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No pianist can experience the full flowering of her art without eventually grappling with those great musical minds who composed specifically for piano. In The Pianist's Craft, Richard Anderson collects from his fellow pianist-scholars 19 articles on the teaching, preparation, and performance of works by the greatest composers in the standard piano repertoire. This collection ranges in subject matter from Inge Rosar's meditation on playing Bach on the modern keyboard to Gary Amato's assessment of Haydn's sonatas, from Christie Skousen's review of tone production in Chopin to GwenolynMok's foray into recreating Ravel's works on an Erard piano, the same used by Ravel himself.
Readers will find essays as well on Mozart's piano compositions, Beethoven's sonatas, the influence of Schubert's lieder on his piano works, and works by Schumann, Liszt, Brahms, Debussy, Rachmaninoff, Scriabin, Prokofiev, Shostakovich, Bartók, Gershwin, and Crumb. The contributors—all recognized nationally and internationally for their contributions as performing artists, teachers, recording artists, and clinicians—write thoughtfully about the composers whose work they have studied and played for years. Each author addresses issues unique to the individual composer they have chosen to explore, examining questions of phrasing, tempo, articulation, dynamics, rhythm, color, gesture, lyricism, instrumentation, and genre. Valuable insight is provided into teaching, performing, and preparing these great works.
In The Pianist's Craft these great artists and teachers answer questions for readers that are otherwise only addressed in conferences, master classes, and private lessons. In this collection of essays, key points of information and instruction are offered with over 200 musical examples included as illustration. The Pianist's Craft is intended for teachers and students of the intermediate and advanced levels of piano, instructors and performers at the university level, and those who love piano and piano music generally.
- Sales Rank: #1030484 in Books
- Published on: 2011-12-21
- Original language: English
- Number of items: 1
- Dimensions: 9.47" h x .97" w x 6.38" l, 1.30 pounds
- Binding: Hardcover
- 304 pages
Review
Each of this collection's 19 essays--all written by concert pianists, recording artists, college professors, scholars, mostly from the US but a few with international credentials--deals with the music of a single famous composer. Anderson (Brigham Young Univ.) did not impose a particular format for the essays and so they vary significantly in length and the depth with which the contributors discuss their assigned composer. Though each essay provides interesting information on the performance practices for the composer (tempi, phrasing, articulation, rhythm, and so on) and an overall survey of the composer's output, essays by Susan Duehlmeier (on Franz Shubert), Barbara Nissman (Sergei Prokofiev), and Jeffrey Jacob (George Crumb) rise above the rest. Louis Nagel's contribution proved to be the most fun, with the question and answer format so closely connected to the writings and music of Robert Schumann, the subject of his essay. The 250 musical illustrations throughout the essays are helpful in clarifying the concepts presented. The audience for this book is those who already have significant piano background and who might gain from the master-teacher experience and knowledge of these writers on their specialty. Summing Up: Recommended. (CHOICE)
The Pianist's Craft is a collection of 19 essays discussing the teaching, preparation, and performance of some of the most accomplished piano composers. Included are works by Bach, Haydn, Gershwin, Brahms, Liszt, and Chopin. The contributors are all recognized contributors to piano composition and include artists, teachers, recording artists, and clinicians. They discuss in depth such topics as the composer's tempo, articulation, dynamics, lyricism, and instrumentation. This book is meant for those studying piano at the advanced level, including pianists, instructors, and music scholars. (American Reference Books Annual)
The book is a wonderful resource for teachers and students at the intermediate to advanced level of performance. Each chapter is devoted to a single composer; one author writes about the preparation, teaching and performing of that composer's works with regard to tempo, articulation, dynamics, ornamentation, repetitions and pedaling. More that 250 musical examples are included in the book.
Additionally, unique influences on each composer are discovered, creating better understanding and interpretation of the music
One will be grateful for the advice given on how to approach the technical demands found in the compositions of Rachmanioff and Scriabin and will be rewarded with information satisfying one's curiosity about Scriabin's synesthesia
...an imperative read, and an indispensable aid to the pianist (American Music Teacher)
Although most of the authors focus on the advanced literature, many of the fine ideas can be applied to the intermediate-level teaching repertoire. This book would be most helpful for experienced teachers or performers wishing to expand their understanding of the keyboard repertoire under the guidance of expert scholars and master teachers. (Clavier Companion)
About the Author
Richard Paul Anderson is associate professor in the School of Music at Brigham Young University, where he has served for 39 years as a member of piano faculty. An author, teacher and composer, he also teaches theory and composition and coordinates the Group Piano programs for music majors and non-music majors. Anderson is the author of Beginning Piano Techniques (2006) and Ensemble: Keyboard Proficiency for the Music Major (2002), and he is also the co-author of Simple Steps to Playing the Piano (1999).
Most helpful customer reviews
17 of 21 people found the following review helpful.
a definite mixed bag with its own problems
By Donald Manildi
Editor Anderson has rounded up 19 colleagues, most of them academicians, a few being recognized performers, each of whom deals in their own fashion with a single composer. The 19 composers chosen (ranging from Bach to Crumb) represent the bulk of the standard piano repertoire. The essays run from about 8 to 15 pages, and most include some musical examples.
