A Companion to Mozart's Piano Concertos | Hutchings, Arthur | Analysis and Performance | Oxford University Press | 1950 | Hardback | Used | 211 | In the words of Alfred Einstein, this classic study of Mozart's piano concertos is 'full of penetrating remarks not only about the piano concerto but about Mozart's art in general'. | Second | |||
Bach's Well-Tempered Clavier. An Exploration of the 48 Preludes and Fugues | Engels, Marjorie Wernell | Analysis and Performance | McFarland & Company | 2006 | 978-0-7864-2544-0 | Paperback | New | 214 | The book examines the significance of key and the emotional dimension Bach discerned in each tonality; and the symbolism of numbers. It also includes reference to other instrumental works by Bach in the samekey and melodic patterns | the symbolism of melodic and rhythmic motifs | First | |
Bach's Well-tempered Clavier. The 48 Preludes and Fugues | Ledbetter, David | Analysis and Performance | Yale Uiversity Press | 2002 | 0-300-09707-7 | Hardback | New | 414 | In his text, author addresses the main focal points mentioned by Bach in his original 1722 title page. Drawing on Bach literature over the past three hundred years, he explores German traditions of composition types and Bach’s novel expansion of them; explains Bach’s instruments and innovations in keyboard technique in the general context of early eighteenth-century developments; reviews instructive and theoretical literature relating to keyboard temperaments from 1680 to 1750; and discusses Bach’s pedagogical intent when composing the Well-tempered Clavier. | explains Bach’s instruments and innovations in keyboard technique in the general context of early eighteenth-century developments | First | and discusses Bach’s pedagogical intent when composing the Well-tempered Clavier. |
Beethoven: The 'Moonlight' and Other Sonatas, Op. 27 and Op. 31 | Jones, Timothy | Analysis and Performance | Camridge University Press | 1999 | 0-521-59859-1 | Paperback | New | 146 | This book provides an accessible introduction to the Sonatas Opp. 27 and 31 (including The 'Moonlight' and 'The Tempest'), aimed at pianists, students, and music lovers. It begins with the works' historical background - the emergence of a 'piano culture' at the end of the eighteenth century, Beethoven's aristocratic milieu in Vienna, and his oft-quoted intention to follow a new compositional path. An account of the sonatas' genesis is followed by a discussion of their reception history, including a survey of changing performing styles since the mid-nineteenth century. The concept of the Sonata quasi una Fantasia is examined in relation to the cult of artistic sensibility in early-nineteenth-century Vienna. And the study concludes with a critical introduction to each sonata. | First | ||
Beethoven's Piano Sonatas. A Short Companion | Rosen, Charles | Analysis and Performance | Yale University Press | 2002 | 0-300-09070-6 | Hardback | New | 256 | Author places the works in context and provides an understanding of the formal principles involved in interpreting and performing this unique repertoire, covering such aspects as sonata form, phrasing, and tempo, or the use of pedal and trills. In the 2nd part of his book, he looks at the sonatas individually, from the works of the 1790s through the sonatas of the early 1800s, the subsequent years of mastery, the years of stress (1812–1817), and the last three sonatas of the 1820s. | The book includes a CD of Rosen performing extracts from several of the sonatas, illustrating points made in the text. | First | |
Liszt: Sonata in B Minor | Hamilton, Kenneth | Analysis and Performance | Cambridge University Press | 1996 | 0-521-46963-5 | Paperback | 101 | Liszt's B minor Sonata is now regarded as his finest work for piano, and one of the pinnacles of Romantic piano music. This book, written by a pianist who has performed the Sonata extensively, includes a survey of Liszt's early attempts at sonata composition and clears away some of the persisent myths regarding program music in Liszt's output. The central chapters, built around an analysis of the B minor Sonata, discuss various interpretative approaches, while the concluding chapter treats the performance practice and performing history of the work. This is the first book to elucidate this ground-breaking piece for the general reader. | ||||
Mozart: Piano Concertos Nos. 20 and 21 | Grayson, David | Analysis and Performance | Cambridge University Press | 1998 | 0-521-48475-8 | Paperback | Used | 143 | This guide to Mozart's two most popular piano concertos--the D minor, K. 466, and the C major, K. 467 (the so-called "Elvira Madigan")--presents the historical background of the works, placing them within the context of Mozart's compositional and performance activities at a time when his reputation as both composer and pianist was at its peak. The special nature of the concerto, as both a form and genre, is explored through a selective survey of some of the approaches that various critics have taken in discussing Mozart's concertos. The concluding chapter discusses a wide range of issues of interest to modern performers. | First | ||
Mozart's Piano Concertos | Girdlestone, Cuthbert M. | Analysis and Performance | Cassel & Company | 1958 | Hardback | Used | 509 | Observes the growth of Mozart's form and inspiration throughout his twenty-three piano concertos. | Second | |||
Mozart's Piano Concertos | Irving, John | Analysis and Performance | Ashgate Press | 2003 | 0-7546-0707-0 | Hardback | New | 274 | In this study, John Irving brings together the various strands of scholarship surrounding Mozart's concertos. He treats the concertos as a repertoire, rather than as individual works and offers supporting documentation from the period. | First | ||
