By Stuart Isacoff
A desirable party of the piano, together with stories of its masters from Mozart and Beethoven to Oscar Peterson and Jerry Lee Lewis, instructed with the services of composer and writer of Temperament, Stuart Isacoff.
This heritage takes us again to the piano's humble genesis as an easy keyboard, and exhibits how every body from Ferdinando de’ Medici to Herbie Hancock affected its evolution of sound and impression in renowned tune. proposing the device that has been on the middle of musical improvement over the centuries in all its good looks and complexity, this explores the piano’s features and the diversity of emotional expression it conveys in numerous artists’ arms. A usual heritage of the Piano is fast moving and exciting, with appealing illustrations and images, a must-read for tune fans and pianists of each level.
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Additional info for A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between
I am afraid that in our own country today the musical experiences most widely shared are country music and rock—alas, not even good jazz anymore. But contrast certain European countries. In Vienna you can still choose the musical Mass you want to hear on Sunday in any one of several beautiful baroque churches: a shared experience of ritual, music, and architecture. Or consider the example of Berlioz, who was acutely aware of the role of his art as a source of shared experience. And he wanted the experiences to be widely shared—no chamber music for him!
5–8 E: I C: I 64 V7 I b. Otello, “Kiss” motif, 13 measures from end Other examples of the technique may be found in Scriabin’s late works. What I often hear there is a chain of constantly transferred quasidominants. Their tonics are never unambiguously stated; their ultimate resolutions are indefinitely—even perpetually—postponed. Transferal and postponement do not require the highly charged chromatics of the later nineteenth century; they can work equally well in the simpler environment of Schumann’s Dichterliebe.
Schumann’s words indicate that the design, musically convincing though it may be, is not purely musical in conception. It is partly determined by narrative or dramatic considerations. ”20 The listener who takes a composer’s intentions seriously must often come to terms with such extramusical references. Those who scorn specific verbal aids, even when supplied by the composer himself, must still “construct a metaphoric scenario or plot” if they are to appreciate the full import of his message. And in that respect there is little difference between explicit and implicit programs.
A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between by Stuart Isacoff