• The Rest Is Noise

  • Listening to the 20th Century
  • By: Alex Ross
  • Narrated by: Grover Gardner
  • Length: 23 hrs and 7 mins
  • 4.0 out of 5 stars (484 ratings)

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The Rest Is Noise  By  cover art

The Rest Is Noise

By: Alex Ross
Narrated by: Grover Gardner
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Editorial reviews

Like the origins of a musical idea waiting to be developed through the course of symphony, Adrian Leverkühn, the titular musical genius of Thomas Mann's Doktor Faustus, foreshadows The Rest is Noise. Mann has Leverkühn attend a performance of Richard Strauss' Salome in 1906, the same event that opens The Rest is Noise. Alex Ross lists Leverkühn's fictional attendance along with that of the historically correct presence of Mahler, Puccini, Schoenberg, the cream of doomed European society - and the 17-year-old Adolf Hitler. in Mann's book, Leverkühn contracts syphilis around the same time from a prostitute who goes on to haunt his work; the implied germination of something dark and destructive - musically and historically - sets the tone for Ross' hugely ambitious book.

if writing about music is like dancing about architecture, Alex Ross, the classical music critic of the New Yorker, is Nureyev with a notebook. Critics may quibble with the lack of academic theory in his descriptions of music (in this regard, it's constructive to compare his book with Charles Rosen's The Classical Style), but he has an undeniable gift for enabling the reader to 'hear' the outline of the music he describes (or at least make them believe that is what they're hearing): "Strings whip up dust clouds around manic dancing feet. Brass play secular chorales, as if seated on the dented steps of a tilting little church...Drums bang the drunken lust of young men at the center of the crowd." Consequently, there are countless moments in this book where the temptation to download the music is overwhelming - clearly, copyright issues and running time barred inclusion of musical segments in this recording, and it's a tribute to Ross' style that this omission isn't a critical blow.

The author's forte - obsession, even - is to conjure up sweeping historical vistas and then focus in on the tiny details that bring biographies to life: Charles ives' stint as an insurance salesman, the discovery by Alban Berg's brother of the teddy bear as a marketable toy. Ross also likes to draw historical parallels between the careers of very different composers. However, comparisons with works outside the genre don't always convince of their relevance, for example Sibelius' 5th with John Coltrane's A Love Supreme. Everyone from Britten to Björk, Ellington to Einsturzende Neubauten is invoked, which is fun but can feel arbitrary. At these points, the listener is reminded of the author's other career as a prolific blogger - blog writing seems to invite a certain loftiness of authorial position from which vantage point sweeping generalisations are made; The Rest is Noise can occasionally fall into this trap. -Dafydd Phillips

Publisher's summary

The Rest Is Noise takes the listener inside the labyrinth of modern music, from turn-of-the-century Vienna to downtown New York in the '60s and '70s. We meet the maverick personalities and follow the rise of mass culture on this sweeping tour of 20th-century history through its music.

Ross, music critic for The New Yorker, is the recipient of numerous awards for his work, including two ASCAP Deems Taylor Awards for music criticism. In addition, he was named a 2008 recipient of a MacArthur Foundation fellowship, given for achievements in creativity and potential for making important future cultural contributions.

©2007 Alex Ross (P)2007 Blackstone Audio, Inc.

Critic reviews

  • National Book Critics Circle Award, Criticism, 2007

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  • Overall
    2 out of 5 stars

Dullsville!

Okay, perhaps my title is a bit rude but this book is specifically for and can only be enjoyed by a classical music lover - one who is particularly familiar with the works discussed in the book.

I consider myself to be a lover of classical music but this book bored me because I had no accompanying music to hear and nod my head to in agreement with the author!

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8 people found this helpful

  • Overall
    2 out of 5 stars
  • Performance
    1 out of 5 stars
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    3 out of 5 stars

Talking about music

If you want to discuss music in an audiobook, you should use the medium and provide musical samples of what you're talking about. This is excusable for print, but not excusable for this medium.

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8 people found this helpful

  • Overall
    2 out of 5 stars
  • Performance
    3 out of 5 stars
  • Story
    2 out of 5 stars

Just not interested

My friend tried to get me to read this book and I just couldn't get interested. I tried the audio version hoping that I could get interested but it's more than I want to know about music.

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  • Overall
    2 out of 5 stars

just couldn't get into this one

I am truly interested in classical music, and listen to a lot of it --- including what was covered in the first 4 CDs-worth of this book.

I may at some point buy the book and read it in my own fashion.

But the reader put me to sleep. Too monotonous and flat. I suspect, though, that the subject is better suited to a combination of speed-reading and flipping to and fro, and that requires a hard copy.

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10 people found this helpful

  • Overall
    2 out of 5 stars

No music included

The audio sample of this book made me buy it because I like classical music, but find the latest developments baffling. I assumed it would contain some of the music described in the text. It doesn't, and 24 hours of listening to musical history, excellent as it is, is too much.

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  • Overall
    2 out of 5 stars
  • Performance
    2 out of 5 stars
  • Story
    3 out of 5 stars

Pretty dense and tough going full of jargons

Even for a classical music connoisseur like myself I find the narrator and the text exceedingly stilted and severe in tone and jargons. Definitely not the kind of audiobook you want to listen to while driving or for pleasure. I'll try reading the book instead. I'm hoping Alex Ross' writing style is better than this reading!

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  • Overall
    2 out of 5 stars

Read the book

This book is packed with insights but it should be read not listened to. It's an excellent reference about the music of a large number of composers. amd full of good stories about the social context in which they worked, their personalities, egos, political views, and relationships with each other. As an Audiobook, there is no way to look up Schoenberg (say) if you're listening to or plan to listen to his music. While I the segments I listened to today included some fascinating details of his life, I won't easily be able to find them again. While the details are vivid, within two days, I won't know if they are about Schoenberg or Barkok. A much better idea would be to buy the book (which hopefully has an index). I've rated it two stars (it deserves 4 for content, but it only deserves one or two as an Audiobook).

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  • Overall
    1 out of 5 stars
  • Performance
    3 out of 5 stars
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    1 out of 5 stars

Not a good listen

Just reading about music without hearing it is very boring to me and I admittedly lack the sophistication to appreciate the author's insights.

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