By Stuart Isacoff
A desirable social gathering of the piano, together with stories of its masters from Mozart and Beethoven to Oscar Peterson and Jerry Lee Lewis, instructed 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 indicates how every body from Ferdinando de’ Medici to Herbie Hancock affected its evolution of sound and effect in renowned track. providing the software that has been on the center of musical improvement over the centuries in all its good looks and complexity, this explores the piano’s features and the variety of emotional expression it conveys in numerous artists’ arms. A usual heritage of the Piano is fast moving and exciting, with attractive illustrations and images, a must-read for tune fanatics 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
After a brief pause, a new musical period begins with the trumpet repossessing the cell initially introduced by the oboe in the first section. Then, once again all the instruments enter progressively, taking up the initial cells in an ebb and flow of silences and instrumental “peaks” over the piano and cello ostinato. The climax arrives when the flute – sustained by cello and piano, whose timbre takes on an almost percussive resonance – reconstructs an image of the instrumental grouping of noh theatre.
Rather, the isolation of sounds refers to a key concept of noh, and Yuasa wished to find a correspondence for this with the suddenness of a single percussive blow (by tsutsumi or kakegoe), in which a single sound would embrace everything expressible in extreme concentration. A tendency toward symmetry of numbers is also discernable in the retrograde canonic procedure adopted. One sees that from m. 17, the first half and the second mirror one another in the “nonbecoming” of a static tempo. The repeated theme in the piccolo and the exchange with bass clarinet brilliantly augment timbral individuality, creating a transparent void full of timbres, an almost irrational space-time division.
Instead there was something more akin to the Indian concept of 24 Chapter One love, which is all-inclusive…. After the Préludes we looked for other scores and because we liked Messiaen so much, we decided to perform him. Jikken Kǀbǀ’s first concert, on January 20, 1952, did not include a single one of our own pieces, but all the Préludes and the Quatuor pour la fin du temps, the first performances ever in Japan ... 80 Analysis of all the Jikken Kǀbǀ musicians’ scores reveals many of the techniques used by Messiaen: That which immediately fascinated me were the bunches of sound, today known as tone clusters, never heard before.
A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between by Stuart Isacoff