Customer Reviews

Last Master, The: Passion and Anger - Volume 1 (Vol 1)

5 star:		(3)
4 star:		(4)
3 star:		(0)
2 star:		(1)
1 star:		(1)

 

 

Memorising facts about Beethoven is difficult enough, yet when I had finished this book I understood how he began his musical education, his family situation, his longing to meet Mozart in Vienna and his difficulty in getting there. The book gives details of his personal friendships and those who gave him patronage. You may wonder why the Pathetique was dedicated to Lichnowsky, yet the book sets out the nature of their relationship and those similar. This first volume captures the beginnings of Beethoven's hearing problems and the attempts by many doctor's to cure him. Based on accounts by friends of Beethoven and letters to him and from him, the book successfully gives the reader an insight into the life of Beethoven without being boring. The author has added the dialogue , but as he says 'always in accordance with the known facts'. (Suchet 1996: Postscript)

I was overjoyed to find a book such as the one written by John Suchet. I commend the author for writing a book about Beethoven in a way that I don't think was accomplished before. I hope that John Suchet may provide future "historical novels" about other famous composers. I am a pianist myself, and I love reading about the lives of the great composers. I recommend this book for anyone who wants to learn about Ludwig van Beethoven from the point of view of a story.

This is a wonderful book, and a great way to learn about the life of Beethoven. I'm hoping that subsequent volumes will be available soon. The book takes you through the first 30 or so years of Beethoven's life, right from the time when he was a little child. The story is told from Beethoven's point of view, and helps you understand his life, and what he went through as he slowly comes to terms with the fact that he is losing his hearing.

This book consists of two extremes. On one hand, the research into Beethoven's life and world is meticulous and as close to historical accuracy as possible, even providing a plausible identity for the Immortal Beloved. Then, unfortunately, there is the writing.

Initially, the abrupt ending of sentences, lack of flow and many exclamation marks led me to believe the book was aimed at children, a thought only brought to a halt by the first of many awkwardly written and highly gratuitous sex scenes.

In Suchet's defence, he is clearly passionate about Beethoven, but unfortunately this has resulted in over-sentimentalising the composer's life and feelings, and an astonishing habit of presenting famous musical pieces at the end of a chapter circus-style, even preceded by a "cliffhanger". This is bearable the first few times, but when he persists it becomes incredibly irritating.

An example of misplaced sentimentality is Suchet's translation of "Unsterbliche Geliebte" into "Eternal beloved" as opposed to the literal "Immortal beloved". Suchet's explanation at the back of the book is that it he prefers "Eternal" because it sounds more poetic. This smacks of pedantry as "Immortal beloved" is the term used by the English-speaking world, not to mention that there is a perfectly good German word for "eternal", which Beethoven could have used had he so wished.

As a musician, I was very excited to find a book of this type, and I even re-read the trilogy twice, hoping to be proven wrong on second and third reading. An example of what this book COULD have been comes in the form of JD Landis's excellent fictional biography of Robert and Clara Schumann, "Longing". Given his subjects, Landis would have had far more opportunity and could even have been forgiven for sentimentality, but unlike Suchet he never falls into this trap. His prose is faultless and charming, and one would wish he could have edited Suchet's novels prior to publication.

One star for the elaborate research.

Though the topic may fall within the category of books and issues that one would shy away from on first glance - biographies, classical music and history - John Suchet breathes life into the character of Beethoven, and takes his reader on a journey of discovery - not only of Beethoven and his music, but of his times, and as the title of the book aptly describes - his passion and anger. An excellent read for us who knew little of the composer's life.

I am prompted to write this review mostly as a rebuttal to the two low marks given by readers who are unhappy about Suchet's writing style. OK, so it's not exactly rich academic writing, but that's not what the author promises to deliver. What he does deliver is transportation from the dull, two-page cardboard cutout treatment of Beethoven that we usually have to settle for, to a realistic down-to-earth, life-on-the-street view of the Master, his contemporaries, and the streets of his times. For me, everything became vividly real and exciting. This was a true three-volume page-turner for me. Oh yes, I also hear his music from an entirely different perspective now, and that alone is worth the price of the volumes. You won't be sorry!

THIS IS A FUN AND AMAZINGLY WONDERFUL READ!!!! You won't be sorry that you started this series -- except maybe that you can't stop reading once you start! It is well written -- wonderful use of words -- wonderful imagination from this creative author. I couldn't be more impressed.
I saw a review here that said it was awful -- please don't believe it. You will understand and love Beethoven (and John Suchet!!) even more than you already do, when done with these books. HIGHLY RECOMMENDED!!!!!!!!!!

Finally an accurate and plausible novel on Beethoven. I can't wait for the next volumes. The musicological approach is captivating.

This book, although a very good idea, and well researched, was so poorly written I could have shredded it in frustration. In the hands of a more skilled author, this book would have been great. As it is, it's dreadful.

If he had not been a famous British newsreader, I doubt if John Suchet would have managed to get this book published. Again, its a classic example of 'it's not what you know, but who you know'.