By Kenneth Hamilton
Kenneth Hamilton's ebook engagingly and lucidly dissects the oft-invoked fantasy of an outstanding culture, or Golden Age of Pianism. it really is written either for avid gamers and for contributors in their audiences via a pianist who believes that scholarship and clarity can cross hand-in-hand. Hamilton discusses in meticulous but full of life aspect the performance-style of significant pianists from Liszt to Paderewski, and delves into the far-from-inevitable improvement of the piano recital. He entertainingly recounts how classical live shows developed from exuberant, occasionally riotous occasions into the formal, funereal trotting out of predictable items they are often this day, how a frequently unhistorical "respect for the ranking" started to exchange pianists' improvisations and variations, and the way the medical customized arose that an viewers will be obvious and never heard. Pianists will locate nutrition for proposal right here on their repertoire and the traditions of its functionality. Hamilton chronicles why pianists of the prior didn't constantly start a bit with the 1st word of the rating, nor finish with the final. He emphasizes that nervousness over fallacious notes is a comparatively fresh psychosis, and enjoying completely from reminiscence a comparatively fresh requirement. Audiences will come upon a bright account of ways significantly diverse are the recitals they attend in comparison to live shows of the prior, and the way their very own function has reduced from noisily lively members within the live performance event to passive recipients of inventive benediction from the degree. they'll detect while cowed listeners ultimately stopped applauding among events, and why they stopped speaking loudly in the course of them. The book's extensive message announces that there's not anything divinely ordained approximately our personal concert-practices, programming and piano-performance types. Many elements of the fashionable technique are unhistorical-some laudable, a few basically ludicrous. also they are some distance faraway from these fondly, if deceptively, remembered as constituting a Golden Age.
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Extra info for After the Golden Age: Romantic Pianism and Modern Performance
34 Von Sauer, 110. 35 Mark Mitchell, Vladimir de Pachmann: A Piano Virtuoso’s Life and Art (Bloomington: Indiana University Press, 2002), 7. : Dover, 1999), 92. 37 Horowitz, 93. 16 AFTER THE GOLDEN AGE doubt that they had ethereally unapproachable talents and unequaled gifts. It is merely a counsel of despair that claims we needs must live in a silver or even a bronze age after the fabled age of gold. The Legacy of Liszt and Thalberg Liszt was both an initiatory and a transitional ﬁgure as a piano virtuoso, but on his death some modern concert practices that we unwisely take for granted were far from established.
C. A. Moscheles, Aus Moscheles Leben (Leipzig: Duncker und Humblot, 1873), 2:39. Smidak’s version is simply a mistranslation. ’’ 51 Originally published in the Neue Freie Presse, 23 April 1933. An English translation appears in Mitchell and Evans, 97–103. Rosenthal’s comments are backed up by an independent account of the same concert by August Stradal. See Stradal, 84–87. 52 Adrian Williams, Portrait of Liszt: By Himself and His Contemporaries (Oxford: Clarendon Press, 1990), 135. Great Tradition, Grand Manner, Golden Age 23 He later published his own edition of the Handel fugue (a favorite also of Anton Rubinstein’s ‘‘historical’’ recital programs)53 that is also reasonably sober, but with some octave doubling of the bass suggested toward the end and ﬁngering and phrasing added.
29 vols. (London: Macmillan, 2000), 10:374. 63 Robert Winter, ‘‘The Emperor’s New Clothes: Nineteenth-Century Instruments Revisited,’’ Nineteenth Century Music 7, no. 3 (April 1984): 251–65; and Winter, ‘‘Performing Nineteenth-Century Music on Nineteenth-Century Instruments,’’ Nineteenth-Century Music 1, no. 2 (November 1977): 163–75. 64 Eigeldinger, Chopin: Pianist and Teacher. 65 Eigeldinger, Chopin: Pianist and Teacher, 1. 66 Rosenblum. 28 AFTER THE GOLDEN AGE Chopin-Liszt ‘‘Meine Freuden’’ with that of his pupil Charles Rosen is enough to show that whatever a continuous teaching tradition does, it does not necessarily cause performers to play in a stylistically similar way.
After the Golden Age: Romantic Pianism and Modern Performance by Kenneth Hamilton