Composers Books

I can't stop looking at the lovely pics. of all Chet's 60 guitars. And the stories in his own words. The best book in the world.

This is a ghost written autobiography of Chet and his various guitars. It has outstanding photography and provides insight into the character of the man.

At first I just meant to thumb through a few pages but Chet's easy-going and enjoyable writing style sucked me in. The next thing it was 2 am and I'd finished most of the book. Although I suffered the next day at work I didn't mind it a bit.

If you like vintage guitars or Chet Atkins' playing I can't recommend this book strongly enough. It is full of beautiful color pictures and behind-the-scenes descriptions of the development of some very interesting and historic instruments. Chet's stories of the people he played with, the guitars he played and the music he made are wonderful and totally engrossing. Buy this book today!!

As I Chet fan, I am always wanting more photos, information etc. on Chets's life, guitars, equipment and technique. This book is fantastic!! The book quality is superb and the photos are exquisite! I am very well pleased to have this book in my Chet collection.

Chet relates the story of his life and describes the guitars he owned and helped design in an easy-going, yet informative, manner in this book, which is lavishly illustrated with photographs of his guitars. As a country music enthusiast, I found Chet's story to be very interesting -- he had much more contact with some of the early artists (such as Karl Davis and Bill Carlisle) than I'd realised. Chet's narrative is characterised by his modesty and generosity to others: for example, he relates how Mother Maybelle Carter and her family fought some elements of the Nashville establishment to ensure he was permitted to play in Music City; and he is very complimentary of other guitarists (e.g. to Australia's Tommy Emmanuel).
I have no hesitation in recommending this book to any country-music enthusiast or country guitarist, though the book also has a much wider appeal.

I am in total agreement with those who have praised this book. It is a model for all scholars and merits a major book award. Avoid any other publication that presents itself as accurate.

The Chevalier de Saint-Georges: Virtuoso of the Sword and the Bow is the biography of Chevalier de Saint-Georges (1745-1799), the illegitimate son of a French planter and a young African slave. Educated in France, his skill in fencing and amazing talent as a violin virtuoso earned him a distinguished place in French high society and the court of Versailles; yet he was not content to simply bask in court life, choosing to support the abolitionist movement, take part in the Haitian slave revolt, and join the French Revolution in the hope of ending slavery. Considered the first classical composer of African descent, his music is best understood in the context of his vivid life. Black-and-white photographs, illustrations, and sample scores, and reproductions of primary source documents round out this in-depth study of a singularly remarkable musician, politician, and fighter.

One of the problems in researching Le Chevalier de Saint-Georges is separating fact from fiction, due to the popular myths propagated beginning with Roger de Beauvoir, and continuing with Alexandre Dumas (fils). These and other semi-factual accounts of Le Chevalier's life led many to believe that it served as the basis for the character D'Artagnan in The Three Musketeers. In contrast to these myths, surviving well into the twentieth century, Mr. Banat's thoroughly researched study is factual.

Banat, a retired violinist from the New York Philharmonic and a specialist on the violin works of Mozart, is ideally positioned to understand the significance of this historical figure. It turns out that Le Chevalier was a major contributor to the symphony concertante genre, until recently thought to be Mozart's creation. As a musician, Le Chevalier was a violinist and composer, mastering the classical style and creating multiple compositions for orchestra and violin that remain underrepresented in the academic and performance Canon today.

Not only a prominent musician and athlete of his day, Le Chevalier was one of several African descendants who made important contributions to European elite culture. Born in Guadeloupe to a French plantation owner and his enslaved mother, Le Chevalier was educated in France, with substantial periods in England, where he was a champion fencer. In the latter part of his life, Le Chevalier became highly involved in the Haitian Revolution.

Mr. Banat began his study on Le Chevalier with an original article from the 1980s. Twenty years later, Banat's recent book reflects his dedication and enthusiasm toward his subject matter. The extensive documentation he provides for his assertions makes him the authority on Le Chevalier de Saint-Georges.

The second half of the 18th century from St. Petersburg to St. Louis was a socio-political mess as men and women of faith and courage strove to overthrow the imperial tyrannies oppressing their lives and stultifying their cultures. Supported by his white planter father and adored by his black slave mother, Joseph Bologne, born on Guadeloupe, captivated the Court and Parisian society by his extraordinary fencing ability and musical genius. Nor did it hurt that he was both handsome and intelligent. His violin playing, his original compositions, and his orchestral conducting assure him a place among the handful of outstanding musicians between Bach and Mozart. His military acumen and his political idealism on behalf of the downtrodden not only in France but also in Haiti made him a distinguished brigade commander in the Revolutionary army and led him, at the pain of a long imprisonment, to help stop The Terror. At the end of his life, the world he had bedazzled was gone and the world he had hoped to establish was falling to Napoleonic power.
The sad, powerful tale of this romantic hero's life and genius is all movingly here in Banat's scrupulous research and genuine affection--just waiting for an intrepid director and a first-rate actor to make a brilliant film that would really speak to our time.

