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Kenneth Hamilton's After the Golden Age: Romantic Pianism and Modern PDF

By Kenneth Hamilton

ISBN-10: 0195178262

ISBN-13: 9780195178265

ISBN-10: 143561786X

ISBN-13: 9781435617865

Kenneth Hamilton's publication engagingly and lucidly dissects the oft-invoked delusion of a good culture, or Golden Age of Pianism. it truly is written either for gamers and for contributors in their audiences by way of a pianist who believes that scholarship and clarity can cross hand-in-hand. Hamilton discusses in meticulous but full of life element the performance-style of serious 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 regularly unhistorical "respect for the ranking" started to exchange pianists' improvisations and variations, and the way the scientific customized arose that an viewers could be visible and never heard. Pianists will locate meals for suggestion right here on their repertoire and the traditions of its functionality. Hamilton chronicles why pianists of the earlier didn't continuously start a bit with the 1st observe of the ranking, nor finish with the final. He emphasizes that anxiousness over mistaken notes is a comparatively contemporary psychosis, and taking part in totally from reminiscence a comparatively contemporary requirement. Audiences will come upon a shiny account of the way enormously diverse are the recitals they attend in comparison to concert events of the earlier, and the way their very own position has decreased from noisily energetic individuals within the live performance event to passive recipients of creative benediction from the degree. they're going to notice while cowed listeners finally stopped applauding among activities, and why they stopped speaking loudly in the course of them. The book's vast message publicizes that there's not anything divinely ordained approximately our personal concert-practices, programming and piano-performance kinds. Many facets of the fashionable method are unhistorical-some laudable, a few simply ludicrous. also they are a ways faraway from these fondly, if deceptively, remembered as constituting a Golden Age.

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Additional resources for After the Golden Age: Romantic Pianism and Modern Performance

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I remember how pleased I was myself as a piano student when I realized that I could ‘‘trace my lineage to Liszt’’ through lessons with Lawrence Glover, who studied with Claudio Arrau, who was a pupil of Martin Krause, who was a pupil of the great man himself. The slightly later realization that I could also trace my music teaching to Busoni (through Ronald Stevenson) added to the warm glow of belonging. Now, even if I were playing badly, I would be playing badly with authority. Great Tradition, Grand Manner, Golden Age 17 Amongst the common misconceptions are the assertions that Liszt developed a fully modern piano technique and that he effectively established the piano recital in more or less its current form.

The older pianos are simply less stable, both in their tuning and in the reliability of their action. However, some modern players of nineteenth-century pianos seem to feel uncomfortable with certain performance practices associated with the era. It is surprising how many award themselves a gold star for using historical instruments on recordings (sometimes chronologically bizarre ones) but steadfastly ignore the improvisation, unmarked arpeggiation of chords, and tempo flexibility that was such an important feature of much romantic performance practice.

As a young man he had even performed in a duo with Liszt. Pachmann was born in 1848, Paderewski in 1860. Paderewski’s teacher, that pedagogue of pedagogues Theodor Leschetizky, was born as far back as 1830, only three years after Beethoven’s death, and had been a pupil of Czerny himself. Even something of his playing can be heard nowadays, admittedly via the highly unsatisfactory medium of piano rolls. These are nonetheless vivid enough to tell us a lot about some important aspects of his performance style and how closely his most famous pupil followed it.

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After the Golden Age: Romantic Pianism and Modern Performance by Kenneth Hamilton

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