Mozart's Piano Sonatas. Context, Sources, Style | Irving, John | Analysis and Performance | Cambridge University Press | 2006 | 0-521-02741-1 | Paperback | New | 215 | Mozart's piano sonatas form a richly diverse and significant part of his instrumental output and span much of his mature composing career, thereby representing a microcosm of the composer's changing style. Part I examines the contexts in which the sonatas were composed and performed, and reviews likely sources of influence. Part II concentrates on the genesis of the sonatas and the sources, which reveals important information about Mozart's compositional process. In Part III the musical style is studied from the standpoint of rhetoric--a discipline featured in numerous contemporary aesthetic and theoretical textbooks on music. | First (Reprint) | ||
Playing the Beethoven Piano Sonatas | Taub, Robert | Analysis and Performance | Amadeus Press | 2002 | 1-57467-071-9 | Hardback | Used | 258 | Acclaimed pianist Robert Taub offers the insights of a passionate musician who performs all 32 of Beethoven's well-loved piano sonatas in concert worldwide, bringing a "fresh perspective on Beethoven," as the New York Times put it. In this book, he shares his intimate understanding of these works with listeners and players alike. | First | ||
A Pianist's Landscape | Montparker, Carol | Biographies and Interviews | Amadeus Press | 1998 | 1-57467-039-5 | Hardback | Used | 297 | These intensely personal and perceptive essays explore the author's life as a pianist - practicing, performing, teaching, and writing - but they could be the thoughts and reflections of any artist. They recount the challenges, rewards, and joys of her experiences in her chosen profession. | Montparker, senior editor of Clavier magazine, pianist, teacher, writer, and painter, relates her experiences with music and people in a thoroughly engaging way. She begins with comments on her love of nature, how she works, and how music is a comfort, and with letters and mementos. She continues with her experiences giving recitals and comments on audiences, preparation, and her love for chamber music. Turning next to her love for teaching and to teaching's rewards, she also describes her techniques for drawing the best from her students. Finally, she talks about her many interviews with famous pianists and the difficulties she had with those interviews. Returning home in the last essay, she longs for "the music of thrushes, Bach, Carolina wrens, Beethoven." Her essays will be enjoyed not by musicians only, but by all music lovers who want to be swept away by an honest and warm description of an artist's life and its trials and rewards. | ||
Arrau on Music and Performance | Horowitz, Joseph | Biographies and Interviews | Dover Publications | 1999 | 0-486-40846-9 | Paperback | Used | 305 | A subtle portrait of one of the world's great concert artists, this volume offers a vivid presentation of Arrau's unique and intensely felt beliefs about music and piano technique. In addition to conversations with Arrau, the author has included discussions with four of Arrau's renowned musical colleagues: Philip Lorenz, Daniel Barenboim, Garrick Ohlsson, and Sir Colin Davis. The result is an eminently readable portrait of a great artist, presented in an intimate, conversational format. | Second (Reprint) | ||
Artur Rubinstein. King of the Keyboard | Forsee, Aylesa | Biographies and Interviews | Thomas Y. Crowell Company | 1969 | 0-690-10467-7 | Hardback | Used | 180 | With dignity and affection, Forsee traces the life of this remarkable man: his early success in Europe, his happy marriage, his triumphant tours around the globe, his special concern for young musicians. Exuberant, affirmative, Artur Rubinstein has played more concerts before larger audiences than any other classical instrumentalist in history. Miss Forsee has given us a splendid portrait of this man whose devotion to music has been matched by his great love for life. | First | ||
Evenings with Horowitz | Dubal, David | Biographies and Interviews | Carol Publishing Group | 1991 | 1-55972-094-8 | Hardback | Used | 321 | Evenings with Horowitz dispels the myth and paints a warm and vivid picture of this often tortured and isolated man. The author, David Dubal, first came into Horowitz's life when they collaborated on a series of award-winning interviews. Later, Dubal became a weekly guest at the Horowitz home. The book is an account of their passion for music and the piano. It reflects the struggles and triumphs of the Maestro, a genius who was also insecure and fearful of old age and the loss of his powers. Evenings with Horowitz covers a lifetime of musical wisdom with countless anecdotes from the musical world. Horowitz reveals the agony and ecstasy of a pianist's career, his friendships and rivalry, his love and awe for the great composers. | First | ||
Great Contemporary Pianists Speak for Themselves | Mach, Elyse | Biographies and Interviews | Dover Publications | 1991 | 0-486-26695-8 | Paperback | Used | 258 | Fascinating interviews with 25 renowned pianists: Ashkenazy, Badura-Skoda, Bolet, Brendel, de Larrocha, Gould, Horowitz, Ohlsson, Tureck, Watts, 15 more. Revealing, candid thoughts about themselves, their careers, music they play, life of a concert pianist. Introduction by Sir Georg Solti. Includes 51 black-and-white photographs. | First (Reprint) | ||
Great Pianists on Piano Playing | Cooke, James Francis | Biographies and Interviews | Dover Publications | 1999 | 0-486-40845-0 | Paperback | Used | 418 | Great pianists discuss topics ranging from piano technique and musical development to becoming a virtuoso. Included are Busoni's "Important Details in Piano Study," Rachmaninoff's "Essentials of Artistic Playing," Paderewski's "Breadth in Musical Art," and much more. Includes 2 introductory essays, artist biographies, artists' study questions, more. | First (Reprint) | ||
