From Publishers Weekly
HInformed and lively, Koscielniak's (Hear, Hear, Mr. Shakespeare) fact-filled excursion through music history is just the ticket for budding musicians and music-lovers at large. Deceptively breezy prose and pictures trace the various eras in the development of the modern orchestra, starting with the instrumental groups at the dawn of the 17th century ("Tooters, Strings, and Beaters") and continuing on up to the present day, with a look at synthesizers and computer sound modules. At the same time, Koscielniak explains the evolution of musical styles (Baroque, Romantic, Classical, etc.). He also clues in readers as to how various instruments have changed over the centuries, examining such intriguing instruments as the sackbut (early trombone) and shawm (a forerunner of the oboe), as well as more familiar ones ("Kettledrums: Putting the Bomp Bomp Bah Bomp in the Orchestra"). Such important historical figures as Bach, Haydn, Duke Ellington and violin craftsman Antonio Stradivari are also introduced. Koscielniak expertly integrates text and art to convey all this information; the pages are busy but not cluttered, piquing interest with carefully selected detail. Close-up sketches show, for instance, a bassoon's double reed or how a piston valve works on a brass instrument. Watercolor wash in muted earth-toned shades bolsters the assured ink drawings, which seem both precise and spontaneous. Endpapers display a rogue's gallery of instruments, grouped by type and period. Ages 4-8. (Apr.)
Copyright 2000 Reed Business Information, Inc.
From School Library Journal
Grade 2-5-In a similar but much more focused format than his Hear, Hear, Mr. Shakespeare (Houghton, 1998), Koscielniak describes the evolution of the modern symphony orchestra and the instruments that comprise it. An informative narrative occupies at least one side of each double-page spread. Watercolor and line fill the pages, providing an up-close look at a variety of musical instruments and methods of sound production. Text inserts and captions accompany the artwork, describing the development of the instruments and their parts, or providing other related anecdotal information. The upbeat, whimsical drawings contrast with the rather formal narrative, which sometimes makes odd assumptions about readers' level of knowledge. Tempo is defined, for example, but not ensembles. The author covers a lot of ground here, perhaps too much, but most youngsters will learn something new. A fine complement to music-education programs.
Corinne Camarata, Port Washington Public Library, NY Copyright 2000 Reed Business Information, Inc.
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