This book is far more than a biography of the 18th-century fabled composer/violinist/swordsman Joseph Boulogne, Chevalier de Saint-Georges, born in 1745 in Guadaloupe, son of a plantation owner and one of his slaves. Based on rigorous scholarly research, the author presents a vivid picture of the social and historical background of the period in France, and the picaresque life of an extraordinarily gifted individual. The book is informative as well as an exciting read. It is enhanced by numerous illustrations, reproductions of original documents, and musical examples.

This book provides an excelent resource of movement and song to assist with meditation and reflection. It is firmly based in the Creation spirituality tradition and affirms alternative spiritualities and way of approaching God.

As a Pagan and musician, I love this book! But you certainly don't have to be Pagan to use and enjoy this extensive collection of spiritual songs -- Many faiths are included here. The book is decidedly geared toward honoring the earth, the elements, the Spirit, and the Spirit within, and is essential for anyone following an Earth religion or who wishes to recognize their spiritual connection to both the Earth and Spirit in their worship. If you organize and/or write rituals for your religious group, you should not be without Circle of Song. The book is well organized, includes notations and sheet music for every song, and even suggests dances that can go along with some songs. Whether you honor Yemaya or Yahweh, God or the Goddess, you will be delighted with this valuable collection of songs and chants.

Circle of Song is a wonderful resource for Earth-based ritual and workshops. It features words and music for 300 Pagan, Native American, African, Christian, Jewish, Hindu, and Jewish songs. It includes instructions for 30 dances which can be used with the songs. There are meditations, background notes, a complete discography and bibliography for sources. No one who uses this kind of material should be without this book

This book provides an excelent resource of movement and song to assist with meditation and reflection. It is firmly based in the Creation spirituality tradition and affirms alternative spiritualities and way of approaching God.

the songs here are gathered from many sources, but they all reflect a real joy. well organized for pagan use. you might also enjoy pagansong. i hope thet all this material will lead more people to use song in ritual and circle!

I feel fortunate to have purchased this book before they ran out - it's great! Hopefully it will become available again soon.

A great little book containing recording details of everything the Carpenters recorded. Exhaustive coverage and one of the better books in this wonderful series.

The thing that I like about this book is that it is cd sized and I can put it side by side with my cds.I have bought others and done the same with them.They make great,and convenient,reference books.Detailed and compact.

Gives review of almost every song album by album. There are also quite a few nice photos, a few that I had not seen before. My only complaint is that I wish the author had been able to cue us in on a little more about the MAKING and recording of each song...since he credits Richard Carpenter for contibuting. Good book for us hardcore Carpenter collectors!!

One of the best compilations of data, photos and inside "tid bits" yet to hit the market on arguably, the most gifted vocal group of the 1970's... Several rare b/w and color photos grace the pages of this handbook detailing tracks from each studio album. Don't miss this one!

This is my favorite book about not only Jimi Hendrix, but Robert Johnson and Charlie Christian too. Occasionally Charles Shaar Murray gets a little carried away during his wordy descriptions, but it doesn't matter. If you want to learn about the evolution of African American guitarists, this is the place to start.

Perhaps the best book written on rock music.

Unlike the usual gossip-laden rock bios (which I sometimes relish too, I'll admit), Murray's book is a serious piece of work. I've yet to come across a rock author as capable as Murray in analyzing the most important aspect of our Jimi-worship-- the MUSIC. Murray's book delves into the sociocultural groundwork of Jimi's musical style, and makes very astute leaps in connecting Jimi's music to various influences. Murray is perhaps the most intelligent rock biographer I've ever read (and I've read most of the major ones). At certain times, it's as though Murray's descriptive skill nearly matches his subject's musical genius. In any event, this book certainly does Jimi justice. Murray's descriptions of some of Jimi's well-known material are awesome. He describes an instance of Jimi's tight playing as (sorry if I slightly misquote) a "propulsive ball of rhythm, densely packed with ideas," and so forth. Murray is singularly able to verbally express what we deeply feel about Jimi's music, but have a hard time explaining to others. You know how tough it is to convince non-believers why you KNOW that Jimi is a genius, when they think that he was merely a hyped-up, noisy, wildman-clown, right? Well, read Charles Murray's book. I think it'll sooth your soul, and you'll come away with a deeper knowledge and appreciation of his subject. Hats off to Murray!

