Cover image for Musical events : a chronicle, 1980-1983
Musical events : a chronicle, 1980-1983
Porter, Andrew, 1928-2015
Personal Author:
Publication Information:
New York : Summit Books, 1987.
Physical Description:
524 pages ; 25 cm
General Note:
Collected from the author's columns in The New Yorker.

Includes index.
Added Uniform Title:
New Yorker (New York, N.Y. : 1925)
Format :

On Order

Reviews 3

Booklist Review

The collected reviews and commentaries of English music critic Porter, who resides in the U.S. but covers world events and performances, continue apace with this latest installment. Originally published in the New Yorker, these essays are far from chauvinistic and suffer from no urban provincialism as Porter ranges the globe in search of stimulating musical fare and finds it not just in the world's musical capitals, but also in a number of enterprising companies and organizations scattered in smaller cities and unexpected venues. While Porter's ability to blend judicious consideration of performance histories with insightful reviews of individual concerts has spawned many sincere imitators, few other writers possess the style and erudition that make his judgments so revealing and illuminating. The immediate predecessor in this series is Music of Three More Seasons: 1977-1980 (Booklist 78:15 S 1 81). To be indexed. JB. 780 Music / Music New York (New York) [OCLC] 87-7076

Publisher's Weekly Review

This is the fourth volume of Porter's music criticism gathered from the New Yorker. Rather than a simple hodgepodge of essays on various musical topics, the book is gracefully composed, a seamless survey of what the musical life of the nation has been in the years covered. One is never aware of reading about performances that have taken place as long ago as seven years: so elegantly blended are this critic's knowledge of music history and his clear-headed performance analysis that, although it's a cliche, one might say that it animates the printed page with the sounds of music. Porter gives a fresh ear to everything he listens to, whether it's a new production of an oft-performed opera or the premier of a new instrumental work by an avant-garde composer. He always seeks to understand the performer or composer's intentions, as well as the quality of the work or production itself. The essays are addictive entertainment if read at random; that one can also read the collection from cover to cover is an indication of the rich intellectual experiences offered. (October 14) (c) Copyright PWxyz, LLC. All rights reserved

Library Journal Review

This is the fourth collection of essays by Porter, the distinguished music critic for the New Yorker. Since arriving on the scene in 1972, he has refashioned the art of music criticism in this country by emphasizing a scholarly approach to his subject matter. Nothing escapes his attention: the acoustics of the hall, program notes, anything that may contribute to the success of a performance. As with any critic, Porter has his biases, but his refreshingly catholic tastes in the area of contemporary music add substance to his opinions. At times, Porter can become bogged down in extraneous detail, particularly in the opera reviews, where he tends to wear his erudition on his sleeve. Nonetheless, the writing is always poised and stylish. Entertaining for amateurs and scholars alike. Larry Lipkis, Music Dept., Moravian Coll., Bethlehem, Pa. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.