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Drawing heavily on their 15-year correspondence, this book is the first English-language biography of Carlos Kleiber ever written. Charles Barber offers unique insights into how Kleiber worked. This biography considers Kleiber's singular aesthetic, his playful and often erudite sense of humor, his reputation for perfectionism, his much-studied baton technique, and the famous concert and opera performances he conducted. It explores the great conductor's musical lineage and the contemporary contexts in which he worked, and it repudiates myths that inevitably crop up around genius and reflects on Kleiber's contribution to modern musical performance.
- Sales Rank: #913347 in Books
- Published on: 2013-12-26
- Released on: 2013-12-26
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 1.14" w x 6.08" l, 1.33 pounds
- Binding: Paperback
- 404 pages
Review
There's much, much more to Kleiber than the myth-making. At least there is now, thanks to Charles Barber's astonishing new book, Corresponding with Carlos: A Biography of Carlos Kleiber. Charles had a unique relationship with Kleiber. As a conducting student at Stanford University, with dazzling boldness and naivety, he wrote to Kleiber out of the blue and said he wanted to study with him. The key was Barber's use of humour and irony to attempt to elicit a response from Kleiber – it worked. Barber never formally became a student of Kleiber's (nobody ever did), but from 1989 until the maestro's death, he corresponded with the supposedly unknowable Carlos, and as well as vivid account of Kleiber's life, Barber's book publishes pretty well the complete letters he received. And they're a revelation. Kleiber proves as virtuosically funny and self-deprecating as he was incandescent on the podium....Barber's book does more than any other I know to simultaneously reveal the truth behind the Kleiber myths and to illuminate the deeper mystery of how his recordings and films continue to have such a talismanic power. This is a brilliant summary of Kleiber's way of making music. (The Guardian)
Barber is artistic director of City Opera Vancouver, with a longstanding, busy career in California music life, including contributions to Classical Voice. Corresponding With Carlos: A Biography of Carlos Kleiber offers unique insights into how Kleiber worked. This biography considers his singular aesthetic, his playful and often erudite sense of humor, his reputation for perfectionism, his much-studied baton technique, and the famous concert and opera performances he conducted. It explores the great conductor’s musical lineage and the contemporary contexts in which he worked.
(San Francisco Classical Voice)
Once the book turns from biographical sketch to lively correspondence, we get the thrill of reading—hearing—the voice of Carlos Kleiber, and all is light. (The Wall Street Journal)
Charles Barber's book on Carlos Kleiber is fascinating, remarquable and unexpected....Rich in details....it contains unique jewels as one can appreciate Kleiber's encyclopedic knowledge....While Charles Barber’s book is comprehensive, it is easy to read and the author fascination and respect is palpable at every page....This is probably the musical book of the year. (ConcertoNet: The Classical Music Network)
Charles Barber’s Corresponding with Carlos: A Biography of Carlos Kleiber represents an admiring younger conductor’s efforts, begun during his graduate-student days, to draw out a brilliant but eccentric and reclusive maestro through multiple layers of correspondence. (SymphonyNOW)
‘An artist par excellence’, and ‘creativity par exellence’ - those are the definitions that come to mind when one thinks of Carlos Kleiber. Each time he conducted, it seemed that the music was being created anew that very moment in all its greatness, beauty and freshness. How wonderful that now we have a book about this genius. Bravo and many heartfelt thanks to Dr. Charles Barber for his work! (Evgeny Kissin, pianist)
Having heard most of the world's best conductors in the last 35 years, I can safely say that none brought so much passion, energy and exquisite musicality and beauty to their work as did Carlos Kleiber. La Bohéme and Der Rosenkavalier under his baton at the Met will remain among my most treasured memories. In this fascinating work Charles Barber offers a rare glimpse into the enigma that was Carlos Kleiber. (Valéry Ryvkin, conductor)