Chopin: pianist and teacher. As seen by his pupils | Eigeldinger, Jean Jacques | Biographies and Interviews | Camridge University Press | 2006 | 978-0-521-36709-7 | Paperback | New | 324 | Translated accounts of Chopin's pupils, acquaintances and contemporaries, as well as his own writings, reveal much about his pianistic and stylistic practice, teaching methods and aesthetic beliefs. | First (Reprint) | ||
My Life with the Great Pianists | Mohr, Franz | Biographies and Interviews | Raven´s Ridge Books | 1995 | 0-8010-5710-8 | Paperback | Used | 199 | Franz Mohr recites some memories and personal stories that only a Piano Tuner would know about such greats as Cliburn, Gilels, Rubinstein, Horowitz, and Michelangeli. Moreover, Mohr gives a behind the scenes glimpse into Horowitz's historic return to Moscow, details that can be found nowhere else. As the close colleague of legendary musicians such as Vladimir Horowitz, Arthur Rubinstein, Glenn Gould, Rudolf Serkin and many others, Franz Mohr attended to their Steinway instruments, making delicate adjustments that affect tone, balance, and other characteristics of sound. It was Mohr who enabled these virtuosos to fully realize their own, individual interpretative styles, and to fully realize their concept of tonal color. Franz Mohr directed the preparation and maintenance of all Steinway pianos provided for concert and artists' service throughout the world and was the technical advisor to technicians at 100 dealer locations where hundreds of Steinway pianos stand ready for concert use. "This book tells Franz’s story. It tells much about what it is like to be famous and to play the piano in public. Not included is the loving care devoted by Franz and his associates to the unfamous, the debutantes - the ones who never quite make it - all of whom receive the same careful attention... Franz Mohr is a true friend of all musicians everywhere.“ (Henry Z. Steinway about "My Life with the Great Pianists") | Second | ||
Piano Mastery. The Harriette Brower Interviews | Brower, Harriette | Biographies and Interviews | Dover Publications | 2003 | 0-486-42781-1 | Paperback | Used | 233 | Here, in one remarkable volume, are the thoughts, musical insights, and invaluable practical advice from a host of world-class musicians. Ignacy Paderewski talks about the correct motion of fingers and forearm in his new "Méthode" | Josef Hofmann talks about the role of inspiration, Leopold Godowsky discusses the laws governing technique, more. Introduction by Dr. Jeffrey Johnson. | First | |
Piano Playing. With Piano Questions Answered | Hofmann, Josef | Biographies and Interviews | Dover Publications | 1976 | 0-486-23362-6 | Paperback | New | 183 | Great pianist-teacher's advice and specific pointers on piano technique, interpretation, performance. | First (Reprint) | ||
Rachmaninoff: Life, Works, Recordings | Harrison, Max | Biographies and Interviews | Continuum | 2006 | 0-8264-5344-9 | Paperback | New | 422 | Rachmaninoff's reputation now seems confirmed as one of the great figures of classical music yet there is relatively little written about his music and recordings. This book provides a unified biography of Rachmaninoff covering his life, works and performances. It offers a full analysis of his works and a complete account of his careers as a distinguished conductor, composer and concert pianist. | First | ||
Reflections from the Keyboard. The World of the Concert Pianist | Dubal, David | Biographies and Interviews | SUMMIT BOOKS | 1984 | 0-671-49240-3 | Hardback | Used | 400 | This collection includes all of today's leading lights, such as Claudio Arrau, Emmanuel Ax, Alfred Brendel, Misha Dichter, Ruth Laredo, Murray Perahia, Peter Serkin, and Andre Watts, along with many luminaries no longer with us including Glenn Gould and Vladimir Horowitz. In all of his interviews, Dubal discusses with each pianist matters of technique, performance, and interpretation, showing a deep understanding of the pianist's profession. This long-out-of print classic work is considered by many to be one of the best ever done on the piano, and an eager new generation of pianists and followers of Dubal's work will undoubtedly greet it warmly. | First | ||
Remembering Horowitz. 125 Pianists Recall a Legend | Dubal, David | Biographies and Interviews | Schirmer Books | 1993 | 0-02-87-0676-5 | Hardback | Used | 383 | The 125 original essays, edited by Dubal, are written by some of the world's major pianists, pieces that range from the few lines of simple appreciation to the carefully thought-out analyses of Horowitz's unique pianistic abilities. Personal anecdotes by pianists who knew Horowitz, especially those who played for or studied with him, add to the appeal of this intriguing book, which reveals much about the genius of a great artist and also offers insights into the way pianists listen to other pianists. | A CD of Dubal's interviews with Horowitz is included. | First | |
Rubinstein. A Life | Sachs, Harvey | Biographies and Interviews | Grove Press | 1995 | 0-8021-1579-9 | Hardback | Used | 525 | Illustrated with rare photographs, a biography by the author of Toscanini reveals Arthur Rubenstein's private life, including his love affairs, his rivalry with Vladimir Horowitz, and his relationships with the rich and powerful. 20,000 first printing. | First | ||
Sviatoslav Richter. Notebooks and Conversations | Monsaingeon, Bruno | Biographies and Interviews | Princeton University Press | 2001 | 0-691-09549-3 | Paperback | Used | 432 | Richter granted Monsaingeon hours of taped conversation, unlimited access to his diaries and notebooks. This volume offers readers the sizable pleasure of lingering in the thoughts and words of one of the most important pianists of the twentieth century. Unlike many other star performers, Richter was also an intellectual who had interesting things to say, particularly about the musician's proper role as interpreter of the composer's art. Most important for music lovers, Richter discusses his influences and views on musical interpretation. He describes his encounters with other great Russian performers and composers, including Prokoviev, Shostakovich, Oistrakh, and Gilels. Candid sections from his personal journals offer his sober and unguarded impressions of dozens of performances and recordings--both his own and those of other musicians. | Second (Reprint) | ||
