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Books on Piano technique and piano playing


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Author Topic: Books on Piano technique and piano playing  (Read 328 times)
t-p
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« on: October 17, 2012, 12:11:35 pm »

This is very good book by Roy Holmes. It is called Finger Power (Retriving  the finger technique ...).

 http://originalwriting.ie/bookshop/non-fiction/educational/new-dynamic-finger-power/


   
This review was written by Benjamin Ivry. It is exerpt from his review in International Piano magazine.
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t-p
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« Reply #1 on: November 02, 2012, 10:22:30 pm »

Gornostaeva is famous teacher from Moscow conservatory. She is  a student of Neuhaus as far as know. There is a clip in Russian of her describing her studies.
She  says there that she teaches in Moscow and Japan, but I don't know where that clip was taken.


She says that he became a teacher because this is the way his weight went. Piano teacher is too narrow a word for him.


Names of Neuhaous and Pasternak are mixed together (Neuhaus's wife became Pasternak's wife), but it is not important.

Here is her playing Chopin Mazurka.


(Mandelshtein wrote very good  poem after listening to Neuhous playing. )
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t-p
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« Reply #2 on: November 09, 2012, 05:53:30 am »

There is a review of books in International  Piano magazine (No. 16 Nov/Dec 2012.
 There is a new book by Moritz  von Bredow called Rebellious Pianist: Grete Sultan's Life between Berlin and New York.
Grete Sultan was a German Jewish pianist who escaped the Nazis and resettled in new York, where  she embraced modernist composers fromJohnCage and Alan Hovhaness to Stefan Wolpe and Christian Wolff. 


 

Unfortunately I couldn't find the book on the net.
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t-p
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« Reply #3 on: January 21, 2013, 08:48:52 pm »

A Natural History of the Piano by  Dr . Mark Isacoff.

http://www.amazon.com/Natural-History-Piano-Musicians-ebook/dp/B004P8JPNG


Here in  History of piano there is a chapter about him.   It  says that he is playing in Le Poisson Rouge in New York.  He is foundingmemberof the legendary Beaux Arts Trio and remained its leader for nearly fifty-five years.


In this chapter he is on the way to an informal Village hount to give aprogram of Bernstein, Brahms, Debussy, Gershwin and Reich – a trek that brings to mind Mozart navigating the cobble stonesof Vienna, past rows of refreshment stands, courtyards and taverns, to premiere his D minor Piano Concerto before a small audience at the Poisson Rouge of its day – the Flour Pit.



Le Poisson Rouge represents both the very old and the very new look of classical music, offering relaxed musical celebrations in a space bustling with waiters and buzzing with expectation, where listeners can order a drink , enjoy a snack and put their elbows on the table without fear of a reprimand.


All formality has been stripped away. After a brief introduction , the musicians begin, and as Bernstein’s jaunty rhythms and Broadway charm envelop the room, their sounds merge with the clink of ice cubes and the rustle of  tableware. Listeners are nodding or tapping their feet.  The stage is aglow and Stolzman is playing his clarinet.

In a solo turn , Pressler plays two selections from Claude Debussy’s Estamples. Even from the small, well-worn piano his playingis graceful and warm.





But why would two stellar musicians used to the finest halls in the world be playing in al little Greenwich Village cabaret?
Wherever people want to hear us, that’s where we’ll go, said Pressler just before walkingon stage, and Richard Stolzman nodded in agreement.

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