Hallelujah Junction [Hardcover]

So as not to diminish my thoughts on this book, I should first mention that I am a great lover of Adams' music, and as a composer always interested in what other composers have to write about themselves. That being said, this is a wonderful book in every way. Adams is a graceful and charming writer, and the book runs on several parallel and intertwined courses that are mutually supportive, like elegant counterpoint. He recounts his personal and professional life, and along the way examines himself, his art and the music of other colleagues. His critical evaluation of his own work and that of others is exceptionally clear, well-considered and wise, and his thoughts on what it takes to be a composer, what he feels is the right path, and his own experiences of the difficulties of living as a serious, creative artist in America are sober and courageous. I find myself constantly re-reading passages simply for the pleasure of the insight of his thoughts and his ability to express them.

This is a book for all readers, not just specialists or fans. It's an exceptional autobiography of any kind, of any figure in contemporary American life, and for anyone interested in classical music in general, and the current iterations, this book demands to be read. This will be as essential a part of the literature of music as Adams' own work is an essential part of the history of music itself.

John Adams' background, rise, and development to perhaps the foremost American classical composer alive is well examined in this autobiography. A fan of his compositions from the outset and having seen many of their performances sometimes with Adams conducting, I find additional resonance with his rich and lively descriptions of nearby locales, characters, musics, and events, since I, just two years his senior, had lived under similar and often the same musical and socio-cultural influences in the Bay Area. Adams' takes on John Cage, early electronica, and Miminalism's Steve Reich and Philip Glass are keen, full of peer insights. Adams acknowledges that he discovered his voice, his own unique compositional style, at age 30 after a long series of avant-garde experimentation. His influences besides classical composers, including Wagner and Ives, were psychedelic rock (e.g., Jefferson Airplane, Jimi Hendrex, Janis Joplin, and the Grateful Dead) as well as jazz greats (e.g., Miles Davis, Dave Brubeck, Eric Dolphy, and John Coltrane). Adams is a Boomer composer who lived the alternative and experimental musical life. In 1981, his choral symphony "Harmonium" premiered at the inaugural of Davis Symphony Hall of the San Francisco Symphony. It launched him, providing an international reputation and a major record label, Nonesuch. (Later, his "Dharma at Big Sur" celebrated the opening of Disney Hall, home of the Los Angeles Philharmonic.) His second punch was "Grand Pianola Music", whose conceptual source was an LSD memory of his attending a Rudolf Serkin concert of Beethoven's Emperor Concerto; the keyboard of Serkin's Steinway seemed to be continually expanding.

The early years of Adams' upbringing, training, surviving with odd jobs, and becoming established were the most interesting for me, as it illustrates the social forces and dispositions that make the person. The later and current years are the increasing successes of an international musical leader, and the parade of orchestras, conducting, travels, and assorted musical stars are as we expect, although much of the details of creating a composition and performance are particularly worthy. I found his perspectives on music, musicians, and the actual work and struggle of composing always edifying. Reading the autobiographies and biographies of composers have a historical and analytical purpose, but this nontechnical book is contemporary in every way, making it attractive to the general reader, not just the musicologist or classical music fan. Adams is only in his early 60s and far from retirement. There will probably be a future updated account of life long after we revel in his forthcoming compositions.

John Adam's memoir is like his music - it's spirited and immediately engaging but wears thin after prolonged exposure. I obsessively dipped into Hallelujah Junction and enjoyed Adam's early history as well as his struggle to find a unique musical voice. He's truly articulate explaining his inspirations, sources and challenges. But as the book progressed my attention flagged, particularly after his description of Nixon In China. His critique of Philip Glass was insightful but I think he might take a cue from Stephen Sondheim who refuses to criticize the work of his living contemporaries. It comes off as mean spirited. Still, I enjoyed this book but I have to say I don't think I'll finish it.

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