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Mozart in the Jungle: Sex, Drugs, and Classical Music
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In the tradition of Anthony Bourdain's Kitchen Confidential and Gelsey Kirkland's Dancing on My Grave, Mozart in the Jungle delves into the lives of the musicians and conductors who inhabit the insular world of classical music. In a book that inspired the Amazon original series starring Gael Garcia Bernal and Malcolm McDowell, oboist Blair Tindall recounts her decades-long professional career as a classical musician, from the recitals and Broadway orchestra performances to the secret life of musicians who survive hand to mouth in the backbiting New York classical music scene, trading sexual favors for plum jobs and assignments in orchestras across the city. Tindall and her fellow journeymen musicians often play drunk, high, or hopelessly hungover, live in decrepit apartments, and perform in hazardous conditions. These are working-class musicians who schlep across the city between low-paying gigs, without health-care benefits or retirement plans - a stark contrast to the rarefied experiences of overpaid classical musician superstars. An incisive, no-holds-barred account, Mozart in the Jungle is the first true, behind-the-scenes look at what goes on backstage and in the Broadway pit.
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Audible Audiobook
Listening Length: 12 hours and 22 minutes
Program Type: Audiobook
Version: Unabridged
Publisher: Audible Studios
Audible.com Release Date: March 31, 2015
Whispersync for Voice: Ready
Language: English, English
ASIN: B00SVY4DKU
Amazon Best Sellers Rank:
Another example of watching something produced by Amazon.com and wondering about the original work AND liking the original work better! The video series Mozart in the Jungle is entertaining mind fluff. Just fun stuff with attractive and interesting characters and mostly engaging story arcs. Tindall's book is much more than that. She narrates her way through her years in the classical music biz in a very engaging manner, exposing her own shortcomings in the process. As a fun-to-read confessional, it would get 4 stars. But I give it the 5th star because Tindall puts her experience in perspective. It's not just a la-dah-dada-dee tale of her trials and tribulations in the oboe biz. The book also slips into researched commentary that uses her own story as a means of making larger points about the classical music business in this country. Very strongly recommended.
Great book. I bought it because I love the series, but the book is very different -- not in a bad way. Both are worth the time. If you are a fan of the show, though, I'll warn you that there are plenty of times during the book when you cannot even begin to understand how a comedy series -- well, more of a dramedy -- came from this book. There is some sensitive subject matter that may be hard to read, and is far from the light, comedic tone of the show. But, once you get past that, and separate the book from the show, this is an amazing read, especially for people with a background in classical music.
I got the book because I had been hugely enjoying the TV series based on it on Amazon Prime; I was astonished at how very different the two versions were. The series is a jazz riff on the book's theme, playing for comedy, while the book is a sober account of the development and life of a musician, une vie boheme with sex and drugs (and the ingénue is TB-free) that is more fun in the opera than in real life. It begins with a government decision to add a culture war to the Cold War by promoting (and funding) the arts. With that substantial encouragement, arts schools opened and students flocked to them to become artists for a public very much less interested in their art than the government had been. Instead of finding decent positions to practice their art with a decent return on their investment, they became freelancers in a crowded field (and becoming more crowded every decade). Classical musicians in the U.S. live a precarious existence, getting gigs wherever they can for whatever is being paid; most lack health insurance and any savings toward retirement: they are happy to make it to the end of each month without owing more money than they had at its beginning. Having been a freelance writer/editor myself for ten years, I know what that can be like: the same arts funding that generated musicians cranked out a lot of marginally employable PhDs in literature at the same time. In academia, the snobbish joke about music majors is that they are as interested in education as are jocks, and vocalists even less so. Blair Tindall confirms that in her account: seeking a real college degree and taking a cram course for admission, she could not pass a practice math exam because she had no idea of what "x" meant. Perhaps the brightest moment of the book was of her paying $500 for a personal evaluation that revealed more potential talents than just the oboe. Accepted at Stanford with a scholarship in her thirties, she emerged with a fluid and muscular prose to which many an English major may only aspire. She was surprised that real college professors never allowed their office doors to be closed while talking with students; closed doors and sexual "instruction" was the norm at her musical arts high school. Her book is a joy to read, even if it has more sobering thoughts than laughs. The television series has the laughs and excellent performances. It is worth watching as well: it is the champagne froth of this profound book.
This was a blast from MY past. Trained as a classical oboist at about the same time as the author....well, some of the book was greatly amusing, some of it was a trip down memory lane...actually a lot of it was that. It was disturbing and kind of like a huge flashback for me. Very honest and insightful look at the real world of performing. I remember being the guest at a symphony ladies' tea and having them gush all over me..."oh, it must be so much fun to just play music all day long". Gush gush gush.....I was probably making less than a third of what they paid their maids,AND I carried a monster size bottle of pepto in my bag which I would swig right from the bottle, trying to calm the nerves caused by trying to please a real S.O.B. of a conductor. Interesting life to be sure.
Blair Tindall's biography is a window into the inner workings of classical music-making, sort of the sausage-making processes of this over-glamorized industry. Too many qualified applicants for too few job openings is one of the biggest takeaways of the book, followed by unjustified, bloated salaries of music executives, while the creators of these arts are the financial "bottom feeders." Much like greater society itself, actually. There's still plenty of the promised salacious sexual side of that world, for those who are looking for that. Great read.
An ingenue classical oboist gets an education about the underside of a music career and what it takes to become a member of a famous orchestra. It is an opera of egos, human frailties, sex, inspiration, and fundraising.I also like seeing the lives of the young hopefuls who flock to New York with big dreams and small bank accounts, and how they make the best of their situations while looking for love.I loved it and would recommend to anyone who has even the slightest interest in classical music and creativity.
Having watched a few episodes of the show, this was an unexpected deep dive into the writer's life and career in classical music. It gives in depth insight into the industry, lots of behind the scenes, history of many famous players little known to the average person and real slice of life of classical musicians in NYC. Back to the show now, can't get enough!
Anyone who expects this to be like the television series will be very disappointed. It serves as a reality check for anyone thinking about making classical music a career. Ms. Tindall's telling of her experience makes such a career seem to be full of gossip, nastiness, and poverty-not at all as glamorous as the television show depicted.
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