Although most fans will be content with the 'Electric Gypsy' bio (which is equally good), "Crosstown Traffic" is more than a mere biography, and as such, invaluable for all Jimi fanatics.

The book is 1/4 bio, 1/4 Jimi's influences (as well as those subsequently influenced by him), 1/4 comparisons between peers and other black artists, and 1/4 conjecture based on his final days.

They've included a list of bootlegs (obviously out of date, but still pretty comprehensive) as well as all legitimate Hendrix material, and a guide to Jimiphiles on what artists to check out that might catch their interest.

This is not your typical chronological biography of an influential figure. In this outstanding piece of literary work, Charles Murray delves far beyond the superficial facts into far more profound terrritory. The author sets the standard by which all books dealing with the subject matter of Hendrix and era surrounding his meteorical ascension to the pinnacle of the fledging American rock culture should be judged. Thoroughly researched, the book is annotated with richly descriptive language that sheds new light on the role the cultural, social and political dynamics played in shaping Hendrix's life and the opposing impact he had on these dynamics. Paraphrasing an observation made by a prior reviewer, Murray transcends the almost inexplicable emotion evoked by Hendrix's art into eloquent, thought provoking prose. I found myself rereading many of the passages because I was so struck by the author's incisive and beautifully written statements.

The chapter's are as follows (possibly out of order and an omission or two as I recently lent my copy to a friend):

Chapter 1: The 60's, or the "We Decade". Murray delves into factors that engender the policitical, social, and musical climate of the late 60's within Britain and the United States. He astutely examines the contradictions, successes, failures, and outcomes from one of the most compelling eras of the last century. Hendrix's role as an iconic figure is also discussed in detail. The themes established here reemerge at various stages throughout the remaining chapters of the book.

Chapter 2: The Facts about Hendrix. The author reviews all the pubically known facts in a very straight forward fashion.

Chapter 3: Hendrix and women. Murray explores the background of women as the subject matter in rock and blues music and Jimi's volatile relationship with the female form. He analyzes how the influence of Jimi's "muse" manifested herself in various forms within his lyrics.

Chapter 4: Hendrix's role as a racial figure. Murray closely investigates all the elements encompassing the paradox of Jimi's cultural status: A black man playing to a white audience playing music popularized by whites rooted in the black musical tradition of blues.

Chapter 5: A critical comparison of his career with Robert Johnson's and Charlie Christian's; two fellow African American guitarists who similarily rose quickly to prominence, gained legendary status, and left a profound impact on Western Musical tradition.

Chapter 6: Hendrix and the Blues. An inciteful history (although brief by comparison since their are entire books on the subject) of the blues within the context of American and British culture as well as an exploration into how the african american muscial form influenced Hendrix and his place in history as one of its most important purveyor of the blues.

Chapter 7: Hendrix and Soul music. Describes the birth and growth of soul music, its influence on Henrdrix, and his corresponding influence upon the genre.

Chapter 8: Hendrix and Jazz music. Similiar to the previous chapter in its framework, it also explores what Hendrix might have done had been granted an opportunity to fulfill his musical potential and desires. Murray also establishes Hendrix as a seminal influence to the fusion movement.


Chapter 9: Categorizing Hendrix. A short but necessary acknowledgement using Hendrix as the definitive example of how it is impossible to categorize music without performing somewhat of a disservice to the artist.

Each chapter is carefully interwoven with quotes from Hendrix's comtemporary musicians, modern day artists (at the time of publication), other seminal literary works on music, as well as Hendrix's own lyrics and interview quotes. They provide an effective framework to buttress Murray's analysis and to serve as a transitional device between tangential arguements.

The size and depth of Murray's bibliography is as impressive as writing. It is another example of the level of scholarship at which he operates at. Also included is an exhaustive list of albums by other artists seperated by genre that either had an influence on Hendrix or were influenced by Hendrix.

Echoeing Robert Palmer's comments on the book jacket, "The artistry of this book is equal to that of its subject matter". If you want a traditional biography, this might not be exactly what you are searching for. However, if you seek to go beneath the surface of the iconoclastic Hendrix, his music, and the times he lived in, there is no better source. A truly illuminating experience and arguably the greatest book on rock'n'roll ever written.

Biographies can easily become subjective, as they rely upon the person telling the story. With diaries, we have almost a first-hand look at what the writer was thinking.

These diaries of Alma Mahler reveal the usual thoughts and feelings of a teenage girl and young woman. Alma desperately wishes to "be somebody," but she's not sure of how to achieve it. She spends years studying music, and practicing composition, but her works are simply fair or good, but not remarkable.

