A student of Anton Rubinstein and a leading exponent of the works of Chopin, Liszt, and Schumann, he always balanced his virtuoso playing with a firm adherence to the piece as written. It is this balanced approach to piano playing that he advocates in this highly regarded volume on piano technique.The first section of the book contains a discussion of the rules and tricks of correct piano playing: touch, methods of practicing, the use of the pedal, playing the piece as it is written, "How Rubinstein Taught Me to Play," and indispensables in pianistic success. The second, much longer, section contains Hofmann's answers to specific questions sent to him by piano students and amateurs: questions on positions of the body and hand, actions of the wrist and arm, stretching, staccato, legato, precision, fingering, octaves, the pedals, practice, marks and nomenclature, phrasing, rubato, theory, transposing, and much more.Full of important background information that is highly useful to every piano player, this book will set students on the right track in their studies and allow every amateur to measure the level of his commitment and the quality of the instruction he is receiving. For insight into many facets of playing the piano, there is no better guide than Josef Hofmann.

    His mother, Olga Blumenfeld, was sister of Felix Blumenfeld, a distinguished pianist, conductor and teacher. Horovitz was one of his most famous pupils. Through his maternal grandmother he was related to Karol Szymanowski who became a lifelong friend.Heinrich Neuhaus was, strictly speaking, self-taught, and the main formative influence on his musical development came from Felix Blumenfeld. He made his first public appearance at the age of eleven, playing some Chopin Waltzes and an Impromptu. In 1902 he accompanied Misha Elman in a recital in Elisavetgrad. His first solo recitals took place in Germany and Italy while studying under Godowsky, in Berlin and Vienna. He returned to Russia at the outbreak of the First World War.In 1922 he began teaching at the Moscow Conservatoire and helped to create in 1932 the famous Moscow Central Music School for specially gifted children. From 1934 to 1937 he was Director of the Moscow Conservatoire, a post he relinquished so as to be able to devote himself entirely to teaching. Amongst his pupils were Radu Lupu, Emil Gilels and Sviatoslav Richter who called him an artist of unique genius, a great teacher and friend. Seldom have artistic gifts been so closely matched by the qualities of selfless devotion, deep humanity, true culture and a great capacity for bestowing and winning friendship. He died on 10th October 1964. This book bears witness to his achievements as a man, musician and teacher.

    A child prodigy as a pianist and a virtuoso conductor of symphonics and operas, Barenhoim has known and worked with many of the most distinguished and exciting musicians of the 20th century, including Rubinstein, Furtwangler, Zubin Meta, Pierre Boulez, Fisher-Diskau, Pablo Casals, and not least his wife, Jacqueline du Pre. Recent years have included his work at the annual Wagner festival Bayreuth; in Berlin at the rebirth of the State Opera House; taking over from George Solti's 22-year regin in Chicago; his summer festival in Weimar, Germany, where young Arabs and Israelis can play music together; and his worldwide travels. Barenboim has revised and updated his memoir, giving us trenchant thoughts on Israel today, the problems facing young musicians, and the changing world of music at the beginning of the 21st century.-One of the world's greatest musicians, Barenboim has a dedicated following who will be interested in reading about his life in his own words.-Barenboim was married to celebrated cellist Jacqueline du Pre, the subject of the controversial film Hilary and Jackie.-His championship of peaceful coexistence with Palestinians is highly controversial, as is his insistence on playing Wagner in Israel.

    This unique collection of documents, edited and annotated by Jean-Jacques Eigeldinger, reveals Chopin as teacher and interpreter of his own music. Included in this study is extensive appendix material that presents annotated scores, and personal accounts of Chopin's playing by pupils, writers, and critics.

    This reader for lovers of the piano distils his musical and linguistic eloquence and vast knowledge, and will prove invaluable to anyone with an interest in the technique, history and repertoire of the piano. Erudite, witty, enlightening and deeply personal, A Pianist's A to Z is the ideal book for all piano lovers, musicians and music aficionados: rarely has the instrument been described in such an entertaining and intelligent fashion.

