Mr. Libbey is now Director of Media Arts of the National Endowment for the Arts. He lives in Rockville, Maryland.

Excerpt. © Reprinted by permission. All rights reserved.
Samuel Barber

Adagio for Strings

On the programs of American symphony orchestras, the American composer whose music is most frequently encountered is not Aaron Copland, Leonard Bernstein, or George Gershwin, but Samuel Barber (1910-1981). For many years, Barber's Adagio for Strings has been the most frequently performed concert work by an American composer. This intense, elegiac piece was originally the opening part of the second movement of Barber's String Quartet, Op. 11; the composer then scored it for string orchestra at the request of conductor Arturo Toscanini, who gave the first performance of the arrangement in 1938 with the NBC Symphony Orchestra. The music begins quietly with a feeling of subdued but deep sadness, builds to a searing climax of extreme poignancy, and subsides again into the stark, melancholy mood of its opening.

Though familiar from repeated playings (and from use in Oliver Stone's film Platoon), the Adagio for Strings remains one of the most moving and beautiful elegies ever conceived, an outstanding example of Barber's remarkable lyric gift.

Recommended Recordings

New York Philharmonic/Thomas Schippers.

Sony Classical "Masterworks Heritage" MHK 62837 [with other works by Barber, Menotti, Berg, and D'Indy]

Saint Louis Symphony Orchestra/Leonard Slatkin.

EMI CDC 49463 [with Overture to The School for Scandal, Essays Nos. 1-3 for Orchestra, and Medea's Meditation and Dance of Vengeance]

The most beautiful recording ever made of the Adagio for Strings is at last on CD, thoughtfully coupled with some of the other recordings the young Thomas Schippers made for Columbia Masterworks-of the music of Barber and others-between 1960 and 1965, at the start of his all-to-brief career. Although he was never on close personal terms with Barber, Schippers had the ability to put Barber's music across in just the right way, with the perfect blend of energy and lyricism, toughness and warmth, and, above all, with the feeling that its sentiment was real, but ineffably contained. The playing of the New York Philharmonic (in the Adagio, as well as in the Second Essay for orchestra, the Overture to The School for Scandal, Andromache's Farewell, and Medea's Dance of Vengeance) is aglow with inspiration, and the sound is exceptionally vivid, with a palpable sense of presence and space.

For the essential orchestral pieces of Barber, EMI's compilation with Slatkin and the Saint Louis Symphony is the best currently available. Slatkin's reading of the Adagio is beautifully built, exactly on the mark. The Essays-works of magnificent crafstmanship in which Barber unerringly balanced the sorrowful with the triumphant-are powerfully stated, and Medea's Meditation and Dance of Vengeance emerges as an orchestral tour de force. The recordings are full, spacious, superbly atmospheric.

Customer Reviews

a good starting place
Ted Libbey's a really good guide for someone venturing into classical music without a lot of familiarity with the material. The book is put together pretty well, and Libbey's very knowledgeable and a good writer. His taste is broad, which is good for a reader whose tastes are developing. He tends to emphasize large orchestral works at the expense of chamber music and solo instrumental works, as well as at the expense of opera and sacred music (and he seems to have a bit of a preference for late Romantic works). But that's probably representative of the preferences of most classical music listeners, so it's okay for an introductory book like this. Anyone who develops interest in specific areas will need more than this book offers. But, in good introductory fashion, it provides a mix of music history, composer biographies, a bit of musicology, and some explanation of genres. Definitely a good place to start, and probably worth checking out even if you're fairly familiar with classical music

Learning from the educated
I am a huge classical music fan, always looking for that perfect recording and being most critical when it doesn't suit my taste. Even so, I had a lot to learn about composers and pieces of great music that I was unfamiliar with. It delights me to report that I have found most of what Ted Libbey has said about building a classical CD collection to be true. He offers a list well thought out; not just according to sales but more in terms of history and attention to detail. Since buying, reading, and rereading this book, I have increased my classical collection considerably. What I find most surprising is how often I agree with the selections and comments the author makes here. Obviously, not all of the time but more often than not, I find his selection to be worthy. I would love to make recommendations for more music to add to the list; such as Mendelssohn's "Songs without words." But the author himself mentioned his difficulty in limiting the list to just 350. I appreciate his insite and have learned a lot from this book. I highly recommend it.

Excellent attempt at the most difficult of tasks
It takes guts to write a book that attempts to identify the 350-or-so most important works and their best recordings out of the entire canon of classical music. On top of that, Libbey includes a countless number of interesting, informative, and entertaining commentaries of the pieces and their recordings as well as a number of lists to provide the reader with some ideas on how to start their classical music collection. Libbey does an excellent job of providing the information in a way that will neither intimidate the classical novice, nor insult the more experienced listener. As someone who considers himself somewhere in the middle between those two extremes, I appreciated Libbey's descriptions of the pieces as a guide to "what to listen for".

As a result of this book, I discovered a wide range of composers and compositions that I was not familiar with, and deepened my appreciation and understanding of the composers and works that I already knew. Some reviewers have criticized this book for spending too much time on X and leaving out Y, or for having a skimpy section of Z. While the comments are valid, one must recognize that they miss the forest for the trees. This book could be picked apart on the details, but that would miss the thoroughness and helpfulness of this book as a whole. I would give this book 4.5 stars if allowed, but given the difficult nature of the task before Libbey, I will round up and give him 5 stars. For the approximate price of one CD, this book contains an enormous wealth of information. My hat is off to Libbey's accomplishment!

One final note, while Amazon (and other sources) have the majority of the recordings listed in this book (if not all of them), don't forget that your local library often will have many of them as well. It does not hurt to sample some of the music first to see what suits your taste before spending money on the CD.