Then, she finds out what she's really outstanding at: attracting brilliant artists from all fields. This includes men such as Gustav Mahler, the composer, Walter Gropius, the Bauhaus architect, Franz Werfel, the novelist, Alexander von Zemlinsky, the composer, Gustav Klimt, the painter, Oskar Kokoschka, another painter, and many others.

Although her own art never achieved for her the fame she would have liked, perhaps she inspired all these other greats to go beyond what might have been their own limitations. There is a tendency, as you will see from photographs of Alma, to believe that men were attracted to her because of her spectacular beauty. But as you will see from these diaries, her personality must have also played a large role. She is coquettish, yet honest, and vacillates between between overestimating her successes, yet feeling humble about how much more she wishes she could be.

But what I believe you will find the best feature of this book, is seeing geniuses like Gustav Mahler and Walter Gropius, through the eyes of a young woman, who saw them up-close, as real, live men. It's like traveling back in time, for a close-up, personal look at these famous artists.

Alma Schindler - the goddess, the muse, the center of attention ... How did she manage that? How did she become an obsession of so many genial men, a thing of admiration of the Secessionist Vienna? But simply - she was a remarkable woman. And also, happened to be pretty and at the right place at the right time, born into an artistic family. It was said that she had a hearing defect. She would move closer to her companion in order to hear better. Men found that irresistible.

One would expect her to be vain and conceited. Through her diary, we entered her mind - she is none of that. At least, not more than any of us. She is an insecure girl. She has fears, doubts about herself, she loves passionately... Alas, her anti-Semitic feelings are shocking. At first, she is quite tolerant and objects anti-Semitic sentiments. Then she changes. One can only find the reason in propaganda being already pretty aggressive. She lives among Jewish families, loves Jewish men and marries two of them. Why then? And how did it happen that she married Mahler so quickly?

"Please God, give me some great mission, give me something great to do!" She could have been quite a good artist. Her drawings show certain talent that could have been developed into something much more. She could have taken drawing classes and maybe, her mission would have been even greater. But she pursued music even though it
seemed that she lacked the talent - not one of her opera impressions on the notepaper correspond to the real score. She never composed a great opera she dreamed of. But she left her mark in the history of arts and love.

This book is a great document. The correspondence between the authors just adds to the value. I only wish there were more photos of Alma as well as letters that she received. It would have been nice to read passionate words of her admirers. At the end, instead of an epilogue, there should have been a short biography. And a word of two about her sisters and mother would have been valuable. What happened to her sister Maria? I guess I need to start searching.

