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10 of 11 people found the following review helpful:
4.0 out of 5 stars
Find God in Music (just not in the pantonal kind), February 12, 2004
Robert Reilly's "Surprised by Beauty - A Listener's Guide to the Recovery of Modern Music" has been with me since it's publication. It is one of the most heavily book-marked, annotated books I have - and much cherished. This book is perhaps not perfect and it is probably not first-order-brilliant either, but it is beautiful! I treasure it as much as I treasure much of the music that I have since enjoyed because of this book. Surprised by Beauty is highly spiritual. Stephen Hough, the wonderful pianist who records for hyperion (interviewed in the book), says on the jacket cover: "Robert Reilly has the unusual and delightful ability to infect the reader with insatiable curiosity about the composers he champions. Names that often were unknown, and sometimes unpronounceable, suddenly seem totally fascinating and worthy of discovery at the earliest opportunity. Yet beyond this level of exploration is his personal vision of music as something profoundly spiritual, expressive of what is best and most enriching in human life and having the possibility of leading us to encounter God Himself." That is a good introduction to Surprised by Beauty. The opening quote of the book is from Max Picard: "[In] sound intself, there is a readiness to be ordered by the spirit, and this is seen at its most sublime in music." The love for music never ceases to impress - and as knowledgeable a man as Mr. Reilly is always a pleasure to have along for instruction. Before I delve at some length into examples I (dis)agree with in this book, let me summarize:
If you want loving introductions to the music of John Adams, ("The Search for a Larger Harmony")
George Antheil ("Bad Boy Made Good"),
Malcolm Arnold, ("English Enigma")
Gerald Finzi, ("Inmitations of Immortality")
Stephen Gerber, ("Keeping America Real")
Morton Gould ("Maestro of Americana"),
Roy Harris, ("Singing to America")
Vagn Holmboe, ("The Music of Metaphysics")
László Lajtha, ("Music from a Secret Room")
Gian Francesco Malipiero, ("Beyond Italian Opera")
Frank Martin, ("Guide to the Liturgical Year")
William Mathias, ("Musical Incantations")
Carl Nielsen ("Music is Life"),
Einojuhani Rautavaara, ("New Northern Light")
Albert Roussel, ("The Freedom of Personal Vision")
Edmund Rubbra, ("On the Road to Emmaus")
Harald Saeverud, ("A Norwegian Original")
Aulis Sallinen ("Scandinavian Consolation"),
Peter Schickele, ("Schickele Unmixed")
Franz Schmidt, ("Setting the Apocalypse")
Alexander Tcherepnin ("From Russia With Love"),
Eduard Tubin, ("In From the Cold")
Geirr Tveitt, ("The Music in the Waterfall")
Mieczyslaw Vainberg, ("Light in the Dark")
Peteris Vasks ("Another New Northern Light") as well as Duruflé, Elgar, Janáèek, Martinù, Poulenc, Shostakovich, Sibelius, Vaughn-Williams and Villa-Lobos - you have picked up the right book. These are the composers dealt with in little chapters, ordered alphabetically and cobbled together from reviews and pieces written in different magazines. Nonetheless, there is a coherent line through the work - cumulating in a few interviews with composers such as Robert Craft, David Diamond, Gian Carlo Menotti, Einojuhani Rautavaara, George Rochberg and Carl Rütti. Just for John Cage, Mr. Reilly has no kind words ("Apostle of Noise"). And the specter haunting some chapters, not to be rescued until Robert Craft takes up his cause, is Arnold Schoenberg. In fact, Schoenberg so rubs Mr. Reilly the wrong way that he elicits the books strongest (and perhaps most contentious) statement from Robert Reilly: Ugliness is the aesthetic analogue to evil. To say it right away: A lover of modern music - and with a much higher tolerance for the unnecessarily absurd (Concerto for two cheese-graders, jet engine, electric toothbrush and chromatic garbage disposal? Bring it on!) - I have grid (grinded) my teeth many a time. A more conservative reader than me would find himself nodding along throughout the book. Either way, it is a veritable treasure-trove. After every chapter, there is a little section discussing the merit of important works of that composer in different editions. This is immensely helpful in choosing where to start the musical discovery-tour. Telling of the nonchalance with which he treats the breadth of his appreciation of modern music is the following quote: "Anyone who enjoys Britten's music of this kind should likewise appreciate Mathias's". I imagine the greater part of his initial readership to wince even at the very idea of Britten, assuming that they know him or his work. His passion for Janáèek's String Quartets is so palpable that not having them (I had them when I read it) must seem half a crime. His championing of Saeverrud (my initial reaction, too, was: Who???) is passionate and sophisticated. A book, in short, that will get much and repeated bedside reading and the occasional study - a charming companion through 20th century classical music with amiably strong - if not always agreeable - opinions. Highly recommended.
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