The Rest Is Noise: Listening to the Twentieth Century
by: Alex Ross
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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.Take Ross's description of Schoenberg's Second Quartet, "in which he hesitates at a crossroads, contemplating various paths forming in front of him. The first movement, written the previous year, still uses a fairly conventional late-Romantic language. The second movement, by contrast, is a hallucinatory Scherzo, unlike any other music at the time. It contains fragments of the folk song 'Ach, du lieber Augustin'--the same tune that held Freudian significance for Mahler. For Schoenberg, the song seems to represent a bygone world disintegrating; the crucial line is 'Alles ist hin' (all is lost). The movement ends in a fearsome sequence of four-note figures, which are made up of fourths separated by a tritone. In them may be discerned traces of the bifurcated scale that begins Salome. But there is no longer a sense of tonalities colliding. Instead, the very concept of a chord is dissolving into a matrix of intervals." Armed with such a detailed aural roadmap, even a troglodyte--or a heavy metal fan--can explore these pivotal works anew. But it's not all crashing cymbals, honking tubas, and somber Germans stroking their chins. Ross also presents the human dramas (affairs, wars, etc.) behind these sweeping compositions while managing, against the odds, to discuss C-major triads, pentatonic scales, and B-flat dominant sevenths without making our eyes glaze over. And he draws a direct link between the Beatles and Sibelius. It's no surprise that the New York Times named The Rest Is Noise one of the 10 Best Books of 2007. Music nerds have found their most articulate valedictorian. --Kim Hughes
Product Description:
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.Take Ross's description of Schoenberg's Second Quartet, "in which he hesitates at a crossroads, contemplating various paths forming in front of him. The first movement, written the previous year, still uses a fairly conventional late-Romantic language. The second movement, by contrast, is a hallucinatory Scherzo, unlike any other music at the time. It contains fragments of the folk song 'Ach, du lieber Augustin'--the same tune that held Freudian significance for Mahler. For Schoenberg, the song seems to represent a bygone world disintegrating; the crucial line is 'Alles ist hin' (all is lost). The movement ends in a fearsome sequence of four-note figures, which are made up of fourths separated by a tritone. In them may be discerned traces of the bifurcated scale that begins Salome. But there is no longer a sense of tonalities colliding. Instead, the very concept of a chord is dissolving into a matrix of intervals." Armed with such a detailed aural roadmap, even a troglodyte--or a heavy metal fan--can explore these pivotal works anew. But it's not all crashing cymbals, honking tubas, and somber Germans stroking their chins. Ross also presents the human dramas (affairs, wars, etc.) behind these sweeping compositions while managing, against the odds, to discuss C-major triads, pentatonic scales, and B-flat dominant sevenths without making our eyes glaze over. And he draws a direct link between the Beatles and Sibelius. It's no surprise that the New York Times named The Rest Is Noise one of the 10 Best Books of 2007. Music nerds have found their most articulate valedictorian. --Kim Hughes
Product Description:
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.
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Customer Reviews
Average Rating:
Rating: 
- don't waste your time
If you have to write a paper on this so-called music, this book might be useful, but other than that the author tries to find meaning when there is nothing there to find.The "music" he writes about is painful to the ears, the book is painful to the eyes.
Rating: 
- Superb company as you listen to 20th century art music
In non-fiction, I look for incisive ideas, readable style, the hooks of interesting storytelling. This book has all that, plus subject matter that is dear to my heart: the ambitions, innovations, and personal histories of great music-makers. Follow along with music discussed in the book and you've got a gesamtkunstwerk of spectacular proportions.
Rating: - A Fine Summary
Writing about music is hard.Over the years, musicians have developed systems of notation for music and yet many musicians have a hard time looking at a sheet of notes and hearing the music.Written words are even more difficult to transform into sound, let alone understanding.We may know what an escape tone is, but we can't always recognize it in listening.All this is by way of saying that even though "The Rest is Noise" is an excellent history of music of the twentieth century, it is no ... Read More
Rating: - A Poetic History of the 20th Century as Only an Art Critic Can Give...
Other than the weather and traffic, and an occasional political talk show, audio CD's are the way to go while driving now, and this set was a unique and fascinating history of the 20th century from the vantage point of the classical musical world.
The author takes the reader through the landscape with the exquisite communication skills of a seasoned, in-depth critic, his analysis filled with beautiful, deep, and frightening metaphorical analysis of the classical creations and personas ... Read More
Rating: - Knows nothing about music
I am astounded at the glowing reviews for this intellectual lightweight of a book about music in 20th century. Author Alex Ross does a frantic tap dance of maintaining a narrative with critical insights, but ultimately, he has created a vapid work of no real insight into 20th century music, except those created by popular tastes. In fact, no one I know in serious musical discussions considers his commentary worthwhile. I do not believe he understands anything about music in form, in taste, and in historical ... Read More
- don't waste your timeIf you have to write a paper on this so-called music, this book might be useful, but other than that the author tries to find meaning when there is nothing there to find.The "music" he writes about is painful to the ears, the book is painful to the eyes.
- Superb company as you listen to 20th century art musicIn non-fiction, I look for incisive ideas, readable style, the hooks of interesting storytelling. This book has all that, plus subject matter that is dear to my heart: the ambitions, innovations, and personal histories of great music-makers. Follow along with music discussed in the book and you've got a gesamtkunstwerk of spectacular proportions.
- A Fine SummaryWriting about music is hard.Over the years, musicians have developed systems of notation for music and yet many musicians have a hard time looking at a sheet of notes and hearing the music.Written words are even more difficult to transform into sound, let alone understanding.We may know what an escape tone is, but we can't always recognize it in listening.All this is by way of saying that even though "The Rest is Noise" is an excellent history of music of the twentieth century, it is no ... Read More
- A Poetic History of the 20th Century as Only an Art Critic Can Give...Other than the weather and traffic, and an occasional political talk show, audio CD's are the way to go while driving now, and this set was a unique and fascinating history of the 20th century from the vantage point of the classical musical world.
The author takes the reader through the landscape with the exquisite communication skills of a seasoned, in-depth critic, his analysis filled with beautiful, deep, and frightening metaphorical analysis of the classical creations and personas ... Read More
- Knows nothing about musicI am astounded at the glowing reviews for this intellectual lightweight of a book about music in 20th century. Author Alex Ross does a frantic tap dance of maintaining a narrative with critical insights, but ultimately, he has created a vapid work of no real insight into 20th century music, except those created by popular tastes. In fact, no one I know in serious musical discussions considers his commentary worthwhile. I do not believe he understands anything about music in form, in taste, and in historical ... Read More