Is it true that Alma claimed she was for decades the main authority of Mahler's works, values, character and his day-to-day actions and movements?
Is it true that, initially, and for many years, her various publications quickly became the central source of information and references for Mahler scholars and music-lovers alike?
Now we can know why, later, her accounts have been treated as unreliable, false, misleading and often impaired soundness? It is a fact that these imperfect accounts have nevertheless had a great influence upon several generations of music-lovers, hence the legend: " Alma's Problem""
How about what she wrote in her two books (memoirs) and their impact on Mahler studies'. (Why did she write two memoirs? - My Life, My Loves, and My Diaries 1898-1902) - Alma was a graceful, well-connected and influential woman who outlived her first husband by more than 50 years. (This reminds me of Cosima and Wagner. Cosima outlived Wagner by 47 years). How trustworthy is any story laid by women who outlive their notorious husbands for so long? Shouldn't they be given credence, though there may not have been full and final grain of truth in it?) - The greatest difficulty in writing one's memoirs is to keep a certain detachment at a time when passions were running high. True in her old age Alma wouldn't admit that her apprehensions with the past `'husband and wife"" days had been influenced with the benefit of hindsight when she now perceived the significance of events after they have occurred. Within 50 years Alma's reminiscences of past events couldn't pass without nostalgia or without an urging wistful desire to return, at least in written thoughts (modified and garbled), to a former time in one's life when young - I saw her picture, indeed she was very beautiful. Alma claims that Mahler 'feared women' and that their relationship was never really without danger, arguing that he had almost no sexual intercourse right up to his forties (he was 41 when they met). In fact, Mahler's long record of prior love affairs-- including a lengthy one with Anna von Mildenburg -- suggests that this was not the case. Whereas Alma's flirtation and first kiss was in her teens - as she boastfully said so. ".In her memoirs she must have been looking for an edge over Mahler. True?
Alma Mahler (then Schindler) played piano from childhood and in her memoirs reports that she first attempted composing at age 9. Was that false or true??(She knew that Mahler's parents had arranged piano lessons for him when he was six)
After Mahler's death, Alma did not immediately resume contact with the young architect Gropius. Between 1912 and 1914 she had a highly agitated affair with the artist Oskar Kokoschka, ((who created many works inspired by his relationship with Alma, including his famous painting: Bride of the Wind.)) Strangely enough, I read something like this: "" After Alma's departure from his life, Oskar Kokoschka notoriously ordered a custom life-size doll resembling her in details. Rumors say that he was seen at a local theater in Vienna holding the doll as his companion"" Could this have been true? Was he mentally insane? Was it plausible that Alma has had love affair with a mentally sick man that she did not recognize his flaws from the very beginning? Oscar must have been a most difficult partner, impetuous and mentally unbalanced. Such rumor must have made him the laughingstock for the intellectuals. How could Alma have been `attracted"" by such character? Gustav vs. Oscar (quite the opposite, yet she could sustain the dissimilarities! - Was she so eccentric?)
During the emotional instability in their marriage after Mahler's discovery of the affair (Alma's infatuation with Walter Gropius 1883-1969 - a German architect and founder of Bauhaus and is widely regarded as one of the pioneering masters of "modern" architecture) Mahler took a sincere interest in Alma's musical compositions; completely regretting his earlier attitude when he dropped her talents out. (Was Mahler a capricious person - dictating his authority - as when he dropped Alma's talents in the past?) (Controversial-no doubt!)
Upon Mahler's endeavoring, and under his coaching and assistance, Alma prepared five of her songs for publication (they were issued in 1910, by Mahler's own publisher, Universal Edition). During this time, Mahler had one and unique consultation with Dr. Sigmund Freud. Why? Backlog of hard feelings I believe; they had watched with apprehension the gradual encirclement of the Jews or was it the curse of the ninth - Mahler knew he would not live long after his composition of the Ninth symphony that he completed in 1908 (perhaps!) If it were to seek guidance from Freud on Mahler's unsatisfactory relationship with his wife, this would sound absurd to me. Okay, but what was the outcome of such consultation?? Did they discuss the behaviors of Mahler's wife' or the anti-Semitic backlog of hard feelings? (Mahler was Jewish, so was Freud- Sigmund Freud knew his compatriots only too well - they give in to moral pressure) At the Opera, Mahler stubbornness in artistic perfection had created enemies, and he was subject to perpetual attacks from anti-Semitic circles in the press. His resignation from the Opera, 1907, was hardly unexpected. (Incidentally: Dreyfus affair divided France from the 1890s to the early 1900s and its repercussion continued until well after WWI)
The hard feelings of anti-Semitism must have adversely impacted his marital relationship with Alma? Initially, under Austro-Hungarian laws, no imperial posts were to be filled by Jews!!! Hence, in 1897 when he was 37, Mahler could not occupy the Directorship post at the Vienna Opera.
Something else, Mahler has had a clash with Brahms (Didn't he?) While at the university, he worked as a music teacher and made his first major attempt at composition with the cantata Das klagende Lied. The work was entered in a competition where the jury was headed by Johannes Brahms, but failed to win a prize. (Did he feel the brunt of Jewish curse?? It could be!!)
(In later years, however, Brahms was greatly impressed by Mahler's conducting of Don Giovanni.)

As a long-term diary writer myself I was interested in Mahler-Werfel's diary and the manner in which the voice of the nineteen-year old woman is expressed (and the next two years of her life). Often when I reread my own writings I cringe at my ideas and philosophies when I was young and it takes some time for me to empathise with myself and regain a feeling for the person I was. One of the great features of these diaries is that they truly express the voice of the nineteen-year old, they have not been edited to provide a more sophisticated voice. Perhaps Mahler-Werfel cringed a bit at herself in the way I do, perhaps that is why she never published these diaries during her lifetime, although we do know she gave it some consideration. But I think it is important that we heed the voice expressed in youthful writings because it reassociates us with the people we once were, and hopefully gives us greater empathy with the youth of today.
The most challenging aspect of these diaries is Mahler-Werfel's revelations of her growing sexual awareness with its contradictions, rapid changes of view, hesitancies, self criticism, and intemperate admissions. This is emotional and at times erotic writing. While we can allow Mahler-Werfel the licence to say what she wants about herself, it is less readily acceptable that she describes the behaviour of her partners - some of them quite historic figures. But this is the voice of youth going through very tumultuous personal times. Most people move through these times with varying degrees of ease and distress. Mahler-Werfel's writing reminded me of Wedekind's play `Springtime Awakening'. The awakening is not satisfactory for all - and is sometimes disastrous. For Mahler-Werfel we can only speculate.
Mahler-Werfel associated with many great artistic figures - in the times of these diaries there are Gustav Klimt, Alexander Zemlinsky and Gustav Mahler. Her reflections on these figures make them more alive than many histories. For her, they were living pulsing human beings and we see them in that way.
But was Mahler-Werfel extraordinary herself? I find it hard to decide. She obviously was not your average woman of the time, and yet it is possible to see her as just a spoilt rich girl who happened to have a pretty face. In her diaries she speaks of writing a song (lied) in a day, playing the whole of Tristan on the piano in an evening. And yet her musical examples noted in the diary are so poorly notated and often so inaccurate that it is hard not to think she had little genuine talent. Perhaps someone else completed the lieder from her tenuous musical ideas. But equally possible is that she was a real talent and, as popular history tells us, was suppressed by Mahler in their marriage. To me, however, there is another reading in that marriage to Mahler enabled her to renounce her musical ambitions, which she knew would never match those of Mahler no matter how hard she worked. To be fair about her musical notation however, we need to remember that all her writings border on the unreadable (perhaps that was deliberate - a sort of code?) although the single-minded line drawings she included are quite fine in a limited way (are they all of pretty Alma herself?).
Another way to judge her musical astuteness is her reviews and critiques of the many concerts she attended. At first look they seem to match the views of the day - wildly supportive of Wagner, dismissive of Bach, Saint-Saens and even Mozart. Was she just copying the view of the day? But then there are the changes of view - suddenly the opinion on Mozart changes, she starts to see some flat spots in Wagner. This does seem to suggest self-awareness in her musical views and even if it is selective acceptance of different critical opinion she shows a capability to make the change. There is one final thought that came to me as I read the diaries - perhaps her influence was so great (it certainly wasn't trivial) that she went some way to actually forming the critical view of the day.
I was immensely fascinated by these writings. If you are interested in human development and artistic creativity I recommend you do not overlook them. One thing is certain - Mahler-Werfel was an impassioned writer as a young woman.

