The Art of Performance: A Critique of Contemporary Musical Research by
Heinrich Schenker's The Art of Performance shows this great music theorist in a new light. While his theoretical writings helped transform music theory in the twentieth century, this book draws on his experience as a musician and teacher to propose a sharp reevaluation of how musical compositions are realized in performance. Filled with concrete examples and numerous suggestions, the book will interest both music theorists and practicing performers.Schenker's approach is based on his argument that much of contemporary performance practice is rooted in the nineteenth-century cult of the virtuoso, which has resulted in an overemphasis on technical display. To counter this, he proposes specific ways to reconnect the composer's intentions and the musician's performance.Schenker begins by showing how performers can benefit from understanding the laws of composition. He demonstrates how a literal interpretation of the composer's indications can be self-defeating, and he provides a lively discussion of piano technique, including suggestions for pedal, sound color, orchestral effects, and balance. He devotes separate chapters to non-legato, legato, fingering, dynamics, tempo, and rests. In addition to the examples for pianists, Schenker covers a number of topics, such as bowing technique, that will prove invaluable for other instrumentalists and for conductors. The book concludes with an aphoristic and sometimes lyrical chapter on practicing.After Schenker's death, his student Oswald Jonas prepared the text for publication from Schenker's notes, eventually leaving the manuscript to his stepdaughter, Irene Schreier Scott, who entrusted the work of organizing and editing the disparate material to Jonas's friend and student Heribert Esser. She later translated it into English. This edition is the first publication in any language of this remarkable work.
Beethoven on Beethoven: playing his piano music his way by
In this provocative new study, William Newman presents to the reader "whatever intentions on Beethoven's part can be documented or can be supported by reasoning and analysis in the primary sources for his music." His aim, in brief, is to get as close as possible to the performance practices Beethoven himself had in mind for his piano music, both solo and ensemble works.
Beethoven the Pianist by
The widely held belief that Beethoven was a rough pianist, impatient with his instruments, is not altogether accurate: it is influenced by anecdotes dating from when deafness had begun to impair his playing. Presenting a detailed biography of Beethoven's formative years, this book reviews the composer's early career, outlining how he was influenced by teachers, theorists and instruments. Skowroneck describes the development and decline of Beethoven's pianism, and pays special attention to early pianos, their construction and their importance for Beethoven and the modern pianist. The book also includes discussions of legato and Beethoven's trills, and a complete annotated review of eyewitnesses' reports about his playing. Skowroneck presents a revised picture of Beethoven which traces his development from an impetuous young musician into a virtuoso in command of many musical resources.
Dmitri Shostakovich, Pianist by
She traces his musical roots, piano studies, repertoire, and concert career through his correspondence with family and friends and his own and his contemporaries' memoirs, using material never before available in English. This biographical narrative is interwoven with analyses of Shoshtakovich's piano and chamber works, demonstrating how he interpreted his own music. For the first time, Shoshtakovich's own recordings are used as primary sources to discover what made his playing unique and to dispel commonly held myths about his style of interpretation. His recorded performances are analysed in detail, specifically his tempos, phrasing, dynamics, pedal, and tonal production. Some unpublished variants of musical texts are included and examples of his interpretations are provided and compared to various editions of his published scores.
Early Keyboard Instruments: A Practical Guide by
Early Keyboard Instruments covers a wide range of performance issues on keyboard instruments relevant to the music from c.1700–c.1900. It includes descriptions of the harpsichords, clavichords, pianos and other stringed-keyboard instruments used by performers of the period as well as aspects of technique such as harpsichord registration, piano pedalling and keyboard fingering. Aspects of the notation of keyboard music are discussed, as is articulation, embellishment, tempo flexibility and rubato. A substantial chapter is devoted to case studies, illustrating how the aspects of performance discussed in the rest of the book are worked out in practice, whether playing on period instruments or on the modern piano.
Making Music on the Organ by
With the first publication of this book in hardcover in 1988, Peter Hurford, acclaimed for his performances and recordings, demonstrated his ability to communicate to professionals, amateurs, and general listeners the ideas that underpin his performance and teaching. Making Music on the Organ sets out the relation of both the instrument and the performer to the world of music at large, gives authoritative advice on technical problems, and describes the workings of the instrument itself. The chapters on interpretation, with particular emphasis on the music of J.S. Bach, are invaluable, arising from the author's own lifelong dedication to the performance of Bach's music. For this revised edition, the author has made a number of textual emendations and additions and has included new material on the principles of good organ design and the history and use of the swell-box, and a useful summary of temperament.
Performance Practices in Classic Piano Music by 
The Pianist's Dictionary by
The Pianist's Dictionary is a handy and practical reference dictionary aimed specifically at pianists, teachers, students, and concertgoers. Prepared by Maurice Hinson, the best-selling author of Guide to the Pianist's Repertoire, the work explains pianistic terms and performance directions clearly and concisely, with illustrations and brief musical examples. Hinson includes succinct entries concerning famous piano pieces and composers, leading performers and teachers, and piano makers--making The Pianist's Dictionary the perfect reference for compiling program and liner notes. The volume collects many of Hinson's most useful ideas that have appeared in his popular lectures and masterclasses over the years and have not been published elsewhere.
The Pianist's Guide to Pedaling by
Joseph Banowetz and four distinguished contributors provide practical suggestions and musicological insights on the pedaling of keyboard works from the 18th to the 20th century.
Playing Bach on the Keyboard by
Aimed at the non-specialist player, this text offers practical suggestions for interpreting Bach on the keyboard. Troeger points out changes in notational norms between Bach's time and the present and provides information on dynamics, articulation, tempo, rhythm, ornamentation, and accompaniment.