The Great Pianists. From Mozart to the Present | Schonberg, Harold C. | Biographies and Interviews | Simon & Schuster | 1987 | 0-671-63837-8 | Paperback | New | 525 | Surveys the careers and personalities of the great pianists from Clementi and Mozart to the present day. | Second | ||
Virtuosi. A Defense and A (Sometimes Erotic) Celebration of Great Pianists | Mitchell, Mark | Biographies and Interviews | Indiana University Press | 2000 | 0-253-33757-7 | Hardback | New | 194 | In Mitchell's view, a virtuoso not only plays with superb technique but also invests love of the music in the performance, dares to be spontaneous, and collaborates with the composer in interpreting the work. A virtuoso should hold "the academy" at bay, for it is, Mitchell says, conservative and perhaps commercially oriented. Interspersed with commentary on the pianists he considers virtuosi, Mitchell discusses the social status of female pianists, encores, Paris, virtuosi in literature (particularly in E. M. Forster's novels), pianists portrayed in movies, pianists' seats, and competitions, which he decries. Throughout these short and long polemics, Mitchell shows that the qualities of the virtuoso transcend adversity, so that the virtuosi often triumph in the end over the academy. Along with all the history, stories, and opinions on the art of piano playing he relays, Mitchell provokes readers to assess the current state of music and performance in society and begin to change it. Meant for experienced classical music lovers, who will treasure its wealth of ear-opening comments. | First | ||
The Art of The Piano. Its Performers, Literature and Recordings. Revised and Expanded Edition | Dubal, David | Dictionaries | Amadeus Press | 2004 | 1-57467-088-3 | Paperback | New | 688 | This is the only complete and up-to-date book profiling every major pianist (thousands) and their essential repertoire and recordings. This third edition is completely revised, with hundreds more entries and updated information about existing entries. The book contains a CD for the first time featuring rare performances. The Art of the Piano is the best companion a piano aficionado could ask for. | Third | ||
Creative Piano Teaching | Lyke, James and Enoch, Yvonne | Methodology | Stipes Publishing Company | 1987 | 0-87563-297-1 | Hardback | Used | 362 | A recurring theme throughout the book is the unification of repertoire and technical training with musicianship skills and musical understanding. It is this philosophy which produces well-rounded musicians who enjoy and understand music as makers and listeners. | Second | ||
The Art of Effective Piano Teaching | Ascari, Dino P. | Methodology | 1st Books | 2003 | 1-4033-7344-2 | Paperback | New | 121 | The Art of Effective Piano Teaching, by Dino P. Ascari, specifically targets the instruction of beginning students, offering motivational techniques and sound teaching principles that give novice teachers experience beyond their years! Even veteran teachers will glean much from this inspired and accessible text. It is unlike any book in its field. It combines an eclectic array of tried and true teaching principles with some of the most innovative thinking to come along in years. Novice teachers as well as experienced instructors will glean much from this clear, concise, and accessible text. The Art of Effective Piano Teaching is a book that piano teachers will refer to over and over again. Along with the most clear and concise exposition of tried and true teaching techniques available, there is also a considerable amount of unconventional and innovative thinking. Once you combine your own unique talents and skills with the materials presented in this book your teaching effectiveness will assume a new and exciting dynamic. Developing the love of an instrument, and music in general, is accomplished by combining sound teaching principles with an abundance of motivational techniques. It is further accomplished by helping teachers understand that music lessons must be a positive experience for all students. | First | ||
The Art of Teaching Piano | Agay, Denes | Methodology | Yorktown Music Press | 2004 | 0-8256-8111-1 | Paperback | New | 519 | This is the definitive work on consummate piano teaching. Edited by world-renowned piano pedagogue Denes Agay, this comprehensive volume covers a wide range of musical styles and concepts, coaching processes, and teaching materials. As well as exploring every possible technical aspect of teaching piano, the book contains a great deal of commonsense advice on communicating with pupils, encouraging good behavior, and establishing a genuinely creative teacher/pupil relationship. The range of contents is all-encompassing. Chapters on performance and theory, styles and idioms, group teaching, and much, much more make The Art of Teaching Piano an unrivaled resource for all piano teachers. | Second | ||
Thinking As You Play. Teaching Piano in Individual and Group Lessons | Coats, Sylvia | Methodology | Indiana University Press | 2006 | 0-253-21815-2 | Paperback | New | 163 | Thinking as You Play focuses on how to teach, not what to teach. Sylvia Coats gives piano teachers tools to help students develop creativity and critical thinking, and guidelines for organizing the music taught into a comprehensive curriculum. She suggests effective strategies for questioning and listening to students to help them think independently and improve their practice and performance. She also discusses practical means to develop an awareness of learning modalities and personality types. A unique top-down approach assists with presentations of musical concepts and principles, rather than a bottom-up approach of identifying facts before the reasons are known. | First | ||
