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ISBN
0198166346
EAN
9780198166344
Release Title
The Pianoforte in the Classical Era
Artist
Cole, Michael
Brand
N/A
Colour
N/A
Book Title
The Pianoforte in the Classical Era
Kategorie

Über dieses Produkt

Product Identifiers

Publisher
Oxford University Press, Incorporated
ISBN-10
0198166346
ISBN-13
9780198166344
eBay Product ID (ePID)
1524539

Product Key Features

Number of Pages
412 Pages
Publication Name
Pianoforte in the Classical Era
Language
English
Subject
History & Criticism, Musical Instruments / Piano & Keyboard
Publication Year
1998
Type
Textbook
Subject Area
Music
Author
Michael Cole
Format
Hardcover

Dimensions

Item Height
1.1 in
Item Weight
28.9 Oz
Item Length
9.2 in
Item Width
6.1 in

Additional Product Features

Intended Audience
College Audience
LCCN
97-015105
Reviews
'Michael Cole, a harpsichord and fortepiano maker, has written a delightful and entertaining book ... The practical bias of his knowledge is manifested time and again'Harpsichord & fortepiano, Vol 9, No. 1, Spring 2001'Technical books on the piano are usually best written by makers and restorers, and Cole comes to the subject as one of these. This is rare and to be welcomed. A valuable resource for organologists and those interested in the technical aspects of pianos. Cole's book is a useful and up-to-date partner to Harding and other books on the history of the piano. It is thanks to the prescient and skilful management of the late academic music-book division of OUPthat this important book can be placed alongside its distinguished companions on our shelves.'Dorothy de Val, 'Michael Cole, a harpsichord and fortepiano maker, has written a delightful and entertaining book ... The practical bias of his knowledge is manifested time and again'Harpsichord and fortepiano, Vol 9, No. 1, Spring 2001, 'Technical books on the piano are usually best written by makers and restorers, and Cole comes to the subject as one of these. This is rare and to be welcomed. A valuable resource for organologists and those interested in the technical aspects of pianos. Cole's book is a useful and up-to-datepartner to Harding and other books on the history of the piano. It is thanks to the prescient and skilful management of the late academic music-book division of OUP that this important book can be placed alongside its distinguished companions on our shelves.'Dorothy de Val, "[R]ichly detailed and informativewell written, scholarly, and full of information and insights that will engage readers with a passion for the piano."--Iarly Keyboard Journal
Dewey Edition
21
TitleLeading
The
Illustrated
Yes
Dewey Decimal
786.2/094/09033
Table Of Content
Introduction1. The Early Piano I2. The Early Piano II3. Johannes Zumpe and the English Square Piano4. After Zumpe: Small Pianos in Europe and America 1770-17955. Interlude: Buying a Pianoforte6. Beyond Zumpe: The English Square Piano 1782-18057. Americus Backers, Inventor of the English Grand Piano8. The English Grand, 1778-18059. Pianoforte or Pantalon? The Origins of German Tafelklaviere10. Johann Andreas Stein and the German Grand Piano11. Keyboard Instruments in Germany and Austria 1770-1790: An Overview12. 'Mozart's Own Fortepiano'13. In Vienna14. Harpsichord, Pianoforte, and Combination Instruments15. The Upright Pianoforte: the Genesis of Upright Forms16. Into the Nineteenth Century17. Construction of the Early Piano18. At the Keyboard. Touch and Tone in the Early Piano19. Fakes, Frauds, and Forgeries20. EnvoiAppendicesI: Selected Passages from Early SourcesII: A Proposal for the Systematic Classification of Piano ActionsIII: Americus Backus: the Inventory of his House and Workshop in 1778GlossaryBibliographyIndexIntroduction1. The Early Piano I2. The Early Piano II3. Johannes Zumpe and the English Square Piano4. After Zumpe: Small Pianos in Europe and America 1770-17955. Interlude: Buying a Pianoforte6. Beyond Zumpe: The English Square Piano 1782-18057. Americus Backers, Inventor of the English Grand Piano8. The English Grand, 1778-18059. Pianoforte or Pantalon? The Origins of German Tafelklaviere10. Johann Andreas Stein and the German Grand Piano11. Keyboard Instruments in Germany and Austria 1770-1790: An Overview12. 'Mozart's Own Fortepiano'13. In Vienna14. Harpsichord, Pianoforte, and Combination Instruments15. The Upright Pianoforte: the Genesis of Upright Forms16. Into the Nineteenth Century17. Construction of the Early Piano18. At the Keyboard. Touch and Tone in the Early Piano19. Fakes, Frauds, and Forgeries20. EnvoiAppendicesI: Selected Passages from Early SourcesII: A Proposal for the Systematic Classification of Piano ActionsIII: Americus Backers: the Inventory of his House and Workshop in 1778GlossaryBibliographyIndex
Synopsis
This book charts the progress of the piano and related instruments during the lifetimes of Mozart, Haydn, and Beethoven. Wherever possible the author returns to the original sources--a wide variety of previously unreported documents, as well as surviving instruments--to reconstruct the history of the pianoforte that radically departs from earlier theories of many of the most fundamental issues. A wide range of instruments, each carefully described, is placed in a precise chronological and cultural setting. New insights are offered into the parameters that governed the performance of keyboard music in the Classical Era., In a period of only thirty years in the second half of the eighteenth century European musical culture underwent a remarkable transformation. In 1765 the harpsichord was the indispensable item in almost every concert and in every home where music was practised; the sound of the pianoforte was virtually unknown to most music lovers. Yet by 1795 the situation was entirely reversed. The pianoforte was indispensable and the harpsichord had become all but obsolete - except in the most backward and conservative establishments. Three hundred years of harpsichord dominance had ended, and workshops that had been busy producing them either ceased trading or switched hurriedly to the new hammer-action instruments. What precipitated this amazing capitulation was, of course, new styles in musical composition and performance. While baroque counterpoint might be ideally suited to the harpsichord, the new keyboard music required above all expression. Not only loud and soft sounds, which the harpsichord could be contrived to imitate, but diminuendi and crescendi, sudden accents and an arresting quietness, which it was powerless to perform; these became the essential elements in any accomplished performance. For song accompaniments, too, the pianoforte was found to be ideal, with a sweet tone that supported the voice, and a dynamic flexibility that permitted it to follow the vocal line or to prepare the appropriate effect. The Pianoforte in the Classical Era charts the progress of this revolution in musical aesthetics and experience, detailing the extraordinary variety of sounds and musical resources built into the keyboard instruments in the latter half of the eighteenth century. Wherever possible the author returns to original sources - a wide variety of previously unreported documents, as well as surviving instruments - to reconstruct a history of the pianoforte that departs radically from earlier theories of many of the most fundamental issues. A wide range of instruments, each carefully described, is placed in a precise chronological and cultural setting. New insights are offered into the parameters that governed the performance of keyboard music in the Classical Era., The Pianoforte in the Classical Era is an important and radically new history, detailing the nature of the early piano and related instruments during the lifetimes of Mozart, Haydn, and Beethoven. It promises to be a standard reference on the subject for many years to come.
LC Classification Number
ML655.C63 1998

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