Alma Mahler was a fascinating woman and this diary gives an unique insight into her personality and those she knew. Her growing years, developing both emotionally and in personality come through as does her determination and zest for life. Her time with Gustav Mahler is fascinating and sheds an interesting light into his character and fears at this time. A fascinating read.

The book is personal, genuine and warm. I got to know the musician through reading the book, and I like who he is and what he is about. Diary of a Young Musician is in fact a diary. Mayerhofer tells his life as a young musician truthfully and intimately. It was hard for me to put the book down after I began to read it.

This book could easily serve as a must-read primer for eager young musicians and young people in general. Mayerhofer shares his wisdom about life and living in an entertaining way.

As reviewed by reporter Masha Rumer in Westmore News, Port Chester, NY, March 24, 2006

Little did a Port Chester-born and reared Felix Mayerhofer know when he picked up his trombone and accepted the full scholarship at Julliard in New York City back in 1948 that his life direction would change forever.
This short journey from his home at 21 Bent Ave. on the New Haven line was to be the end of innocence of an 18-year-old boy as he embarked on the 14-year road of a traveling musician, encountering cruelty, poverty, fame, women, drugs, and the thrill of the Big Band era.
Expect to find a moving personal story, a portrait of America, humor, and unscrupulous honesty in Mayerhofer's memoir Diary of a Young Musician, published by Xlibris in 2005.
The writing is brutally honest--and that's the way it was intended, as a father's revealing portrait to his young son David. Mayerhofer spares no detail when he describes his manifold experiences with the opposite sex, his brief run-ins with marijuana, amphetamines and alcohol, segregation in the South in the 1950s, the challenging life on the road, his mother's nagging to "get a real job" and Port Chester girls' dismissive attitude toward young musicians.
Mayerhofer, whose Uncle Peter helped build Corpus Christi Church and became its first pastor, also tells the sad tales of loss, as many of his band mates get hooked on heroin and die before they reach 25.
The reader even gets a glimpse into the author's occasional bouts of illness; he describes the physiological details in an un-Victorian, honest fashion.
The world of Mayerhofer's youth is different: blue suede shoes are in high fashion--he owns a pair, one can buy a cup of coffee and a hot dog for 20 cents on the streets of New York, and "spiffy" is a cool word.
But throughout the tales of debauchery--a hard thing to avoid in the profession at the time, and pursuit of work all over the world, Mayerhofer emerges as a sensitive, disciplined man who has the strong will and fortitude to conquer his demons and lead an extraordinary life.
He has met Louis Armstrong and played with Nat King Cole, served with the 552 Air Force Band during the Korean War, earned a B.A. from SUNY Potsdam and an M.A. from Asuza State University in California, and directed a junior high school band in Palmdale, Calif. until he retired.
Perhaps one of the most touching aspects of the book is Mayerhofer's meeting of his wife Shirley, nee Wagner (Wagonseller), a beautiful show dancer and ballerina. Before he turned 30, Mayerhofer was a professed bachelor and claims to have not had more than three dates with the same girl. But when he meets Shirley, he is suddenly smitten, falls in love after their first kiss, and the two marry within months.
Mayerhofer played in the Port Chester High School Band, under the tutelage of Paul Weckesser. Nearly 30 years later, he returned there to teach band for six weeks while on vacation from touring with Fred Waring

