Rating: 
Summary: Insightful and touching
Review: I wish this book would have had twice as many pages, at the least. I found it utterly impossible to put down, raced through it in barely two days, and now feel bereft for having reached the end. Fortunately, the Guarneri's themselves are still going strong, though cellist David Soyer made way a few years ago for his pupil Peter Wiley. This book deals with the (many) years before that change took place. Arnold Steinhardt is as engrossing a storyteller as he is a violinist, and addresses the multitude of issues, both musical and personal, connected with string quartet playing without ever being boring, pompous, or academic. On the contrary, his lively, often humorous style of writing and the uncompromisingly personal tone he adopts prove perfect vehicles for an in-depth look at the daunting challenges involved in playing the quartet repertoire, but are also highly endearing. By the end you feel you truly got to know these players; an additional reason why the extensive description concluding the book, of a 90's performance of Schubert's Death & The Maiden, interspersed with Steinhardt's musings on the eventual finiteness even of the long-lived Guarneri Quartet, is extremely moving. The focus on such well-known repertoire, by the way, (Beethoven's op. 59/3 and the Cavatina from op. 130 are other Steinhardt favourites) are typical of the accessibility of the book and its laudable lack of snobbery.
Before these final pages, the author offers anything from concert-tour anecdotes, string quartet gags and quartet psychology to insights into the rehearsal process, repertoire choice, musical history, the peculiarities of amateurs, as well as thoughts on the relative merits of recorded and "live" performances. Deftly drafted portraits of musical giants like, say, Georg Szell or Arthur Rubinstein add further interest; the brief appearance of Jacqueline Du Pré as a "pale milkmaid in a flowerprint dress" who then incongruously attacks her cello with animal-like abandon I found quite unforgettable.
In all, I would strongly recommend this book to anyone interested in chamber music; but it will be a special treat for those with some experience in quartet-playing (if only by pointing out that string quartet repertoire is hard even for players of Guarneri-stature...).
Rating:
Summary: A Fantastic Insight into the World of Chamber Music
Review: I'm a musician, and I play in chamber groups, so had a blast reading this book not just because it's a great biography but also because I could relate to a lot of what happened to the quartet!Even if you aren't a musician, you'll like this book because it gives you a feel for what it's like to be a part of a chamber group (and being a classical musician!)
Rating:
Summary: The Four Chambered Heart
Review: If you are intrigued by music and how it's made, by the hearts and minds of those who have devoted their lives to making instruments sing, then this will be one of the most interesting and satisfying books you've ever read. Arnold Steinhardt, the first violinist of the Guarneri String Quartet, has that rare ability to step outside his discipline and bring it alive for others. Indivisible by Four is the story not only of how the Guarneri String Quartet came to be, but of how four very different musicians have managed to forge a unique musical identity for themselves as well. Here you will hear how Steinhardt and his colleagues approach a piece - about their differences and how they are resolved, the things that worked and those that didn't, the inevitable surprises and how they got through them. Best of all, from the perspective of someone who is not a professional musician, is Steinhardt's ability to bring the technical as well as the human elements alive for the reader. I came away with a good solid introduction to chamber music in general, and to the music and composers that have shaped it. Steinhardt even manages to toss in some music theory without allowing the pace to slow to a crawl. An action packed thriller with plenty of twists and turns in the plot this is not. Expect instead to be treated to a very personal and intimate glimpse into the hearts of four very gifted and dedicated musicians.
Rating:
Summary: Steinhardt writes wonderfully about quartet life.
Review: Steinhardt writes from the heart and also head - in his non self - serving, refreshingly honest, and totally revealing journey of the 35 years he has spent as first violin of the Guarneri String quartet.
Rating:
Summary: A delightful insight into the lives of famous performers
Review: Steinhardt, a born story-teller, writes with modesty, wit, and exuberance about the backstage and onstage lives of chamber musicians. His book is filled with well-observed and often hilarious details about the performing life, and casts light on what it takes to make it as a successful chamber musician. Put this book on your shelf next to Arthur Rubinstein's classic autobiography, My Young Years.