This is mainly a book so fascinating that for once the ‘impossible to put down’ cliché is appropriate. Charles Barber was, in 1989, a young music teacher and conductor who sent a short letter to Kleiber, and to his amazement received a reply a few days later. He wanted to be Kleiber’s student, but there could be no question of that. Instead, they became frequent correspondents, and all of Kleiber’s letters concerning music are published here, with enough of Barber’s to make the exchanges intelligible….What makes Kleiber’s correspondence with Barber especially interesting is that Barber regularly sent Kleiber video cassettes of the great conductors, eliciting a deluge of comments on their style, greatness (or weaknesses), and their music. Kleiber’s criticism alternates with his commentary on his own slender repertoire and his growing distaste for conducting….The first 180 pages are devoted to a biographical sketch, with many quotations from letters: illuminating, but I doubt whether many readers will be able to resist the temptation to leap ahead to the epistolary section. (BBC Music Magazine)
As a musician and old Kleiber fan, one cannot resist the temptation to whole-heartedly recommend this book. (Teatro Colón Magazine)
About the Author
Charles Barber is artistic director of City Opera Vancouver. He is the author of Lost in the Stars: The Forgotten Musical Life of Alexander Siloti (Scarecrow, 2002). More information can be seen on his website www.correspondingwithcarlos.com
Most helpful customer reviews
16 of 17 people found the following review helpful.
A Labor of Love that explains much about the Enigmatic Master
By Gerontius
This has been a long time in the oven, but the pie is truly worth waiting for - and delicious! For Kleiber aficianados this book is pure GOLD.
This is no ordinary biography. Because of Kleiber's reclusiveness and unwillingness to give interviews to the press or potential biographers, the details of his early life are somewhat sketchy, the whole decade of his twenties and the dawn of his early career and the exact process by which he acquired the skills to go along with his great talent remain elusive. Barber offers the first English language attempt at a formal discussion. So far so good............
What is special about the book are the insights into Kleiber's psyche we can derive from the extensive correspondence that he and Barber kept up over many years. Barber as a student conductor had access to videos and recordings at Stanford University which he would shoot off to CK and these would provoke discussion of their contents, frequently to both insightful and very funny effect. These letters, faxes and postcards to Barber (as well as others to certain musicians and impresarios) portray Kleiber's complex personality in a way that enables the reader to understand the conductor as much more than the received wisdom of "weird, enigmatic, cancel-prone, skittish and indecipherable." Finally this is a chance to understand more about the man - which is what Biography is about.
There are numerous hysterically funny descriptions of fellow conductors and their perceived foibles, there is the well-known debunking of Celibidache, with a good deal more detail than I have seen before. The overarching themes in Kleiber's correspondence are his perpetual self-doubt, relentless self-criticism and search for perfection in performance. At the same time we learn much of what it means to be an artist, a performer and a musician in the jet set world. Kleiber is the antithesis to Gergiev who conducts a lot of things in a lot of places on a lot of occasions. Kleiber conducted hardly at all, and this book seeks with success to explain why.
Well done Mr Barber. You have done for Kleiber and his reputation what Oliver Daniel did for Stokowski in "Stokowski - A Counterpoint of View." You have shone a light and illuminated the life of the greatest conductor of the twentieth century, and you have done it well.
Recommended unreservedly. 300+ pages of gold. We Alberichs would give everything for this. So $75 is not so bad.
11 of 11 people found the following review helpful.
Bravo, Maestri!
By A. Selan
First, viewed with a critical eye, my impressions about the book were a bit mixed, sort of like the book's narrative itself. The author, himself a conductor, is obviously a vigorous fan, so a neutral biography seems to be out of the question from the start. But who can blame him. There are many of us who love Carlos Kleiber as a medium of divine music, as well as his imperfect nature. It is not difficult to imagine him thinking similarly about Beethoven. The man's resting place in Slovenia which at every occasion provides a meditative journey of tranquility is perhaps the best indicator of Carlos' enigmatic and tormented character which nevertheless continues to inspire.
