Sound Within Sound
Opening Our Ears to the Twentieth Century
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3 months free
Sound Within Sound
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Narrated by:
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Kate Molleson
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By:
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Kate Molleson
About this listen
A radical new book by journalist, critic and BBC Radio 3 broadcaster Kate Molleson, which fundamentally changes the way we think about classical music and the musicians who made it on a global scale.
This is the impassioned and exhilarating story of the composers who dared to challenge the conventional world of classical music in the twentieth century.
Traversing the globe from Ethiopia and the Philippines to Mexico, Jerusalem, Russia and beyond, journalist, critic and BBC Radio 3 broadcaster Kate Molleson tells the stories of ten figures who altered the course of musical history, only to be side-lined and denied recognition during an era that systemically favoured certain sounds—and people—over others.
A celebration of radical creativity rooted in ideas of protest, gender, race, ecology and resistance, Sound Within Sound is an energetic reappraisal of twentieth-century classical music that opens up the world far beyond its established centres, challenges stereotypical portrayals of the genre and shatters its traditional canon.
©2022 Kate Molleson (P)2022 W. F. Howes LtdListeners also enjoyed...
. Recently I’ve been scratching around for new things to listen to running into dead ends. This book has lifted a lid on a world I didn’t know. I’m so grateful. Thank you Kate Molleson.
Opened my ears to a whole new world
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But does it excite and compel? Hmm, no, not really.
Music criticism is tough.
Literary criticism is words about words, and that makes sense to an extent, but musical criticism is words about music, and that's a problem. How do you describe/evoke music in a compelling way using words?
Ditto with art criticism - words about paint on canvas, words about forms in space... you can describe an artwork. But can you evoke the experience of actuallly looking at it and experiencing it? No you can't.
This is a pivot point for a critic: and the only safe fallback is to get a tad poetic: try words like 'shimmering' ‘angular’ then maybe describe the scales and systems used etc. etc.
But this is not the work itself, can never be, it’s just a description/evocation of the work.
Like describing the view from Helvellyn or Snowden or Ben Nevis.
The description isn’t – can never be –the ’thing in itself’
So I enjoyed and finished this work, the social and cultural context of the composers etc were elucidated very well.
But on finishing, I was left with a curious empty feeling.
I also wondered – given its original remit - how the author chose/rejected composers.
What was that selection process exactly, I wonder…
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Interesting back stories, and very well read
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