Tchaikovsky: A Listener's Guide.

* Tchaikovsky: A Listener's Guide, by Daniel Felsenfeld. Amadeus Press (www.amadeuspress.com; [phone]), 2006. 118pp. $27.95.

Daniel Felsenfeld's new book Tchaikovsky: A Listener's Guide is another book in the series Unlocking the Masters published by Amadeus Press. The objective of the books in this series is precisely what the tide implies--to give the listener tools to be more effective as a listener, and in this task, Felsenfeld has succeeded in a big way. This book is intended for the novice and expert alike, and is written in a non-academic style that is immensely readable and, at least in the case of this reader, hard to put down.

The book is accompanied by two CDs with performances of the works that are discussed. Felsenfeld suggests that one first listen without the aid of the book--the "blow-by-blow" descriptions as he puts it--to develop one's own opinion of the work being discussed. Only after some familiarity with the work does he suggest that you listen while following the text with the blow-by-blow accounts of what's happening. (One is easily able to follow these accounts because of the inclusion of exact timings.) Finally, he recommends listening again without the aid of the text. At this point, he suggests, whether one likes the piece or not, an educated opinion is formed.

Felsenfeld has chosen to focus only on orchestral works--"the works by which we know him [Tchaikovsky] best" as he puts it, and includes in his discussions the Romeo and Juliet Overture, The 4th and 6th Symphonies, Concerto for Violin, 1812 Overture, Serenade for Strings in C Major, and the Nutcracker. A wonderful aspect of this book is that one can read it in any order, and can focus on each work as much or as little as desired. I started with the two symphonies, and did as the author suggested: I first listened without reading anything, then listened while following along with the text, and finally, I listened again without the aid of the text. Although Felsenfeld says we should feel free to disagree with him, for he is seldom always right and his metaphors are "stabs in the dark," I found that I practically always agreed with him and his metaphors were extremely illuminating.

For the pianists who are reading this review: do not disregard this book because it's not about piano music. I am a pianist, as I know many of the readers of AMT are, and this book is for anyone who wishes to try to understand music better. I am constantly telling my students that they must look for more color in their playing as well as creating some kind of story for the works they're studying. What a wonderful tool this book will be to them in this task! As Felsenfeld reminds us in the introduction--"listening is a nonstop process and one never listen too deeply or too well."

Felsenfeld hopes that reading this book will give us tools to better understand all music. Well, I, indeed, have found myself listening to music with a renewed vigor, and this book has inspired me to get back to work with more energy in my teaching, practicing and listening. Thank you, Mr. Felsenfeld!--Reviewed by Jim Litzelman, The Catholic University of America 

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