Rating:
Summary: GREAT book about chamber music
Review: This book is required reading in the chamber music literature class I teach at a university. Steinhardt's writing is charming and easy to read, and he gives a fascinating look into what it's like to work with the same 3 men in such close quarters for 30+ years. If you have ever enjoyed a chamber music concert, or played chamber music yourself it is a must read. My students who play in rock bands also have found it a very valuable book, since a band is a similar animal to the string quartet.
Rating: 
Summary: Insightful and entertaining
Review: This insightful book by Arnold Steinhardt, the first violinist of the Guarneri String Quartet, is a must-read for anyone, whether musician or listener, with an interest in chamber music. Steinhardt traces his own evolution from aspiring soloist to quartet member, as well as detailing the inner workings of the Guarneri Quartet. Anecdotes abound here, with often humorous, intimate glimpses of well-known musicians such as Pinkas Zuckerman, Rudolf Serkin, and Arthur Rubinstein. Steinhardt's love of music is palpable as he discusses the strengths and pitfalls of specific pieces, the textures of orchestral and chamber music, the playing styles of various musicians. The most interesting aspect of this book, however, is the process by which four highly individual musicians learn to play as one. Although repetitious at times, this book is a delightful examination of one of the most celebrated quartets of our time.
Rating:
Summary: Insightful and entertaining
Review: This insightful book by Arnold Steinhardt, the first violinist of the Guarneri String Quartet, is a must-read for anyone, whether musician or listener, with an interest in chamber music. Steinhardt traces his own evolution from aspiring soloist to quartet member, as well as detailing the inner workings of the Guarneri Quartet. Anecdotes abound here, with often humorous, intimate glimpses of well-known musicians such as Pinkas Zuckerman, Rudolf Serkin, and Arthur Rubinstein. Steinhardt's love of music is palpable as he discusses the strengths and pitfalls of specific pieces, the textures of orchestral and chamber music, the playing styles of various musicians. The most interesting aspect of this book, however, is the process by which four highly individual musicians learn to play as one. Although repetitious at times, this book is a delightful examination of one of the most celebrated quartets of our time.
Rating:
Summary: Review of this book and For the Love of It by Wayne Booth
Review: This review from the April 27, 1999 issue of the University of Chicago (my daughter's school) Maroon by Daniel B. Ginsberg is excellent. I'm look forward to reading the books and listening to the Guarneri Quartet. It would be difficult to find two more different people to write memoirs on their encounters with chamber music. Wayne Booth is professor emeritus of English at U of C. At thirty-one, he took up the cello with little prospect of sounding like virtuoso Yo-Yo Ma or Pablo Casals. Years of practice would be required for Booth to extract lush phrasing and warm sonorities from his cello. Yet Booth maintained a rigorous practice schedule for over four decades, and he now plays lovely chamber music with his wife and friends. In For the Love of It, he explains his passion in hopes of inspiring others to follow his lead. Gifted with talent and early musical education, Arnold Steinhardt went on to become the first violinist of the Guarneri String Quartet, one of the most successful string quartets of the twentieth century. Composed of its original members for thirty-five years, the ensemble has shed new light on many of the towering masterpieces of the string quartet repertoire. Through their sure technique and warm, supple tone, they have encouraged a slow but steady growth in chamber music listening across the country. Their concert to a packed Mandel Hall last October is only indicative of that ever-rising interest. With Indivisible by Four, Steinhardt seeks to review their career and get at the question of how the ensemble could remain together for such a long time. From these vastly different perspectives, Booth and Steinhardt come to similar conclusions about what has kept them going. Booth seemingly strives for the impossible while Steinhardt and the Guarneri adhere to their busy recording and performing schedule because the rewards of sharing some of the finest music ever composed with an audience and one another far outweigh the challenges of the lifestyle. These challenges are no small thing for either musician. For Booth the impediments in his amateur hobby -- what he calls his "cello-reach" -- all flow from picking up the instrument late in life. Because he lacked the early training, he never developed the dexterity and coordination to play at the highest levels. No matter how much he practices or how high quality the teaching he receives, there is simply no way that he will ever be able to master the intricate thumb positioning and effortlessly ripple those arpeggios. This unfortunate physiological fact deters most from picking up the instrument and