By Caroline Benser
<span><span><span>In </span><span style="font-style:italic;">At the Piano: Interviews with 21st-Century Pianists</span><span>, Caroline Benser explores the kaleidoscopic global of 21st-century pianism via a chain of prolonged interviews with 8 significant pianists: Leif Ove Andsnes, Jonathan Biss, Simone Dinnerstein, Marc-André Hamelin, Stephen Hough, Steven Osborne, Yevgeny Sudbin, and Yuja Wang.
The pianists represented listed here are not just a virtuosos on their tool, well known for his or her renditions of vintage works via Bach, Beethoven, Liszt, Debussy, and Bartók, also they are devoted to advancing pianism, commissioning and acting works through residing composers in addition to revisiting and re-exploring musical probabilities overlooked through their predecessors. Interviewees speak with Benser approximately such concerns as their first stories on the piano, the serious position performed via their earliest academics, the literature they play, the tools they like, the which means of musicianship to them, and the fun and problems of a pro profession doing what they love.
Teachers, scholars, and beginner pianists alike will find out about new and lesser-known piano literature; newly built tools that experience prolonged the variety of the keyboard; the outstanding upward thrust of pianists in such nations as China; and new learn on pianists' accidents and fit enjoying. </span><span style="font-style:italic;">At the Piano</span><span> is written not just for the professional and non-specialist pianist but in addition for all musicians and basic song lovers.</span></span></span>
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Extra resources for At the Piano: Interviews with 21st-Century Pianists
Pavel Eisner (Prague: Artia, 1955), 386. For a brief discussion of the interpretive challenges raised by this passage – including Heinrich Schenker’s striking avoidance of it in his otherwise detailed analysis of the movement – see Nicholas Cook, “Heinrich Schenker, Polemicist: A Reading of the Ninth Symphony Monograph,” Music Analysis 14 (1995): 98. For a more sustained attempt to grapple with the march’s “radical otherness,” see Lawrence Kramer, “The Harem Threshold: Turkish Music and Greek Love in Beethoven’s ‘Ode to Joy,’” 19th-Century Music 22 (1998): 78–90.
By engaging 27 28 For an account of these conventions, see William E. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (Oxford: Oxford University Press, 1998), 203–8; and James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 295–304. See Knapp, Symphonic Metamorphoses, 171, 288n16; and Walter Frisch, Brahms: The Four Symphonies (New Haven, CT: Yale University Press, 2003), 87.
12 Two aspects of Lee’s account are worth pursuing further: her appeal to the concept of acousmatic sound and her contention that an unseen musical event can function as a dramatic intrusion. ” As for the gesture’s “modernist provenance,” however, it is also true that the autonomy of musical utterances that intrude from without is a common operatic device that can be traced back to the origins of the genre. Regarding Lee’s characterization of such events in the context of “Hochzeitsstück” as an “intrusion of the dramatic,” her assessment is entirely on the mark.