Rating: 
Summary: Reviewer's Head in the Sand
Review: (...)In at least three instances (Phoenix, Charlotte, and
Cody's hometown Pittsburgh) "No Vivaldi in the Garage" has been of serious assistance for both the musicians and boards as they struggled to reach agreement that avoided bankruptcy of their orchestras. What Morgenstern has written is right to the point on almost every issue, and should be read by all who
want to keep their ensembles afloat.And I well know the feeling of the back stand player who is paid less for an entire season than the 'superstar' soloist or
guest conductor receives for a single subscription concert. (...) A musician in Pittsburgh
Rating:
Summary: Fascinating!!
Review: A fascinating view into the world of professional musicians -- fascinating because it focuses not only on artistic concerns but on business concerns as well. This latter perspective is what gives the book its punch and originality and, indeed, a most dispiriting message. Morgenstern demonstrates how the lack of adequate funding for classical music in North America is making it increasingly difficult for orchestras and festivals to survive and for young musicians to choose music as a career. A footnote: Once started this book cannot be put down. I read it in a single 12-hour marathon sitting.
Rating:
Summary: Please take note
Review: A strong admonition to pay attention, should one want to preserve one of the most precious gifts we have received from those who came before. Morgenstern writes intriquingly about his own musical development, and those who touched his life and inspired his devotion to the musical education of young people. He also casts dire predictions for the future of America's cultural life, given the lack of attention, commitment or passion by those who truly should know better. In addition, many candid, insightful vignettes are shared with the reader, including important names like Leonard Rose, Leonard Bernstein, YoYo Ma, Isaac Stern, and others with significant influence in the American musical scene. Most of all, the reader is asked to take note, and take action to prevent the demise of the American classical music scene.
Rating:
Summary: Music for all--almost
Review: Am I glad I came across this book. Although some family members are part of the classic music world on both sides of the baton, the world of classical music appeared to me as an elitist world, one the average person could only enter after passing a test on Mozart's life and analyzing pieces by Bartok and Brahms. The author humanizes this world, showing that to achieve in it one must have intelligence, above average skills which come with talent and continuous hard work, an ability to work with a variety of people and their weaknesses, honesty in analyzing the musical world, and persistance in the face of continuous vocational challenges based on real experience and not just the kind of gabby philosphy that one finds in the many how to succeed books. In an easy to read style, we outsiders learn some of the intricacies connected with conducting, performing and teaching. However, though the author gives us access to the elite world of classical music, I have to quibble with a few of his criticisms of other parts of the music world. He criticizes the funding given to army and school bands. While the world of his youth was conducive to a development of classical music skills, the huge majority of young people do not have such a fortunate background, avoiding classical music because the local school band just can't do the music well enough for it to be enjoyable. The condescending elitism he displays while talking about these groups was uncalled for and is out of character with the rest of the book which works very well at inviting us to share the classical music world.
Rating:
Summary: Do Something Before It's Too Late
Review: An engaging read, Sheldon Morgenstern's "No Vivaldi in the Garage" is a startingly truthful account of what goes on behind the scenes within the classical music industry in North America. The author, a seasoned musician, orchestral conductor and music educator, appeals to readers to "do something before it's too late!" That "something" may well be reinstating music education in the American public schools. Without that early foundation, there may be no hope of any classical music audiences in the future. My recommendation: Run out and get this book, read it and, within your own community, "do something before it's too late!"
Rating:
Summary: Inspiring and extremely enjoyable!
Review: As a non-artistic person reading this book, I didn't know what to expect. I was pleasantly surprised! No Vivaldi in the Garage is a great look at the crisis of Classical Music in the US entwined with the highlights of the professional career of conductor Sheldon Morgenstern. It was so interesting following the career of an American Conductor through the highs and lows. Mr Morgenstern offers great tales of his life experiences from growing up to dealing with such greats as Leonard Berstein and Wynton Marsalis. As someone who knows almost nothing about the industry and classical music at all for that matter, the book brought incredible insight. From Mr. Morgenstern's travels and experiences with different orchestras all over Europe to the turmoil of the music boards, directors and fundraising, it was all fascinating and at so many stages, quite frustrating. The last chapter gave great ideas about remedying the situation or at least making a start of fixing the problems. I know that throughout my entire education, I don't remember hearing more than 5 words about classical music, except for the mention of the Greats such as Mozart and Beethoven, and that was only in mentioning that they were great, but how, why, and hearing the music - Never. Such a shame for our culture today.