In any case, I do think that the author did a great job. Bravo, Maestro! His correspondence with Carlos is a treasure and he well knows it. But regardless of that the price of the book should not necessarily be in a class of Carlos' conducting fees. So, this is not a definite bio of Carlos Kleiber and the question is whether we're ever going to get one, considering the secretive nature of his being. But this book is fun, a lot of fun, many well known and less known anecdotes of the fascinating man and his world. His character simply radiates from the pages. There are many humorous treats which will be devoured by Kleiber's fans. I definitely propose watching, reading and listening to the sources mentioned in the book, and the read is an even bigger pleasure. The author did a good but limited effort with the bio part of the research, vastly inferior to say Osbourne's Karajan bio (a must read!) although the way I see it, this part, by no means a minor feat, is to be viewed merely as a prelude to the letters themselves. These are a treasure, that's for certain. They convey vividly Kleiber's complexity as a person, his playful side, formidable intellect as well as his hyperactive humor and self-doubt.
A fascinating perfectionist of a man indeed, and true to himself and the music he so loved. Another important stone in the mosaic of Carlitos' already stupendous pedigree.
Huge thumbs up for the loads of fun and joy that the book brings, big thumbs down for the price.
14 of 16 people found the following review helpful.
Kleiber lovers rejoice!
By Wayne Richards
It's been a long wait, but finally we Kleiber addicts have been given a biography that amply rewards our patience.
Well, not 'given', exactly. It's a pricey book, but after only an hour with it I ordered two more copies for gifts. If you are a fellow Kleiber nut, this book is cheap at the price. If you've never quite understood why some of us go a bit strange on the subject, then you need this book even more than we nuts do.
Kleiber was simply the best conductor of the twentieth century, and that's a provable fact -- sort of. Here's the evidence. First, he was the highest paid conductor per concert. Any outfit would pay him almost any price thinking (correctly) that they had a bargain. That is, if he didn't cancel. He could get away with cancelling, and the cancellees would still come creeping back to him. He could demand fifteen or twenty rehearsals, and get them. Any other conductor would have to make do with maybe three. But not Kleiber.
The result was perfection, or as near as mortals get. But not just perfection; Kleiber could find something new and astonishing in the most thoroughly trodden works (Beethoven's Fifth!) and present the new insight not only perfectly, but also convincingly. It seemed he had a Fountain of Youth reserved for tattered old music scores; he would swish them in the Fountain and they would come out new and shiny. This was why people shelled out the (very) big bucks and endured all the foibles. Whatever the price, Kleiber came cheap. Much like this book.
"Corresponding with Carlos" is not quite a hagiography, though Dr. Barber definitely worships at the shrine. But I must insist: it's a very fine shrine, as good as you can get. But unlike the rest of us, Barber had a correspondence with Kleiber lasting well over a decade. These letters form the basis for an unusual biography, but Barber doesn't stop there. Knowing Kleiber gave him access to others who also knew Kleiber, and Barber has thoroughly mined every vein of ore available to him. We are treated to as complete a biography as we're ever likely to see.
But wait! There's more! The letters also contain fascinating discussions about music in general and certain works in particular; not ponderous appreciations of whole works, but the problems with them. It is unusual to hear a conductor wonder why nobody quite understands the importance of bar 147, or how to seat the cellos on stage, or advice on tempo at a certain moment. To hear (read) the things that concern a working conductor is to get a great look past the baton and beneath the tuxedo.
So was Kleiber a cranky, quirky recluse given to temper tantrums? Well, yes and no, but mostly no. He demanded perfection (that elusive grail) first of himself, then of performers, who worshiped him for it. His letters have insight, of course, but also some fine wit. And also quite a few very bad jokes. It's refreshing to know that his obsession with perfection did indeed have a very human boundary. Charles Barber includes a generous portion of these warts.
For many, Kleiber is the best conductor you've never heard of. Find him on You Tube conducting bonbons by Johan Strauss Jr. Play them first for the fun. Then play them again for the sound. Third time: watch Kleiber. Then you'll want to buy this book. Good for you.
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