Michael Tilson Thomas: Viva Voce

In a series of conversations with English music critic Edward Seckerson, conductor Michael Tilson Thomas shares his thinking on diverse musical matters, from the influence of technology on listening, to composers, including Mahler and Stravinsky, to his friendship with Leonard Bernstein, to his own composing. For those who don't know much about "classical" music (or think they don't like it), he provides friendly guidance, amusing anecdotes, and an unabashedly American point of view. Walt Whitman, James Brown (whom he worked with briefly in the '60s) and Steve Reich are as important to him as the European masters. Tilson Thomas' descriptions of symphonic music and the art of conducting are honest and de-mystifing. On page 195, he says, "The performers' instinct to find whatever is necessary to put the piece over is a reflection of music as a part of show business... there is still a platform, performers, an audience, lights, ushers and tickets. That's a show. Sometimes the show may have a prayerful intention which can unite people in a spiritual way. There is nothing more wonderful than the moments of silence that the audience and orchestra share together at the end of Tchaikovsky's Pathetique, or Mahler's Ninth Symphony... In this spectacle the conductor can be a kind of master of ceremonies, celebrant, cheerleader, drill sergeant, band leader..." Seckerson's questions and comments are also interesting and at times provocative. The text is accompanied by a generous number of photos of Tilson Thomas with composers, soloists, orchestras, and friends.