The book has certainly opened my eyes and I do hope that it will open others in the right positions to fight the good fight and hopefully soon, classical music will be taught in our schools and thought of among the population with as much respect as Rock N' Roll.
Also, as one who knows little about classical music, I am thankful for the names mentioned in your book. It offers a great guide to buying and listening to music in the future. So many names that seem so basic in Mr. Morgenstern's world will be a new experience for me and my family to be treasured in the future.
Thank you, Mr. Morgenstern for writing such and enjoyable and educational book. Even from an inartistic person such as myself, I can appreciate the grave loss that we will experience as a country if things don't change SOON for the future of Classical Music in the USA. And may the message be heard for the sake of our country and it's artistic culture.
Rating:
Summary: An Eye Opener for Volunteer Boards
Review: Every volunteer board member for any arts organization in the US (especially those related to classical music) should read this book before voting on anything at their next meeting. Morgenstern tells us the behind-the-scenes truth about the business of making classical music in America and casts some dire predictions about its future. He documents that symphonies in particular are in danger of going the way of the dinosaurs without a complete revamping of the manner in which America deals with the arts, its professional musicians and the musical education of its MTV age children. The book is grounded in Morgenstern's lessons learned as music director of the Eastern Music Festival in Greensboro, NC which he founded and lead for 35 years as conductor of the Eastern Philharmonic Orchestra before his move to France, where he now guest conducts regularly in Europe's more hospitable musical climate. Morgenstern gives both the layman and the professional alike a seldom seen glimpse into dealings with the prima donnas and bureaucrats, the geniuses and drudges, the students, volunteers, financial backers and paper-pushers who populate the classical music world and are collectively sitting silently by as it lies on its last sickbed. The book is full of personal stories about the best and worst of the famous, from Leonard Bernstein to YoYo Ma; but he also gives the reader some sense of the joys and frustrations he experienced at the EMF summer festival where he happily served as teacher and mentor for thousands young classical musicians over the years, many of whom have played with major orchestras all over the world. Every serious music student, professional musician or conductor will recognize in these collected rememberances familiar stories about the beauty and difficulty of a career in music-making. In a trumpet call for unlikely government support, Morgenstern leaves us a stern prediction that without strong European-type subsidies and a renewed dedication to music education in our schools, we may all soon discover that we will no longer be able to find any Vivaldi in the garage, or the local concert hall, on NPR or even on a CD at the mall for that matter.
Rating:
Summary: Bravo for the maestro
Review: Having just finished Sheldon Morgenstern's "No Vivaldi In The Garage" I find myself both melancholy and perplexed. With his 35 years as a well known symphony conductor and educator he is most certainly the perfect individual to issue a plea to save the musical arts in North America. This is a respected musician who for years travelled world wide spreading his knowledge of and love for music. It should be the desire of each of us who truely wish for future generations to be able to enjoy what is rapidly fading to help Mr. Morgenstern plead his case. I will give this book as a gift for all occasions.
Rating: 
Summary: Not what I expected
Review: I expected a book discussing the state of classical music in N. America by an insider. In fact, its more of a biographic presentation of the author's establishment of a reknowned summer training camp for young musicians. Only near the end of the book does he get into the issues of classical music's continuing slide into mediocrity. It was, nonetheless, interesting, even though there's no "red meat".
Rating:
Summary: Engaging
Review: I find this book engaging, extremely well researched, and highly informative. It certainly forced me to look at classical music (especially in terms of education) in ways that I'd not before done. I highly recommend it to those already involved in the performing arts, those who are thinking of a career in the performing arts, and especially to parents whose children are still of school age. As the author states, we are about to lose a precious commodity unless people begin to act quickly.
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