Deana Plank VanHeusen, a retired music teacher, October 28, 2005,
Diary of a Young Musician
"Diary of a Young Musician" by Felix Mayerhofer is especially appealing to me, since I was also in Felix's Freshman group (one of the Northern New York farmers' daughters mentioned in the book) at the State University of New York at Potsdam (Crane Department of Music) in 1955. When I started reading this book, I was so enthralled I couldn¹t put it down! It took me two days to finish it with my husband doing all the cooking, cleaning, while getting NO attention from me. Now HE is reading it and enjoys the parts about the big band days, when my husband was an awestruck audience member. One of the first memories of Felix was the morning he entered school three weeks late (veterans could do that), and spoofed the class pretending to be a substitute for Professor Frackenpohl. From then on we smiled whenever "Felix" stories were exchanged, since something was always happening that was funny. This book took me back to those wonderful college years. Students sat in awe watching Felix play jazz with college professors, never knowing he had lived a lifetime of worldly experiences, unknown to us at the time.

Diary of a Young Musician is the memoir of an innocent teenage musician who learned the hard way about the dog eat dog world of big bands: drugs, drinking, women, and road life. In his 20's he played with name bands and even served in an air force band during the Korean War., as well as earning a B.S. from the State University NY Potsdam. While working in Reno's showrooms, he married a professional dancer, an event that would change his life forever. His story is a pull-no-punches look at the ups and downs of band life in the mid-twentieth century, a life of excitement, wonder, trepidation, and challenges both internal and external. Highly recommended.

I've just finished reading "Diary of a Young Musician:Final Days of The Big Band Era", by Felix Mayerhofer. And before I go any further, I must admit to being a close friend of Felix's and have played a minor part in the life he writes about here. Which, I believe, gives me a unique perspective on the events and experiences in his story, because I've lived a similar life path.
I've found the book to be an honest,straightforward treatment of what it was like to be a performer in what was for quite a while, the most popular form of musical entertainment in this country, and probably the world, Dance Bands. But Felix also gives us the story of how musicians and singers were forced to adapt to the changing tastes of the public as the big band era was supplanted by Rock and Roll and the growing popularity of TV, and the phenomenon of legal gambling in the Casinos of Las Vegas and Reno. .. and the story doesn't stop there.
He manages to weave into his tale, some of the problems he faced. The moral dilemmas of sex and drugs, for instance, and the ongoing quest for self improvement in his musical abilities as well as how to achieve those things we all want from life, .. security, family and Love.
In successfully writing his story, he's shown us that he's successfully lived his life. .. and for that more than anything, I'm proud of him.

This book is so crucial for any one playing Scarlatti sonatas.
There is so much detail, historical context, and yet the writing is such that even an amateur pianist like me can get a grasp on how to interpret the sonatas. There are some nice sections on how to approach them on the piano.

I wish I could find similar books for every other composer!

Ralph Kirkpatrick's 1953 work remains THE book on Domenico Scarlatti and his keyboard sonatas. There have been no substantial revisions in the biography of DS since 1953. Georgio Pestelli and many others have questioned Kirkpatrick on chronology, but when it comes to analysis of individual sonatas, Kirkpatrick is strong. Kirkpatrick was not a musicologist, so his book is actually interesting to read!

An indispensable reference for all those interested in one of the greatest keyboardists of all time. Kirkpatrick's work is one of real scholarship. Written in 1953, no one has since bested it.

This book is an indispensable reference for those studying the great composer Domenico Scarlatti.

The first 7 chapters are historical narratives without unusual merit except as an intoduction to the real book which is about music. There is a chapter on harpsichords. Kirkpatrick was not the first thinker on Scarlatti as evidenced by the extensive bibliography and appendix

He did establish the K identification number system which has stood the test of time at least in this country.

His real contribution is in identifying Scarlatti as a real musician writing music of extraordinary merit. His chapter on Scarlatti's harmony is very difficult reading.

The last chapter on "Performance of the Scarlatti Sonatas" should be read again and again by every musical teacher and student (he talks about tempo, rhythm, phrasing, articulation and attitudes).

Of course, one must have the sheet music on hand to see what it's all about, and a mind-set ready to accept Scarlatti into the company of Chopin and Liszt as well as Granados and Albéniz.

Kirkpatrick talks a little about the influence of Iberian song and dance forms on the sonatas of Scarlatti; a few others have scattered hints on this subject. I think the world would welcome a full-blown research here as a fitting sequel to this book.