compels many a daring soul to quit. For Steinhardt and the Guarneri, subjugation of one's musical identity to the group and the search to find balance among four musical voices provide the primary source of tension. Each member of the quartet, including Steinhardt, cellist David Soyer, violist Michael Tree, and violinist John Dalley, often has a different view on how to interpret certain passages of a work. The process of compromise is not unlike democratic government and can be equally frustrating. Beyond these essential interpretive issues are the logistical problems of a nine-month performing schedule that takes the group across the world. Most troubling for Steinhardt is the fact that the Guarneri will spend far more time with each other than their families. But a lifelong, active engagement with chamber music provides almost innumerable benefits. Booth argues that there is something very special in the status of being an amateur, when the risk of failure is a central part. Learning to manage the inevitable pitfalls and slips has deepened his life, lodging the music that he plays deep in his soul and soothing the process of aging as a result. The Guarneri, meanwhile, have the undeniable joy of commercial success to propel them along. Ultimately, though, what underlies the Guarneri's accomplishments and Booth's struggles is an all-encompassing love of the music itself. Both of the authors think that the great composers saved their best work for the chamber genre. Beethoven's string quartets, for instance, are monumental works that not only inspired Booth's original interest in chamber music, but also provided far and away his most memorable playing experiences. For the Guarneri, playing the entire cycle of 16 quartets is the ultimate experience, though the thrilling final five pages of Indivisible by Four should leave no doubt about Steinhardt's affinity for the string quartets of Franz Schubert. His description of a performance of Schubert's quartet in D minor, Death and the Maiden, is perhaps the best literary account of what it is like to play in a string quartet, compelling the reader to listen along on one of the Guarneri's two recorded versions. How this music could be some of the greatest ever composed is a question both authors seek to explore. Steinhardt thinks the answer lies somewhere in the wonderful economy of four-part harmony. "The four-note chord contains what is essential, even of interest, but nothing superfluous or ornamental." This idea seems to confirm what Romain Rolland has written about Beethoven's final quartets, whose precise, clean lines lack the subterfuge of an orchestra's wash of tonal color. Booth, the lifetime scholar, thinks that this music reveals a divine force. Whatever the ultimate root of the music's greatness, Booth and Steinhardt believe that the communal aspect of playing chamber music with others transforms music making to almost a spiritual undertaking. Along with the gorgeous instruments themselves and the opportunity to connect with the great composers, Booth writes that the other amateur players have given him something more than he could ever hope to return -- the ability to quickly become intimate with another person through music. Such intimacy is something few worldly endeavors can provide. Unlike Booth, whose worst playing experiences involve playing for an audience, the Guarneri finds additional spirituality in sharing this amazing music with their dedicated listeners. Early in their career, they found it difficult to adjust to sparse recording studios. After a number of unsatisfactory takes in one recording session, their friend, cellist Jacqueline du Pre, showed up early for their dinner date and sat down to listen. Steinhardt charmingly recounts how her presence inspired them to their finest playing in days. Thus, at a time when rapid technological changes may be wrenching traditional relationships asunder, Arnold Steinhardt and Wayne Booth have offered a way to reconnect with others. Without some rigid doctrine, playing chamber music gives a sense of hope, modesty, and spiritual fulfillment that few other activities can bestow. Along with a full season of the U of C Presents chamber music series, the message of these two fine books has compelled this twenty-five-year-old doctoral student to rush to the Music Department for a list of violin instructors. To regretfully use an old cliche, better late than never.
Rating:
Summary: Bravo, Arnold Steinhardt!
Review: This wonderfully humorous and true-to-the-art book is sweet music to anyone who loves chamber music. Steinhardt gets it so right throughout this delightful book, I, like many of the other reviewers was disappointed when I reached the last page - I wanted it to keep on going...
Steinhardt hits a universal chord that will resonate particularly well with those "insiders" who have performed chamber music at any level. While reading it, I found myself digging into my CDs and listening to the piece the author was describing. The unique commentary accompanied by the performance brought me a new appreciation for the string quartet genre.
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