Alfred Brendel on Music. His Collected Essays | Brendel, Alfred | Performance Theory | JR Books | 2007 | 1-906217-01-7 | Paperback | New | 422 | Since the 1950s, the renowned pianist Alfred Brendel has been one of the most prolific recording artists. In this definitive collection of his writings-some of them never before published in English-he brings the clarity and originality of expression that characterize his performances to the printed page. Whether discussing Bach, Mozart, Beethoven, Schubert, Liszt, Schoenberg, or other pianists, his reflections will prove invaluable to serious piano players and listeners alike. | Second (Reprint) | ||
Basic Principles in Pianoforte Playing. With a New Foreword by Rosina Lhevinne | Lhevinne, Josef | Performance Theory | Dover Publications | 1972 | 0-486-22820-7 | Paperback | Copy, PDF | 48 | Great modern teacher and pianist's concise statement of principles, technique, and related material. Includes 10 musical examples. | First (Reprint) | ||
Famous Pianists & Their Technique | Gerig, Reginald R. | Performance Theory | Indiana University Press | 2007 | 0-88331-066-X | Paperback | New | 608 | A fascinating look at the technique of world-renowned pianists from the last two centuries | Second | ||
Interpreting Bach at the Keyboard | Badura-Skoda, Paul | Performance Theory | Oxford University Press | 1993 | 0-19-816576-5 | Paperback | New | 573 | In this important book, author draws on decades of studying and performing Bach to present new insights into many different aspects of Bach's music. He looks at rhythm, tempo, articulation, and dynamics; examines the instruments for which the music was intended, discusses ornamentation in depth, analyzing each of the signs and symbols used by Bach, and argues that much of Bach's ornamentation in current performance is monotonous and fails to reflect the actual Baroque style. | First (Reprint) | ||
Interpreting Mozart on the Keyboard | Badura-Skoda, Evan and Paul | Performance Theory | Barrie and Rocklif | 1965 | Hardback | Used | 319 | The book begins by addressing the problems associated with performing Mozart's piano music on "modern" instruments. It then moves through each element of performance - from dynamics to tempo and rhythm, articulation, ornamentation, embellishments, and cadenzas. Badura-Skoda is particularly well-known for his personal approach to performing these works, and his notes on how he both tries to rigorously recreate the composer's intentions while still inserting his own personality into each performance will be of great interest to students of the piano repertory. The book addresses also problems of "text" (scholarship on Mozart's scores). | First (Reprint) | |||
Leschetizky's Fundamental Principles of Piano Technique | Prentner, Marie | Performance Theory | Dover Publications | 2005 | 0-486-44279-9 | Paperback | New | 87 | Polish-born prodigy Theodor Leschetizky achieved an international career as a pianist and conductor, and became the most celebrated Piano instructor of his era. Marie Prentner, a prize student of the famed teacher, recorded the principles and techniques of the Leschetizky method - hereby presented in this new authoritative edition. The two-part method begins with finger and hand positions before discussing the pianist's touch, covering such topics as diatonic and chromatic scales, trills, chords, arpeggios, double notes, thirds, fifths and octaves. The second part focuses on performance and interpretation, offering advice on playing Bach and Handel, and explaining the fundamentals of rhythm, pedaling, melody and musical culture | First (Reprint) | ||
Mastering Piano Technique. A Guide For Students, Teachers and Performers | Fink, Seymour | Performance Theory | Amadeus Press | 1999 | 0-931340-46-2 | Hardback | Used | 187 | This holistic approach to the keyboard, based on a sound understanding of the relationship between physical function and musical purpose, is an invaluable resource for pianists and teachers. Professor Fink explains his ideas and demonstrates his innovative developmental exercises that set the pianist free to express the most profound musical ideas. Technique is like grammar; once it is a part of you, you speak without conscious attention to it. In the same way, technical matters function below the conscious level in mature pianists. Experimenting first one way then another, pianists mine their deepest, most intuitive feelings about the music, seeking out a particular mood, tone color, or expressive nuance. Ultimately their inner musical thinking triggers the requisite movement so they experience no separation between muscular exertions and musical goals. | Piano technique is more than the physical ability to render the printed page of music accurately; it is the vehicle for interpretation, the key to musical expression. Movement and meaning are so closely related to each other that the specific character of the gesture is itself part of the message conveyed. For example, musical continuity demands physical continuity, it being virtually impossible to express a quiet, flowing line with either constricted or overly energetic movement. Likewise, rhythmic vitality can be articulated only through vigorous action. Technical decisions are thus never made in an artistic vacuum. But having said this, I must also add that there is no single correct way to play. Good technical training encourages exploration of a variety of approaches for, by encouraging flexibility, efficiency, and surety -- whatever the artistic purpose, performers become freer to follow their imaginations. In short, when pianists are confident in their ability to create! Something extraordinarily beautiful at the keyboard, they dare to try. And only by trying can they succeed. | First (Reprint) | |
