I have in my library a very small number of books on conductors and conducting. Some of the earliest thoughts on the subject are to be found in Berlioz’s Memoirs, which share with Leopold Stokowsky’s autobiography a certain amount of highly entertaining imaginative fiction mixed in with the facts. From Sir Henry Wood’s slim volume I remember advice on the importance of of labelling carefully one’s three rehearsals suits (three-piece of course!) so as not to get them mixed up! Others offer valuable insights into the psychology of the relationship between conductor and orchestra.

Of the works that are concerned primarily with technical matters my most treasured are those by Hermann Scherchen and Max Rudolph. Edwin Roxburgh’s new book, however, surpasses them all, especially for those of us involved in the performance of twentieth- and twenty-firstcentury music.

When the BBC Symphony Orchestra was formed in 1930 perhaps its most important brief was the commitment to the promotion of new works. During my time as Chief Conductor of that wonderful orchestra I conducted many premieres (and some important deuxiemes!) of works by composers ranging from the internationally renowned to the just emerging. It was a fascinating and rewarding experience, but from the very beginning of my career twentieth century and contemporary music had constituted a large part of my repertoire.

I could certainly have used Edwin’s help in those early days! But even now, in working my way through the very detailed examples in the book I have found myself marvelling at the clarity with which he analyses (and solves!) the problems which arise in these works and many like them. From the classic case of getting out of the 11/4 bar in The Rite of Spring to the complex interrelationships between tempi in Birtwistle, this book makes one constantly exclaim: ‘But, of course, that’s how you do it!’

For every conductor, from the aspiring to the highly experienced, Mr Roxburgh’s Miraculous Manual is a must. But it will also prove fascinating reading to anyone interested in learning how a composer’s intentions may be more perfectly realised and his performers enabled to make music with the greatest degree of security and comfort.