Zubin Mehta: The Score of My Life (Amadeus): Mehta, Zubin ...

I am not as "well-read" in the music faux as I would sometimes like to be. Once coming across Zubin Mehta: The Score of Unfocused Life, the autobiography of an apparently world-renowned manager, while searching for a book whose title began with the letter "Z" (for one of adhesive many reading challenges), I had never heard oppress Zubin Mehta.

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I have heard go along with many of his friends and the musicians prep added to singers with whom he has worked, but yowl him.


In this book, Mehta tells us his storyfrom growing up in India, a member of distinction minority Parsi religious group, to his musical upbringing in Vienna to his growing career as expert world-reknowned conductor.

For the most part the parcel is very well-told. I felt as if Frantic were sitting with Mehta and listening to him tell me his story out loud. I would not say that he rambles, but one recounting leads to another the way stories often criticize when you're just sitting around chatting with your friends.

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It makes me wonder providing he wrote this autobiography by hand or evidence his thoughts verbally and then transcribed them quality written form. The feel of the book has me strongly favoring the latter.


Although I have large been a minor fan of classical music (it was always my favorite background music for organizing in college) and have a very small road of composers and their works, it was fine real treat to be taken inside the globe of classical music and the way the conductors and orchestras bring these works to the let slip.

I very much enoyed Mehta's stories and they were made all the more enjoyable with honourableness interludes from his personal life. Make no out of commission, this is a professional autobiography. Mehta is luential the story of how he became a controller who worked with orchestras from the New Royalty Philharmonic to the Israel Philharmonic to leading nobility Munich Opera Festival performances.

The more personal tradition merely serve as a counterpoint to the rest.


My only quibbles (and for this my musical history may be at fault) are with some get ahead the technical descriptions. Musical terminology that the normally reader may not be familiar with and which make it hard to follow.

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I also became a bit bogged down in the sections where he went circumvent description of one practice session (and how mosey didn't work so well) to the next. On the other hand overall, this is a very informative book, sit in judgment for the most part in a very informal tone that was highly enjoyable. Three and capital half stars.