Mastering the Art of Performance. A Primer for Musicians | Gordon, Stewart | Performance Theory | Oxford University Press | 2006 | 0-19-517743-5 | Hardback | New | 210 | In Mastering the Art of Performance, Stewart Gordon offers seasoned advice to musicians intent on meeting the challenges of performance. Through real-life examples and pre-performance exercises, this accessible manual gives musicians and other performers practical insights into every aspect of performance. While other books merely identify and describe the problems associated with performance, this book offers detailed suggestions for solving them. | First | ||
Masters of the Keyboard | Wolff, Konrad | Performance Theory | Indiana University Press | 1990 | 0-253-20567-0 | Paperback | Used | 314 | Schnabel´s pupil and assistant Konrad Wolff characterizes in detail the personal musical language of the great masters of the piano, pursuing different lines of investigation to discover each composer's essential traits. | Second | ||
Notes from the Pianist's Bench | Berman, Boris | Performance Theory | Yale University | 2000 | 0-300-08375-0 | Paperback | New | 223 | Internationally known as a concert pianist and highly respected as a piano teacher, Boris Berman here offers a fascinating exploration of both piano technique and music interpretation. Berman combines explanations and practical advice with anecdotes about students, colleagues, and former teachers, along the way providing many insights into the psychological aspects of performing and teaching music. | First | ||
Ornamentation and Improvisation in Mozart | Neumann, Frederick | Performance Theory | Princetion University Press | 1989 | 0-691-02711-0 | Paperback | Used | 301 | Frederick Neumann, with his enormous ''Ornamentation and Improvisation in Mozart'', has thrown a great big curve ball into this field. He suggests - with copious arguments drawn from Mozart's scores and 18th-century theorists - that the recent consensus on many such issues may be wrong, and the old (i.e. mid-20th-century) unenlightened ways right. His great contribution is in insisting on approaching the questions from a wide knowledge of the music itself and from some kind of taste: he asserts the role of the cultivated ear, and thus benefits even the scholars who set out to refute him. | First (Reprint) | ||
Passionate Practice. The Musician's Guide to Learning, Memorizing and Performing | Elson, Margret | Performance Theory | Recent Press | 2002 | 1-58790-021-1 | Paperback | Used | 109 | Relax your shoulders." "Let go of tension." "Look at the music." "Don’t look at the music." Look at the keyboard." "Don’t look at the keyboard." "Listen to the music." "Don’t think, just play." Every music student has heard such suggestions, and they all hold some truth. But the challenge is: how? This book is a gentle, progressive guide in exactly how to relax, focus, listen, and feel the music and how to harness them to work together, automatically and simultaneously. Its innovative approach combines special relaxing and behavior modification exercises that foster concentration, focus, security and passion in performance. The book, user-friendly, comprehensive, and filled with witty illustrations, can also be used as a key tool for psychotherapists working to help clients detoxify trauma, especially that associated with performing issues. | First | ||
Piano Notes. The World of the Pianist | Rosen, Charles | Performance Theory | Free Press | 2004 | 0-7432-4312-9 | Paperback | Used | 247 | Drawing upon a lifetime of wisdom and the accumulated lore of many great performers of the past, Rosen shows why the instrument demands such a stark combination of mental and physical prowess. Readers will gather many little-known insights -- from how pianists vary their posture, to how splicings and microphone placements can ruin recordings, to how the history of composition was dominated by the piano for two centuries. Stories of many great musicians abound. | First | ||
Piano Technique | Leimer, Karl & Gieseking, Walter | Performance Theory | Dover Publications | 1972 | 0-486-22867-3 | Paperback | Used | 140 | This volume presents two books in one--THE SHORTEST WAY TO PIANISTIC PERFECTION (1932) and RHYTHMICS, DYNAMICS, PEDAL AND OTHER PROBLEMS OF PIANO PLAYING (1938)--long sought by students and teachers looking for a radical approach toward developing not only finger technique but expression technique. The book includes complete scores of works discussed in the text. | First (Reprint) | ||
Schnabel's Interpretation of Piano Music | Wolff, Konrad | Performance Theory | W. W. Norton & Company | 1972 | 0-393-00929-7 | Paperback | Used | 187 | Full of fascinating insights into the subtleties of phrase structuring etc. Shnabel was a pupil of Leschetizky, and teacher of Edwin Fischer (who taught Brendel) - all part of a line of great teacher/performers who are outstanding for their depth of musical insight and integrity | Second | ||
