On Stringed Keyboard Instruments, their Makers and Players
Seiten
2024
Katzbichler, B (Verlag)
978-3-87397-404-3 (ISBN)
Katzbichler, B (Verlag)
978-3-87397-404-3 (ISBN)
Lese- und Medienproben
- Titel nicht im Sortiment
- Artikel merken
This volume contains four essays, all of them intended to dispel preconceptions. Each of them presents a critical study of historical source material.
The first, an essay on John Joseph Merlin, contains details of the history of keyboard instruments in the eighteenth century, dismissing both the idea of a single line of development for the piano and the simplistic idea that the harpsichord was superseded by the piano. The pageant of events in the history of stringed keyboard instruments presented also provides a background for displaying the creative genius of Merlin, showing that all his inventions for the harpsichord and the piano had their antecedents in the eighteenth century .
The second is a brief essay on Antonio Soler showing that the Florentine piano as it would have been known during his earlier days at the monastery and royal palace of San Lorenzo, El Escorial in Spain had gone out of fashion and that the harpsichord (with the full five octaves) was the preferred stringed keyboard instrument. Only at the end of Soler’s life did the piano, and then probably the English square piano, begin to become important again at the Spanish Court.
The third essay, on the pianos of the late eighteenth- century and early nineteenth-century Viennese piano maker Ferdinand Hofmann, is intended to show how different styles of furniture decoration can coexist and even succeed each other in the opposite order from the one that is considered to be historical. This discovery led to the revision of ideas about which Viennese and southern German pianos, most of them not dated, are right for Haydn, Mozart and Beethoven
The fourth essay is aimed at the prejudices that have been held, mostly retrospectively, in relation to Wanda Landowska and her Pleyel harpsichords. Instead, this last essay in the book tries to give a balanced sketch of some of the history in which she participated, ending with an emphasis on values that go beyond some of what is sometimes held, or at least was held, to be of importance in the performance of ‘early’ music.
The book includes 69 illustrations, almost all of them in colour, showing players and owners of the instruments, the instruments themselves and historical documents related to them. Particularly delightful are the reproductions of eighteenth-century English patents for instruments combining a harpsichord and a piano and the reproductions of illustrations from the Revue Pleyel of February 1926. The latter show Wanda Landowska with Manuel de Falla, with Tolstoy and Rodin together, and photos of the life-sized puppets from the first public performance of de Falla’s Retablo de maese Pedro, or ‘Master Pedro’s Puppet Show’, given on December 29th 1925 in Town Hall, New York. The main character is Don Quixote; the story is taken from Book II of The ingenious hidalgo Don Quixote de la Mancha by Miguel de Cervantes.
The first, an essay on John Joseph Merlin, contains details of the history of keyboard instruments in the eighteenth century, dismissing both the idea of a single line of development for the piano and the simplistic idea that the harpsichord was superseded by the piano. The pageant of events in the history of stringed keyboard instruments presented also provides a background for displaying the creative genius of Merlin, showing that all his inventions for the harpsichord and the piano had their antecedents in the eighteenth century .
The second is a brief essay on Antonio Soler showing that the Florentine piano as it would have been known during his earlier days at the monastery and royal palace of San Lorenzo, El Escorial in Spain had gone out of fashion and that the harpsichord (with the full five octaves) was the preferred stringed keyboard instrument. Only at the end of Soler’s life did the piano, and then probably the English square piano, begin to become important again at the Spanish Court.
The third essay, on the pianos of the late eighteenth- century and early nineteenth-century Viennese piano maker Ferdinand Hofmann, is intended to show how different styles of furniture decoration can coexist and even succeed each other in the opposite order from the one that is considered to be historical. This discovery led to the revision of ideas about which Viennese and southern German pianos, most of them not dated, are right for Haydn, Mozart and Beethoven
The fourth essay is aimed at the prejudices that have been held, mostly retrospectively, in relation to Wanda Landowska and her Pleyel harpsichords. Instead, this last essay in the book tries to give a balanced sketch of some of the history in which she participated, ending with an emphasis on values that go beyond some of what is sometimes held, or at least was held, to be of importance in the performance of ‘early’ music.
The book includes 69 illustrations, almost all of them in colour, showing players and owners of the instruments, the instruments themselves and historical documents related to them. Particularly delightful are the reproductions of eighteenth-century English patents for instruments combining a harpsichord and a piano and the reproductions of illustrations from the Revue Pleyel of February 1926. The latter show Wanda Landowska with Manuel de Falla, with Tolstoy and Rodin together, and photos of the life-sized puppets from the first public performance of de Falla’s Retablo de maese Pedro, or ‘Master Pedro’s Puppet Show’, given on December 29th 1925 in Town Hall, New York. The main character is Don Quixote; the story is taken from Book II of The ingenious hidalgo Don Quixote de la Mancha by Miguel de Cervantes.
| Erscheinungsdatum | 20.11.2025 |
|---|---|
| Reihe/Serie | Musikwissenschaftliche Schriften ; 58 |
| Zusatzinfo | Abbildungen, überwiegend in Farbe |
| Verlagsort | Haarbach |
| Sprache | englisch |
| Maße | 210 x 290 mm |
| Themenwelt | Kunst / Musik / Theater ► Musik ► Musikgeschichte |
| Schlagworte | Klavier • Klavierbau • Pianisten |
| ISBN-10 | 3-87397-404-5 / 3873974045 |
| ISBN-13 | 978-3-87397-404-3 / 9783873974043 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
| Haben Sie eine Frage zum Produkt? |
Mehr entdecken
aus dem Bereich
aus dem Bereich
das Gesamtkunstwerk Kraftwerk
Buch | Softcover (2024)
C.W. Leske Verlag
CHF 29,90
Fakten, Mythen, Halbwahrheiten
Buch | Softcover (2024)
Anton Pustet (Verlag)
CHF 29,90
