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“... was a lot more to him than one-liners and limericks; and if one thing emerges from the thickets of Stephen Lloyd’s excessively long biography, it is that Lambert had one of the finest musical minds of his generation and a critical faculty second to almost none. During his lifetime, you would have come across him as a conductor, either at the Vic-Wells ...”

“... On the whole, Soviet writers knew when they were putting their heads on the block. Composers often didn’t, and it’s precisely the innocence and uncertainty of music – that content and meaning tend to reduce to questions of style, and that musical scores are impenetrable and their performance ephemeral – which make the history of the relationship between music and politics so troublesome ...”

“... Words without Music​ is Philip Glass’s second book about himself, and it inevitably includes some of the same information, or the same kind of information, as its predecessor, published in 1987 in New York as Music by Philip Glass and in London as Opera on the Beach. But the differences are significant. By the late 1980s, Glass was well known in America, mainly for his first three operas, Einstein on the Beach, Satyagraha and Akhnaten ...”

“... Trying to pin Ravel down,’ Roger Nichols writes in his penultimate paragraph, ‘is about as futile as trying to catch Scarbo in a bucket.’ It may seem a disconcerting admission to find at the end of a 350-page biography; but in fact it’s a positive and exact assessment, characteristically honest, and at the same time a high compliment to its subject ...”

“... In Judith Weir’s pocket Chinese opera The Consolations of Scholarship, the hero discovers the truth about his father Chao Tun’s unjust disgrace while researching old philosophical texts, and is consequently able to avenge his father and restore the family fortunes. It would be good to feel that one’s own dusty cogitations might have some such tangible, uplifting result ...”

“... Among the operatic victims of what its enemies nowadays refer to as ‘directors’ theatre’, Wagner has suffered as much as anyone. Keith Warner has the Wanderer crash-land his fighter plane into Mime’s cave; Phyllida Lloyd has Brünnhilde as a suicide bomber who blows herself up in the immolation scene; Jürgen Flimm turns Nibelheim into a microchip factory ...”

“... In the introduction to her authoritative biography of Shostakovich, published in 2000, Laurel Fay sounds a sharp warning about the historical value of personal reminiscences: Fascinating and useful as these can be, memoirs furnish a treacherous resource to the historian. Reminiscences can be self-serving, vengeful, and distorted by faulty memory, selective amnesia, wishful thinking and exaggeration ...”

“... Who​ was the most important 19th-century composer? Naturally, it depends on what’s meant by important: Beethoven overshadows them all, but Wagner generated more discussion, and more distaste. Few people would nominate Franz Liszt, because it’s usual to confuse importance with quality. Liszt was probably not the greatest composer of his time, yet his presence was everywhere in musical life from the moment that he arrived in Paris as a 12-year-old prodigy in December 1823 until his death in Bayreuth 63 years later ...”

“... appear more decorative than radical. The shock of the new is hard to feel at a distance, but as Stephen Walsh observes, we expect the music of the modernist generation, of whom Debussy was the first, to be difficult, abstruse, even rebarbative. The works of Schoenberg, Webern, Stravinsky and Bartók continue to present us with a residue of ...”

“... At the end of his two-volume biography, Stephen Walsh writes that Igor Stravinsky’s music is ‘the one unquestioned staple of the modern repertoire, the body of work that, more than any other, stands as an icon of 20th-century musical thought and imagery’. There couldn’t be a richer subject for a musical biographer and Walsh admits to having an obsession with his subject ...”

“... been deafened by the trumpetings of composer-theorists: a new translation – an impressive job by Stephen Walsh – of Boulez’s first (1966) gathering of manifestos and trenchant analyses, Stocktakings from an Apprenticeship has even now appeared, as if the dry controversies of yesteryear (‘Schoenberg is Dead!’) needed resuming. In the case both of ...”

“... strands in the Labour movement. Some, such as William Adamson, Vernon Hartshorn, Thomas Shaw and Stephen Walsh, were trade union moderates; others, like Fred Jowett and John Wheatley, were socialists from the Independent Labour Party (ILP) strongholds of West Yorkshire and Clydeside. In addition, there were the Fabian intellectuals Sydney Olivier and ...”

“... took a while to turn up details of my Irish (biological) mother’s birth. I knew her surname was Walsh, sometimes spelled with an e on the end, and where she was born, but I’d forgotten the maiden name of her mother, Downey, until it appeared in a record of her brother (she had many siblings). That clinched it. I’ve just received a copy of her birth ...”

“... had what is for Guest a paradigmatic conversation about Young at Court in the 1780s was Col. Stephen Digby, the Queen’s Vice-Chamberlain.) It is a tribute to Guest’s powers of perceptive analysis that some less promising 18th-century writers can just as usefully illustrate differing tones of exemplary reverence or exhortation, postures of explanatory ...”

“... as a proto-environmentalist. He sidesteps recent reassessments of the later verse, including Stephen Gill’s argument in Wordsworth’s Revisitings (2011) that the revised Prelude of 1850 was much more than a damage-limitation job on a heretical original text. Similar arguments animate the richly revised second edition of Gill’s biography (the first ...”