Stage Fright in Music Performance and Its Relationship to the Unconscious | Goode, Michael I. | Performance Theory | Trumpetworks Press | 2003 | 0-974-3934-1-X | Paperback | New | 76 | The study of classical music, voice, and their performance have been the subject of many books and magazine articles. Many of these writings discuss the rules of etiquette, protocol, and musical style with regard to performance of musical works in the orchestral and vocal field. However, very few have touched on the role of the unconscious in music performance. There are both positive and negative aspects of the role of the unconscious in the performance of music. The positive aspects result in a joyous, memorable performance, and the negative aspects result in a disastrous, uncomfortable experience for both the audience, and even more so, for the performer. When performers cannot display their musical talent to their highest level of ability in front of an audience, it is most likely that they are suffering from performance anxiety, more commonly known as stage fright. There are underlying psychological reasons for the condition of stage fright and its potentially devastating effects. These reasons can also be described in physiological and biochemical terms. We will discuss present medical and other solutions to this problem.All of the case histories found in this book are composites derived from many performers in the field of music including those in the operatic and vocal field. Any resemblance to any one particular living or deceased individual is unintended and is purely coincidental.The book also gives examples of great performers from the orchestral world, who had no stage fright at all, particularly the legendary members of the Chicago Symphony Brass Section, led by Adolph Herseth and including Arnold Jacobs, as well as William Scarlett. | The fact that these great performers had no stage fright whatsoever is analyzed and examined.Included in this work are color photos, other illustrations, an index, a glossary of helpful terms, and an extensive bibliography of all the sources used to research this text.Although this book uses examples from the field of classical music, the concepts prese | Second | |
The Art of Piano Pedaling. Two Classic Guides | Rubinstein, Anton & Carreno, Teresa | Performance Theory | Dover Publications | 2003 | 0-486-42782-X | Paperback | New | 77 | Rubinstein is considered Liszt's only possible rival on the concert stage while Carren~o is the foremost woman pianist of the late 19th century. Together, they discuss "the soul of the piano": the art of piano pedaling. Rubinstein's technique is explored through works he performed in 1885-6. Carren~o's observations explore her sensitivity made possible through combinations of touch and pedal. | First (Reprint) | ||
The Art of Piano Playing. A scientific approach | Kochevitsky, George | Performance Theory | Summy-Birchard Music | 1967 | 0-87487-068-2 | Paperback | Used, PDF | 68 | So many of the great pianists and teachers have come out of Poland and Russia (Rubinstein, Anton as well as Arthur, Leschetizky, Paderewski, the Lhevinnes, Gilels, Richter, and others), yet we know little about their methods of learning and teaching. George Kochevitsky in THE ART OF PIANO PLAYING supplies some important sources of information previously previously unavailable in this country. Russian sources alone occupy four columns of his bibliography on 'History and Theory of Pianism.' Additionally there are six columns of German sources and seven columns of sources in English. From these sources, tempered by this own thinking, Kochevitsky has formulated a scientific approach that can solve most | First | ||
The Art of Practicing. A Guide to Making Music from the Heart | Bruser, Madeleine | Performance Theory | Bell Tower | 1999 | 0-609-80177-5 | Paperback | New | 265 | This landmark book enlightens amateur and professional musicians about a way of practicing that transforms a sometimes frustrating, monotonous, and overly strenuous labor into an exhilarating and rewarding experience. Acclaimed pianist and teacher Madeline Bruser combines physiological and meditative principles to help musicians release physical and mental tension and unleash their innate musical talent. She offers practical techniques for cultivating free and natural movement, a keen enjoyment of sounds and sensations, a clear and relaxed mind, and an open heart and she explains how to | Prepare the body and mind to practice with ease Understand the effect of posture on flexibility and expressiveness Make efficient use of the hands and arms Employ listening techniques to improve coordination Increase the range of color and dynamics by using less effort Cultivate rhythmic vitality Perform with confidence, warmth, and freedom | First (Reprint) | |
The Classical Style. Haydn, Mozart, Beethoven | Rosen, Charles | Performance Theory | Norton & Company | 1972 | 0-393-00653-0 | Paperback | Used | 467 | The Classical Style: Haydn, Mozart, Beethoven is a revised and enlarged version of Charles Rosen's landmark 1970 work on the compositions of the trio of musical geniuses who formed the Viennese Classical School and forever changed the face of music. Along with clarifications, expansions, and new insights into the composers and their music, the book has been enriched by the addition of a compact disc containing two of the Beethoven piano sonatas of which the author writes. Rosen's books are always shot through with musical examples, so you'll get a great deal more out of this one if you can read music. The Classical Style is a brilliant book, composed by a genuine artist, sometimes provocative, but never sloppy in its thinking. | Second | ||
The Craft of Piano Playing. A New Approach to Piano Technique | Fraser, Alan | Performance Theory | Scarecrow Press | 2003 | 0-8108-4591-1 | Paperback | Used | 431 | Presenting a new, comprehensive and highly original approach to piano technique with a fascinating series of exercises to help the reader put this approach into practice, this guide uses numerous musical examples and sketches to show how many common movement habits at the keyboard are counterproductive. Fraser provides a new way of manipulating the skeletal frame of the hand to produce astonishing sonic results from the instrument. | First | ||
The Inner Game of Music | Green, Barry and Gallwey, Timothy | Performance Theory | Pan Books | 1987 | 0-3303-0017-2 | Paperback | Used | 248 | By the best-selling co-author of Inner Tennis, here's a book designed to help musicians overcome obstacles, help improve concentration, and reduce nervousness, allowing them to reach new levels of performing excellence and musical artistry. | First (Reprint) | ||
