Read what Vladimir Ashkenazy said about 'For Viktor'. Now available from Kindle.

It's taken a while -- I wanted to wait until the new cover was ready -- but For Viktor is now available from Kindle.

Maestro Ashkenazy is an acknowledged expert on Russian music. He has recorded Mussorgsky's Pictures at an Exhibition twice and has created his own orchestration of the suite which he has recorded with the Philharmonia Orchestra as well as conducting its performance with other orchestras all over the world. 

Here's what he said about For Viktor.    

What Vladimir Ashkenazy said about ‘For Viktor’

Dear Mr Bolton, 

I read your book For Viktor. The Story of Mussorgsky's 'Pictures at an Exhibition' with great interest and satisfaction. I think it is very important to try to bring school children to a certain level of appreciation and understanding of what great music of the great composers brings to all of us. I know of numerous examples of how children react being exposed to well presented lessons based on this kind of music and the results are absolutely astounding; apart from the fact that as they grow up they almost never abandon their affection for the serious music, they perform much better in all other subjects of their curriculum than those children who were not exposed to the same musical appreciation program. I know first hand of these examples in many countries - from the U.K. to Russia - having been a part of such programs.

I think your very well presented book on 'Pictures' could be a wonderful item in such a curriculum and I think you should endeavour in presenting it to various educational institutions in your country. I'll be delighted to be of help when needed and send you all my best wishes.

Sincerely

(Signed)

Vladimir Ashkenazy

About For Viktor

Based on fact, and historically accurate, For Viktor is written in Modest Mussorgsky’s own voice as he guides a young companion around the picture exhibition held in honour of his friend Viktor Hartman at the Academy of Artists in Saint Petersburg, Russia, in 1874. It was this exhibition which inspired Mussorgsky to write the suite of music he called ‘Pictures at an Exhibition’.

The book is written to be read or delivered in time with the playing of the music. The duration of each section — including each of the promenades — is about the same as the musical piece it describes. Indeed, important events in the narrative often intersect with appropriate moments in the music to bring the unseen pictures to life.

It is indeed a unique meeting of art, music and literature.

For Viktor. 'Pictures' performed wonderfully in a home recital

Last week I had an amazing experience. I was invited to an intimate home recital of Mussorgsky's 'Pictures at an Exhibition' by Ludwig Treviranus, New Zealand's most up-and-coming young concert pianist. When last year I learned that Ludwig loves the original piano version of Pictures, which he has absolutely mastered, I sent him a copy of my book For Viktor which I based on Mussorgsky's Pictures at an Exhibition.

He loved the book, we met and have become friends. And so he invited me to his recital. To hear Mussorgsky's amazing suite played on a beautiful old (1904) grand piano in a private living room is an amazing experience. Thank you, Ludwig.

Listen to a Radio New Zealand Concert Programme interview with Ludwig Treviranus.

You can read more about For Viktor here including reviews and a personal endorsement from Vladimir Ashkenazy. You can also download a free PDF preview.

See Ludwig's own website here.

Why don't all schools know this about music?

Last week Scots College’s director of music Andrew Stopps warned that a focus on maths and science — at schools and universities — is sapping talent from the humanities. He said that music was always put up against a second science subject and he had a hard time convincing parents that music wouldn't harm their kids' chances at university. 

Evidently he received support from professors at the country’s medical schools and law schools including Auckland University’s Professor John Fraser who said that some of the most successful and skilled doctors he knew had continued their musical interests. They all spoke passionately about how arts helped with the constant pressures of practising medicine.

‘To be able to tell your interviewers when applying for medical entry that you are a skilled musician does no harm at all,’ he said. 

He didn't go far enough 

In my opinion he should have gone further: being a musician — skilled or otherwise — should actually help you in your interview. Here’s why:

It is acknowledged by educationalists around the world that learning a musical instrument, and learning the musical theory that goes with it, dramatically enhances a student’s ability to learn in all subjects. No one knows  exactly why but the guess is that musical theory is unique enough to open new neural pathways in the brain while learning an instrument involves linking music on paper with physical coordination and dexterity: no other subject combines mind and body in the same way. 

The fact is learning music and an instrument (but not just listening to music) actually reshapes the brain.  

For example see this and this.  

Personal experience   

The only reason I’m writing about this now is that I have some personal experience. As well as being a  writer I am also a musician and a music lover. As a music lover I wrote a short book based on Modest Mussorgsky’s suite, Pictures at  an Exhibition (see For Viktor.)  
Writing For Viktor led to my meeting  and friendship with Maestro Ashkenazy
This little book came to the attention of the famous Russian pianist and conductor Vladimir Ashkenazy — incidentally a famous interpreter and arranger of Mussorgsky’s original music — who wrote a wonderful letter endorsing my book as a powerful educational tool.

His letter includes the following and quite remarkable paragraph (bold emphasis is mine):  

‘I know of numerous examples of how children react being exposed to well presented lessons based on this kind of music and the results are absolutely astounding; apart from the fact that as they grow up they almost never abandon their affection for the serious music, they perform much better in all other subjects of their curriculum than those children who were not exposed to the same musical appreciation program. I know first hand of these examples in many countries - from the U.K. to Russia - having been a part of such programs.

 

(You can read the whole letter on my website here.) 

Now why don't all schools know this about music?