    This irreverent and hilarious guide to all that's loud, vulgar, fast, violent, pissed-off, and adolescent in the music of the last forty years—the first book to prefigure the emerging "alternative" culture of the 1990s—has now been updated with the hundred best metal albums of the decade.

    We live in an age when the most beautiful of recording formats, vinyl, is back in vogue and thriving. In the early 90s, with the march of the cd and record company disinterest oin the format, vinyl was looking like an anachronism. And with its demise came the gradual erosion of a once beautiful and unique landscape known as the independent record shop. Richard King, author of How Soon is Now, blends memoir and elegiac music writing on the likes of Captain Beefheart, CAN and Julian Cope, to create a book that recalls the debauched glory days of the independent record shop. Chaotic, amateurish and extravagantly dysfunctional, this is a book full of rare personalities and rum stories. It is a book about landscape, place and the personal; the first piece of writing to treat the environment of the record shop as a natural resource with its own peculiar rhythms and anecdotal histories.

    Celebrating the year in music writing by gathering a rich array of essays, missives, and musings on every style of music from rock to hip-hop to R&B to jazz to pop to blues, it is essential reading for anyone who loves great music and accomplished writing. Scribes of every imaginable sort—novelists, poets, journalists, musicians— are gathered to create a multi-voiced snapshot of the year in music writing that, like the music it illuminates, is every bit as thrilling as it is riveting.

    Book 2 of a classic, comprehensive step-by-step course specifically designed to suit the needs of children beginning the piano. Includes: colorful characters and illustrations * writing exercises * sight reading drills * review work * teacher/parent accompaniments * and more! Our latest edition (2019) features updated artwork by Sergio Sandoval.

    A quintessential Englishman, he has since pursued several overlapping careers, bringing to each of them his trademark preoccupation with quality control and restless curiosity.In 1975, after leaving the band that made him famous he diversified into writing movie soundtracks, various audio-visual ventures, tireless charity work and supporting major peace initiatives. He also became world music’s most illustrious champion, launching the WOMAD festival and recording solo albums that featured musicians from every corner of the globe. These and several other careers make writing Peter Gabriel’s biography an unusually challenging task, but Daryl Easlea has undertaken hours of new interviews with key friends, musicians, aides and confidants to get to the very heart and soul of Peter Gabriel, his music and his complex life. The result is an extraordinary biography of an extraordinary man.

    This series of three books aim to provide frustrated rock guitarists with new directions to explore their art. Armed with the accompanying CD, featuring detailed examples of pentatonic patterns, minor arpeggios and backing tracks, you will be able to do much more than simply learn solos and licks note for note. This book also contains a thorough explanation of music theory.

    He urges more frequent performance and more sensitive hearing of the music of new composers. He discusses sound media, new and old, and looks toward a musical future in which the timbres and intensities developed by the electronic engineer may find their musical shape and meaning. He considers the twentieth-century revolt against classical form and tonality, and the recent disturbing political interference with the form and content of music. He analyzes American and contemporary European music and the flowering of specifically Western imagination in Villa-Lobos and Charles Ives. The final chapter is an account, partially autobiographical, of the composer who seeks to find, in an industrial society like that of the United States, justification for the life of art in the life about him. Mr. Copeland, whose spectacular success in arriving at a musical vernacular has brought him a wide audience, will acquire as many readers as he has listeners with this imaginatively written book.

    The companion volume to 'This is Uncool', Garry Mulholland shifts his focus from singles to albums, making witty and irreverent criticisms on the likes of David Bowie, The Smiths, Eminem and The Prodigy.

    It's not about how much students do. It's about how they spend that time. A long overdue look inside the practice room - what works, what doesn't and why, from the founder of and chief writer for PracticeSpot.com, the world's largest website for music teachers and students.

    McGill methodically explains the frequently misunderstood "Tabuteau number system" and its relationship to note grouping-the lifeblood of music. The controversial issue of baroque performance practice is also addressed. Instrumentalists and vocalists alike will find that many of the ideas presented in this book will help develop their musicianship as well as their understanding of what makes a performance "musical."