John Mauceri brings a lifetime of experience to bear in an unprecedented, hugely informative, consistently entertaining exploration of his profession, rich with anecdotes from decades of working alongside the greatest names of the music world. With candor and humor, Mauceri makes clear that conducting is itself a composition: of legacy and tradition, techniques handed down from master to apprentice - and more than a trace of ineffable magic.

During a 68-year career, conductor Arturo Toscanini (1867-1957) was famed for his fierce dedication, photographic memory, explosive temper, and impassioned performances. At various times he dominated La Scala, the Metropolitan Opera, the New York Philharmonic, the NBC Symphony, and the Bayreuth, Salzburg, and Lucerne festivals. His reforms influenced generations of musicians, and his opposition to Nazism and fascism made him a model for artists of conscience.

Although we have heard the music of J. S. Bach in countless performances and recordings, the composer himself still comes across only as an enigmatic figure in a single familiar portrait. As we mark the 250th anniversary of Bach's death, author Christoph Wolff presents a new picture that brings to life this towering figure of the Baroque era. This engaging new biography portrays Bach as the living, breathing, and sometimes imperfect human being that he was, while bringing to bear all the advances of the last half-century of Bach scholarship. 

As his mother was dying, Philip Kennicott began to listen to the music of Bach obsessively. It was the only music that didn't seem trivial or irrelevant, and it enabled him to both experience her death and remove himself from it. He spent the next five years trying to learn one of the composer's greatest keyboard masterpieces, the Goldberg Variations. In Counterpoint, he recounts his efforts to rise to the challenge, and to fight through his grief by coming to terms with his memories of a difficult, complicated childhood.

In The Indispensable Composers, Tommasini offers his own personal guide to the canon - and what greatness really means in classical music. What does it mean to be canonical now? Who gets to say? And do we have enough perspective on the 20th century to even begin assessing it? To make his case, Tommasini draws on elements of biography, the anxiety of influence, the composer's relationships with colleagues, and shifting attitudes toward a composer's work over time.