The book does not begin promisingly. Hilary Demske writes about the many diverse elements of Scarlatti's keyboard writing. She emphasizes how those elements invite similar diversity of approach from pianists--who she encourages to develop "deeply personal" interpretations, based on clean, unedited editions. All well and good, but she does not identify any such editions whatsoever, thus missing a major opportunity to assist her readers by comparing and evaluating the many available. Nor does she seem aware of Ralph Kirkpatrick's extensive, highly illuminating preface to his urtext of 60 Scarlatti sonatas (Schirmer), which aims at producing just the kind of informed interpretation that Ms. Demske advocates.
Next, Inge Rosar discusses Bach interpretation. She is a disciple of the late Walter Blankenheim (not well-known outside Germany), and she makes the astonishing statement that "I must thank [him] for all that I have learned about Bach." Apparently no other scholars, performers, recordings, written sources, personal discussions, or individual experiences have had any influence on her! She describes Blankenheim's ideas on such topics as phrasing and articulation (some worthy of consideration, others debatable), but as far as further references are concerned, which would again enlighten the interested reader, she mentions none (not even Paul Badura-Skoda's widely-praised book).
A chapter on Schubert's solo piano works by Susan Duehlmeier swarms with so many factual errors that it cannot be relied upon. A few examples (there are still more): she claims that Moment Musical No.4 contains "flowing triplet motion." (There are no triplets at all in that work.) She says the first Impromptu of Op.90 is "in C Major" (it's C Minor), and the fourth Impromptu is "in A-Flat Minor" (it's A-Flat Major). Duehlmeier believes that the Wanderer Fantasy is derived from a song called "Der Wandern", apparently confusing the actual source ("Der Wanderer") with "Das Wandern," which is completely unrelated. Her shaky command of German is also revealed in her mention of the cycle that Schubert titled simply "Winterreise," which she calls "Der Winterreise." In an aside, she claims that Ravel's "Les [sic] Tombeau de Couperin" is based on a Forlane by Couperin, when in fact only one of the six movements of the Ravel work has any such remote connection. In addition, example 6.19, from the Wanderer Fantasy, is missing a crucial d-natural on the third beat.
(In a recent email communication, Duehlmeier hopes that these (and other) mistakes can be corrected if there is a second edition of the book. The time to catch errors--especially ones so profuse and egregious as these--is before, not after, publication.)
Fortunately, matters are better in the chapters on Haydn, Mozart, and Beethoven. Gary Amano delves into many aspects of Haydn's writing by examining an early sonata. This approach could be useful to students. The Mozart section, by Norman Krieger, contains valid observations on the differences between modern pianos and the instruments of Mozart's day. (Once again, however, no suggestions for further reading, listening, or investigation are provided.) Beethoven is discussed by Timothy Ehlen who is recording all the sonatas. Although again, additional sources of information are almost unmentioned, he does offer many pertinent examples of how vocal, instrumental and genre references invaded Beethoven's pianistic thinking.
An intriguing question-and-answer format is chosen by Louis Nagel to introduce inexperienced performers to Schumann's output for the piano. I do wonder, however, about the source for his claim that Schumann explicitly stated that the "Sphinxes" section of Carnaval should not be played. The following chapter is by Christie Peery Skousen, who examines the technical means of handling issues of tone and phrasing in Chopin.
Little need be said about the remaining chapters, all of which contain some worthwhile insight within their imposed limitations of space. However, a reasonable question should be asked as to how much an aspiring pianist can actually apply by reading a book. This volume deals with advanced concert repertoire that most players will presumably be preparing under the supervision of a teacher or coach. If, however, they are working entirely independently (for whatever reason), it remains unclear how a perusal of one person's condensed written thoughts on the composer in question--and with few or no additional references given--will actually produce a significant outcome in the act of performance.
4 of 6 people found the following review helpful.
A must-have!
By Mozart
Richard Anderson's "The Pianist's Craft: Mastering the Works of Great Composers" is a must-have for anyone interested in learning more about interpretation, ornamentation, articulation, keyboards, singing tone, rubato, rhythm, color, lyricism, technical demands, and more about 19 composers from 19 authorities on the subjects.
I have found Jeffrey Jacob's comments on George Crumb extremely beneficial as I was learning a piece by Crumb the past few months. I love the chapter on Scriabin's 10th sonata. Scott Holden demonstrates extreme understanding in a fun and descriptive way. Neil Rutman discusses how to master pedaling in the works of Debussy, which some teachers would find very useful. Barbara Nissman is an authority on Prokofiev and her chapter is not to be missed. Irene Peery-Fox and Christie Skousen's chapters are phenomenal with idea on how to help students play, practice, and perform better the works of Rachmaninoff and Chopin.
This book is full of wonderful ideas and is a great resource for any serious piano teacher and student. I love how each chapter is concise and can be thought about and returned to as needed.
Don't miss out on this wonderful opportunity to read so many wonderful ideas about top works by different composers. Richard Anderson has done a phenomenal job putting it all together and letting the writers of each article speak for themselves. I appreciate the uniqueness of this book.
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