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THE NATURE OF MUSIC

Name: THE NATURE OF MUSIC
Author: Maureen McCarthy Draper
ISBN: 1-57322-170-8

BEAUTY, SOUND, AND HEALING

by Maureen McCarthy Draper ‧ RELEASE DATE: Feb. 1, 2001

Best for newcomers to classical music; seasoned listeners and trained musicians may find themselves alternating between...

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A study of music that puts the emphasis on listening rather than understanding.

Draper, a pianist who presents music retreats for San Francisco’s Guild of Psychological Studies, celebrates the emotional power of music. In and of itself, this approach will not arouse controversy: The ability to recognize a fugue does not imply any insight into the form’s inner workings, and the majority of listeners are perfectly happy without much awareness of the deep structure of the music they enjoy. The author provides a couple of short chapters on the formal aspect of music, as well as a brief glossary of basic musical terms. But she quickly returns to the emotional level, repeatedly exhorting the readers to “breathe in” the music and let it wash over and heal them. The music is often frankly presented as an aid to meditation and getting in touch with one’s inner feelings. That is a perfectly legitimate use for great music, of course, but a skeptical reader may wonder how the author can be certain of the composers’ intended emotional and spiritual messages in works that often have no title more explicit than “allegro.” Nor are all readers likely to find useful her list of compositions categorized according to the alchemical elements. Her recommended listenings are mostly safe choices, drawn from the 18th and 19th centuries with a sprinkling of light jazz and other modern styles. Understandably: most listeners still find Mozart or Brahms easier to take than Webern or Boulez, especially on the warm and fuzzy level Draper addresses. Still, her approach is likely to give any lover of music a few ideas for expanding the CD collection. One can always justify a little more Bach or Beethoven.

Best for newcomers to classical music; seasoned listeners and trained musicians may find themselves alternating between agreement and consternation.

Pub Date: Feb. 1, 2001

ISBN: 1-57322-170-8

Page Count: 240

Publisher: Riverhead

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Dec. 15, 2000

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.