The Interpretation of Early Music. New Revised Edition | Donington, Robert | Performance Theory | W. W. Norton & Company | 1992 | 0-393-96003-X | Paperback | New | 766 | This edition is actually the third revision of The Interpretation of Early Music; it was greatly expanded in 1974, and again for the present volume, in which Professor Donington took into account the very latest research, the explosion of interest in accurate historical performance practice, and recently formulated theories. | Third | ||
The Leschetizky Method. A Guide to Fine and Correct Piano Playing | Brée, Malwine | Performance Theory | Dover Publications | 1997 | 0-486-29596-6 | Paperback | New | 92 | Hard-to-find book documents principles and techniques of legendary piano teacher, who taught Paderewski, Schnabel, many other greats. Clear, easy-to-follow text, profusely illustrated with music examples and photographs of hand positions. Includes finger exercises, scales, octaves, chords, arpeggios, dynamics, the pedal, many other topics. | Second (Reprint) | ||
The Mastery of Music. Ten Patways to True Artistry | Green, Barry | Performance Theory | Broadway Books | 2005 | 1-7679-1157-1 | Paperback | New | 293 | In his follow-up to The Inner Game of Music, which sought to teach musicians how to overcome mental barriers to inspired playing, bassist Green defines ten qualities that offer a "pathway to true artistry": communication, courage, discipline, fun, passion, tolerance, concentration, confidence, ego/humility and creativity. "When you develop these qualities to a high level," he says, "you have achieved mastery not only of your instrument and your concentration, but of who you are and how you present yourself to others." Each "path" receives its own chapter of inspirational anecdotes and advice, and each is exemplified by a certain instrument or type of musician. For example, French horn and percussion, instruments that "just get one chance" and have "nowhere to hide," illustrate the importance of courage; violas, who sit literally and musically between violins and cellos, represent tolerance; and duos, chamber groups and conductors symbolize the value of communication. Dozens of respected musicians, from Leonard Bernstein to members of the Harlem Boys Choir, share anecdotes about coping with stress, prioritizing, self-acceptance, preparation, concentration, focus and other life-skills. Along with general, inspirational advice for living and playing well, the book also makes valuable specific recommendations (e.g., the benefits of practicing slowly, establishing personal boundaries, visualization exercises, etc.). While the book's gimmick may seem overworked at first, the author is so knowledgeable and sincere that his volume should appeal to musicians and music lovers of all stripes. | First (Reprint) | ||
The Pianist's Problems. A Modern Approach to Efficient Practice and Musicianly Performance | Newman, William S. | Performance Theory | Da Capo Press | 1986 | 0-306-80269-4 | Paperback | Used | 210 | A pianist instructs students in the fundamentals of successful playing technique. | The reader must have noted in the favorite magazines of the practicing pianist how often the same troubled queries reappear: How can memorizing be made easier and more secure? How can the fourth and fifth fingers be strengthened? What produces musicianship? These and many others are perennial questions of the greatest practical importance to student, teacher, and performer. Strange, then, that adequate answers are so hard to find. With all the time and effort devoted to the study of the piano, with all the advances in the psychology of training, with all the special studies that have been conducted, there should be, by now, if not one right answer to each question, at least a preferred answer that will be right for the large majority of pianists. As a matter of fact, there are preferred answers in almost every instance. The need is to bring these answers together, in one place, and to present them in nontechnical language as a concise, up-to-date, coordinated philosophy of piano playing. To meet this need, the present book has been written. -from the Preface | Third (Reprint) | |
The Pianists's Guide to Pedaling | Banowetz, Joseph | Performance Theory | Indiana University Press | 1992 | 0-253-20732-0 | Paperback | New | 309 | More than just a guide to pedaling - addresses stylistic issues and pedaling considerations for different composers. | First | ||
What Every Pianist Needs To Know About The Body | Mark, Thomas | Performance Theory | GIA Publications | 2003 | 1-57999-206-4 | Paperback | New | 151 | Techniques on how to gain greater fluidity of movement while playing to improve the quality of the experience are offered in this manual for serious piano players. This book encourages musicians to develop a broader understanding of the involvement of the entire body in playing-and the strains playing places on the body-by focusing on body mapping to increase awareness of the body's function, size, and structure. Ways in which piano, organ, harpsichord, clavichord, and digital keyboard players can eliminate or prevent carpal tunnel syndrome and other debilitating conditions without traditional medical treatments are also explored. | First | ||
Note Grouping. Method for Achieving Expression and Style in Musical Performance | Thurmond, James Morgan | Performance Theory | JMT Publications | 1991 | 0-942782-00-3 | Paperback | New | 144 | Fully explains through musical example, the concept of expressive musicianship as taught by Anton Horner, William Kincaid and Marcel Tabuteau. This book clearly illustrates how to teach students to play or sing with expression, musicianship and style and will help to make your performances "come alive". | First (Reprint) |