Download A Natural History of the Piano: The Instrument, the Music, by Stuart Isacoff PDF

By Stuart Isacoff

ISBN-10: 0307279332

ISBN-13: 9780307279330

A desirable social gathering of the piano, together with stories of its masters from Mozart and Beethoven to Oscar Peterson and Jerry Lee Lewis, advised with the services of composer and writer of Temperament, Stuart Isacoff.
This heritage takes us again to the piano's humble genesis as an easy keyboard, and exhibits how every body from Ferdinando de’ Medici to Herbie Hancock affected its evolution of sound and impression in renowned tune. proposing the tool that has been on the center of musical improvement over the centuries in all its attractiveness and complexity, this explores the piano’s services and the diversity of emotional expression it conveys in numerous artists’ arms. A normal background of the Piano is fast paced and interesting, with appealing illustrations and pictures, a must-read for track fans and pianists of each level. 

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Extra resources for A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between

Example text

Rousseau used it successfully in the simple genre. 137 He later saw his own Devin du village successfully reprised in a January 1777 production in which it was paired with Gluck’s Orphée. Rousseau wrote an analysis of the famous passage in Gluck’s Italian Orfeo where the Furies deny Orpheus entry into the underworld. In the title of his analysis, Extract from a Response by the Underlaborer to His Frontman Concerning a Piece from Gluck’s “Orfeo,” he playfully alludes to charges that he was merely the “frontman” for the musical writings and compositions he had plagiarized from others, and he presents his analysis as an explanation of the passage from Gluck’s opera by the true author, the “underlaborer,” to himself, the supposed author.

4 Plan Regarding New Signs for Music The means that will remedy the Wrst of these inconveniences will remedy the second as well; and as soon as equivalent signs are invented, but simpler and fewer in number, they will have greater precision for that very reason, and they will be able to express as many things in less space. Besides this, it is advantageous for these Signs to be known already, in order that attention be less divided, and to be easy to form, in order to make music more convenient.

His dotage was actually quite active, producing some of his most innovative ideas on music. 130 He was also an enthusiastic patron of the opera during this period and thereby kept up with the latest developments in the art, especially the reform opera of Gluck, and was inspired to attempt some innovations of his own. In his Dictionary of Music and other works, Rousseau had discussed the problems of uniting music with drama, and in his Pygmalion he attempted a new form of drama that alternated music with pantomime and declamation in a way that sought to overcome the unmelodic character of French recitative.

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