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The events portion is set up chronologically, but the other sections cover societal topics such as sports, political life, women's pages, food pages.
The graphics are colorful and include illustrations, charts, and maps in imitation of modern newspapers and magazines.
It was interesting to us and it is our belief that the similarity to modern print media will intrigue students.
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Rather than getting bogged down in technical discussions of Webern's serial techniques, the author gives us the composer's life; stopping at crucial musical signposts to explain how his thought evolved. In each case, we're given an idea how to approach the given piece.
Webern's music often seems unearthly, and he comes across as a bit unearthly (or at least very impractical) himself. Still, we get a human portrait of him, which further encourages us to see the passion in his music.
As with all the books in this wonderful series, it contains copious quantities of drawings and photos, a complete list of compositions and a wonderful bibliography for further reading.
If you've always wondered what the big deal about Webern was (to the extent that he influenced 50 years of music, frequently by people who seem not to have understood his muse), this is a good place to start finding out.
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However, Schindler is not a transparent witness. Rather, he feels compelled to "protect" Beethoven from "his many enemies", for whom there is no historical basis. A sense of Schindler acting as guardian comes through strongly in the writing. The most striking example of this attitude is Schindler's description of the meeting between Beethoven and Rossini, a meeting which historically never took place!
Fortunately, this excellent Dover edition is thoroughly annotated - there are as many editor's notes as there are pages in the text! I recommend this book to anyone who is interested in reading a contemporary account of the life of the great composer, and who would enjoy witnessing the profound effect that he had on at least one of his associates.
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