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Off the Record
In Off the Record, author and pianist Neal Peres Da Costa explores Romantic-era performance practices through a range of early sound recordings--acoustic, piano roll and electric--that capture a generation of highly-esteemed pianists trained as far back as the mid-nineteenth-century.
Master school
None
Mozart and His Piano Concertos
Classic of music criticism provides detailed studies of 23 of Mozart's piano concertos, offering 417 musical examples and authoritative information on the works' form, tone, style, and balance.
Franz Liszt
Franz Liszt: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a composer and performer. The second edition includes research published since the publication of the first edition and provide electronic resources. Franz Liszt was born on 22 October 1811 at Raiding, today located in Austria’s Burgenland. He received his first piano lessons from his father, Adam Liszt, an employee of the celebrated Eszterházy family. Young Franz was quickly acclaimed a prodigy, and in 1820 a group of Hungarian magnates offered to underwrite his musical education. Shortly thereafter the Liszts moved to Vienna, where Franz studied piano and composition with Carl Czerny and Anton Salieri. Performances there earned Liszt local fame; even Beethoven expressed interest in him.
Ferruccio Busoni and the Ontology of the Musical Work
Ferruccio Busoni's conception of the musical work derives from his multiple roles as performer, aesthetician, editor, composer, arranger, and intellectual. Drawing on unpublished scores, manuscripts, sketches and documents from the Staatsbibliothek in Berlin, concert programs from a private collection in Berkeley, acoustic recordings, information about Busoni's intellectual interests gleaned from an auction catalogue featuring the contents of his extensive library, and the published aesthetic writings, letters, and compositions, the present study offers the first comprehensive account of Busoni's work concept. By establishing connections between his ideas and his musical practice, it explores and clarifies the reasoning behind his idiosyncratic compositional style, a style characterized by a blurring of boundaries between original and borrowed material. Polystylistic mixtures of the old and new and a distinctive performance style, in which Busoni creatively altered and embellished existing texts, exemplify his practice in an age in thrall to Werktreue, when originality of idea was prized above all else.
Liszt and Virtuosity
A new and wide-ranging collection of essays by leading international scholars, exploring the concept and practices of virtuosity in Franz Liszt and his contemporaries.
Beethoven's Piano Playing
Originally written as an introduction to a critical edition of Beethoven's piano concertos, this informative performance guide provides general rules and features more than 100 annotated and analyzed musical examples.
Schubert's Workshop: Volume 2
Schubert’s Workshop offers a fresh study of the composer’s compositional technique and its development, rooted in the author’s experience of realising performing versions of Franz Schubert’s unfinished works. Through close examination of Schubert’s use of technical and structural devices, Brian Newbould demonstrates that Schubert was much more technically innovative than has been supposed, and argues that the composer’s technical discoveries constitute a rich legacy of specific influences on later composers. Providing rich new insights into the creative practice of one of the major figures of classical music, this two-volume study reframes our understanding of Schubert as an innovator who constantly pushed at the frontiers of style and expression.
Sonata No. 21 in C Major, Op. 53, "Waldstein"
Count Ferdinand Ernest Gabriel von Waldstein, to whom the Sonata No. 21 in C Major, Op. 53, is dedicated, was a longtime patron of the composer. Waldstein wrote to Beethoven, "May you receive the spirit of Mozart through the hands of Haydn." The opening theme of repeated chords begins the excitement found throughout this work. Dr. Stewart Gordon's editions of Beethoven's most popular piano sonatas provide the key to a stylistic performance. Thorough research of the earliest available sources has enabled Dr. Gordon to produce the most accurate reflection of the composer's intent. Each sonata contains helpful fingering suggestions and performance recommendations. Other editors' conclusions are noted where performance options are open to interpretation.
15 Variations and a Fugue in E-flat Major ("Eroica Variations"), Op. 35
The "Eroica Variations"---so-called because they were later re-worked for the finale of Beethoven's third ("Eroica") Symphony, Op. 55---occupy a prominent place in piano literature. Its structural grandeur and the originality and beauty of its piano writing set this work apart. The technical demands are considerable, on par with many other works from Beethoven's middle period. A brilliant finger technique is called for, and often the demands for speed and volume coincide. This edition, edited by Charles Timbrell, is based on the autograph, which served as the source-score for the first edition.
