World-wide in scope and focusing on the second half of the 20th century, this work provides biographies and discographies of some 500 composers and conductors of light and popular orchestral music, including film, show, theatre and mood music. The book is arranged in two sequences: 1) Biographies and select discographies, both arranged alphabetically, of the well-known and better-known conductors and composers. These entries also include a list of suggested reading for those wishing to further their studies; and 2) Select discographies of conductors about whom little or no biographical information is available. The bibliography at the end of the book covers discographical sources, popular music and film music. This is the first time that the lives and recordings of such artists as Kostelanetz, Faith, and Gould as well as the orchestral recordings of such great popular composers as Gershwin, Kern, Porter, Rodgers, Berlin and Coward have been documented and presented in an encyclopedic form.

With a lifetime of experience, profound knowledge and understanding, and heartwarming appreciation, an internationally celebrated conductor and teacher answers the questions: Why should I listen to classical music? How can I get the most from the listening experience? A protégé of Leonard Bernstein--his colleague for eighteen years--and an eminent conductor who has toured and recorded all over the world, John Mauceri helps us to reap the joys and pleasures classical music has to offer. Briefly, we learn the way a musical tradition born in ancient Greece, embraced by the Roman Empire, and subsequently nurtured by influences from across the globe, gave shape to the classical music that came to be embraced by cultures from Japan to Bolivia. Then Mauceri examines the music itself, helping us understand what it is we hear when we listen to classical music: how, by a kind of sonic metaphor, it expresses the deepest recesses of human feeling and emotion; how each piece bears the traces of its history; how the concert experience--a unique one each and every time--allows us to discover music anew. Unpretentious, graceful, instructive, this is a book for the aficionado, the novice, and anyone looking to have the love of music fired within them.

The following book is a unique look into what conducting an orchestra is like from the perspective of a composer and conductor of the French Romantic era, Hector Berlioz. Though he only met occasional success in France as a composer, Berlioz was highly regarded in Germany, Britain, and Russia both as a composer and as a conductor.

"'He is of commanding presence, infinite dignity, fabulous memory, vast experience, high temperament and serene wisdom. He has been tempered in the crucible but he is still molten and he glows with a fierce inner light. He is many things: musician, administrator, executive, minister, psychologist, technician, philosopher and dispenser of wrath. Like many great men, he has come from humble stock; and, like many great men in the public eye, he is instinctively an actor. As such, he is an egoist. He has to be. Without infinite belief in himself and his capabilities, he is as nothing. Above all, he is a leader of men. His subjects look to him for guidance. He is at once a father image, the great provider, the fount of inspiration, the Teacher who knows all ... . He has but to stretch out his hand and he is obeyed. He tolerates no opposition. His will, his word, his very glance, are law.' With this pyrotechnical description of the genus, Harold Schonberg begins his historical survey of the Great Conductors and their art. For the great conductor--from the time-beater of the thirteenth century to the maestro of today--is always the inspired leader who can impose his authority on the musicians who make up his orchestra. Thus it was with Bach, whom Schonberg pictures leading his forces seated at the clavier or with violin at his shoulder, and singing any part that was being wrongly performed. Thus it was with Handel, who threatened to throw a prima donna out of the window if she would not sing the notes as written. Thus it was even with Beethoven, because of his deafness a tragically bad conductor, who nevertheless tried to impose his will on the performers by practically creeping under the desk for pianissimo and jumping high with outstretched arms for the opposite. Before us through the pages of this book march the great conductors of the past and of the present. Schonberg evokes Lully, who beat time on the floor with a cane--so powerfully that he drove it into his foot on one occasion and died of the resulting gangrene. We meet Berlioz, 'in constant motion on the podium, exuding electricity ... who held absolute sway over his troops and played on them as a pianist upon the keyboard,' and Mendelssohn, the gentle, well-mannered aristocrat who ripped up scores and screamed at musicians who showed up drunk and fractious. And so through all the important composer-conductors--Wagner, Liszt, Mahler, Strauss. Then the moderns: the elemental Arturo Toscanini, the loving Bruno Walter, the witty and acrimonious Thomas Beecham--on and on to the youngest to earn a chapter to himself, the phenomenal Leonard Bernstein. With biography, anecdote, vivid description, and more than a hundred well-chosen prints and photographs, Mr. Schonberg gives a striking picture of each of these men, and dozens of others, showing just how and why they influenced the performance of classical music and how they developed a new and modern art--the art of conducting."--Dust jacket.

Maestros in America: Conductors in the 21st Century provides short biographical and critical essays of over 100 American conductors-and conductors in America-in the twenty-first century. Roderick L. Sharpe and Jeanne Koekkoek Stierman made their selections based on three categories of persons: American-born; naturalized US citizens; and foreign conductors holding a permanent appointment in the US. In addition, all individuals included had to have been active as conductors at the start of the new millennium. These criteria allowed the authors to incorporate up-and-comers as well as those more established, offering an extensive cross-section of the upper echelons of the conducting profession focused on the present, recent past, and future. Each entry is a biographical essay containing essential facts of the conductor's life and work, as well as assessment and commentary gleaned from articles, interviews, reviews, and, in some cases, personal observation. The entries conclude with the conductor's website, a list of further reading, and selected recordings. These sketches of currently or recently practicing conductors provide insight into the state of orchestral music-making in the US as it is, has been, and may become, highlighting the efforts these conductors made to ensure its survival. Complete with two appendixes and an index, this important reference will be beneficial to music students and faculty, reference librarians, orchestral administrators, and music lovers alike.

Haydn, Tchaikovsky, and Brahms, oh, my! The beginner's guide to classical music Classical Music For Dummies is a friendly, funny, easy-to-understand guide to composers, instruments, orchestras, concerts, recordings, and more. Classical music is widely considered one of the pinnacles of human achievement, and this informative guide will shows you just how beautiful and rewarding it can be. You'll learn how Bach is different from Beethoven, how Mozart is different still, and why not all "classical" music is actually Classical if it's really Baroque or Romantic. You'll be introduced to the composers and their work, and discover the groundbreaking pieces that shake the world every time they're played. Begin building your classical music library with the essential recordings that define orchestral, choral, and operatic beauty as you get acquainted with the orchestras and musicians that bring the composers to life. Whether you want to play classical music or just learn more about it, Classical Music For Dummies will teach you everything you need to know to get the most out of this increasingly popular genre. Distinguish flute from piccolo, violin from viola, and trumpet from trombone Learn the difference between overtures, requiems, arias, and masses Explore the composers that shaped music as we know it Discover the recordings your music library cannot be without Classical music has begun sneaking into the mainstream — if your interest has been piqued, there's never been a better time to develop an appreciation for this incredibly rich, complex, and varied body of work. Classical Music For Dummies lays the groundwork, and demonstrates just how amazing classical music can be.