A very heartwarming story about a hardworking and talented Irish-Catholic family. The travels and travails of the Burkes as they rehearse and perform across the country during the turbulant decade of the sixties against a background of racism and Vietnam, is a nonstop adventure for the reader also. The book brought back many memories for me personally as my family also traveled in the sixties in a 64 Chevy Belair wagon-but we only needed one! The story just goes to show how much has changed since that era. Or has it? An outstanding story-Highly recommended.

The Burke family brought many childhood memories of my own past. This family represented everything good in America at a time when our country was experiencing issues of racial hatred, turmoil and unrest. I was fortunate to attend the same Catholic school and parish as this wonderful family and remember the Christmas shows on local televison. I recommend this book be read by all families to show the love, devotion and moral values instilled in this family as an inspiration to all!!!

The Burke singers lived my fantasy. I too am from a large Catholic family who grew up in the fifties and sixties and the relationships of the siblings in the book and the antics of the little brothers brought back so many childhood memories for me. My elderly mother has been mute for several years due to a stroke, but she was able to communicate her pleasure in reading the book and seemed to like it better than any others she has read. This book could be read and shared by children, parents and grandparents in a family. The story is told with humor and affection and it was just too bad the trip had to end. Don't think it hasn't been fun... Because it HAS!

This book shows that truth is easily as fascinating as fiction. The Burke family's exploits would be beyond belief if there weren't so much proof they actually happened. This book made us laugh and cry while we returned to a decade when America's innocence was unpeeled in the face of racial oppression, assassinations, and the agony of going to war on foreign soil. Seen through the eyes of a child innocently traveling the country singing with her family, and laced with the family dynamics of ten children on the road, Burke's book left us stunned, warmed, and thinking deeply about our country today. If you're looking for a book that leaves you filled up, read this.

When my grandmother was alive she made fudge. It was so rich, you couldn't eat it. You had to sort of scrape little bits off with your teeth - if you took a full bite you'd probably die, it was so rich and sweet and wonderful.

I've been reading this book rather like eating Nana's fudge. I don't want it to end, so I'm doing little bits at a time. When I first started I read something like the first five chapters without taking a breath. Now I'm rationing.

Wonderful. Just wonderful. I'm 57 years old, so this is my time, the shows they appeared on, I watched. When I get back to NY I am going to go the Museum of Broadcasting and watch tapes.

The only thing that could make reading this book better would be playing the tape of the Burke Family SIngers doing Christmas carols in the background.

Now if I only had some fudge....

Of all the reference books for writers, I find the Dramatists Sourcebook to be the most complete. It doesn't have EVERYTHING, but it can tell you where to FIND everything.

Sources for production, contests, funding are updated each year (a couple of quibbles...I found one deadline date that was off last year), as well as useful service organizations for playwrights, and for those who haven't realized that a play is not a screnplay, always a lesson on formatting.

The Theater Communications Group puts out a lot of useful publications, but this one is at the top of my list.

Of all the reference books for writers, I find the Dramatists Sourcebook to be the most complete. It doesn't have EVERYTHING, but it can tell you where to FIND everything.

Sources for production, contests, funding are updated each year (a couple of quibbles...I found one deadline date that was off last year), as well as useful service organizations for playwrights, and for those who haven't realized that a play is not a screnplay, always a lesson on formatting.

The Theater Communications Group puts out a lot of useful publications, but this one is at the top of my list.

The title of this book is completely appropriate, though Dramtists Bible would also work. Every contest, every writers colony, every major theater company in America is to be found within these pages. It is perfectly mapped out and the details are wonderfully woven. I recommend this to the beginner playwright as well as the Tony winner. Bravo.

The Dramatists' Sourcebook is truly an invaluable resourse for anyone who writes for theatre. Hundreds and hundreds of entries for production, development, awards, and much more make this one of the most important books in my library. I highly recommend it for all playwrights, lyricists, and librettists.

This book is simply a must-have for anyone seeking the life of the working playwright. It's succinct, informative, and offers a wealth of information on grants, theatres, contests, and other opportunities.

My one minor complaint would be that the Sourcebook lacks almost any real information on proper play submission formatting (despite the fact that the book touts this assistance heavily on its covers).

As most theatres routinely point writers in the direction of the Sourcebook to answer such questions, it's a disappointment to find that the Sourcebook's _entire_ section on formatting consists of: one line of sample dialogue, followed by a somewhat confusing short paragraph which verbally describes formatting in vague terms as being essentially the same as those for screenplays -- and that's it. As I've been misled before on preferred formats for play (versus screenplay) submissions, a single sample page would have been an invaluable help.

But that's just one small complaint. And as a reference and information source, the Sourcebook is still a must-buy.