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Master school of virtuoso piano playing: Finger exercises by Alberto Jonás,Reah Sadowsky,Sara Davis Buechner Pdf
An acclaimed multi-volume treatise presents precise and creative exercises for serious painists and teaches technique, pedaling, fingering, and other methods.
Master school of virtuoso piano playing: Scales by Alberto Jonás,Reah Sadowsky,Sara Davis Buechner Pdf
An acclaimed multi-volume treatise presents precise and creative exercises for serious painists and teaches technique, pedaling, fingering, and other methods.
The Virtuoso Pianist in Sixty Exercises for the Acquirement of Agility, Independence, Strength and Perfect Evenness in the Fingers as Well as Suppleness of the Wrist by Charles Louis Hanon Pdf
This book offers a novel interpretation of the sudden and steep decline of instrumental virtuosity in its critical reception between c. 1815 and c. 1850, documenting it with a large number of examples from Europe’s leading music periodicals at the time. The increasingly hostile critical reception of instrumental virtuosity during this period is interpreted from the perspective of contemporary aesthetics and philosophical conceptions of human subjectivity; the book’s main thesis is that virtuosity qua irreducibly bodily performance generated so much hostility because it was deemed incompatible with, and even threatening to, the new Romantic philosophical conception of music as a radically disembodied, abstract, autonomous art and, moreover, a symbol or model – if only a utopian one – of a similarly autonomous and free human subject, whose freedom and autonomy seemed increasingly untenable in the economic and political context of post-Napoleonic Europe. That is why music, newly reconceived as radically abstract and autonomous, plays such an important part in the philosophy of early German Romantics such as E. T. A. Hoffmann, Schelling, and Schopenhauer, with their growing misgivings about the very possibility of human freedom, and not so much in the preceding generation of thinkers, such as Kant and Hegel, who still believed in the (transcendentally) free subject of the Enlightenment. For the early German Romantics, music becomes a model of human freedom, if freedom could exist. By contrast, virtuosity, irredeemably moored in the perishable human body, ephemeral, and beholden to such base motives as making money and gaining fame, is not only incompatible with music thus conceived, but also threatens to expose it as an illusion, in other words, as irreducibly corporeal, and, by extension, the human subject it was meant to symbolise as likewise an illusion. Only with that in mind, may we begin to understand the hostility of some early to mid-19th-century critics to instrumental virtuosity, which sometimes reached truly bizarre proportions. In order to accomplish this, the book looks at contemporary aesthetics and philosophy, the contemporary reception of virtuosity in performance and composition, and the impact of 19th-century gender ideology on the reception of some leading virtuosi, male and female alike.
The greatest virtuoso career in history - that of Franz Liszt - has been told in countless biographies. But what does that career look like when viewed from the perspective of European cultural history? In this study Dana Gooley examines the world of discussion, journalism, and controversy that surrounded the virtuoso Liszt, and reconstructs the multiple symbolic identities that he fulfilled for his enthusiastic audiences. Gooley's work is based on extensive research into contemporary periodicals - well-known and obscure journals and newspapers - as well as letters, memoirs, receipts and other documents that shed light on Liszt's concertising activities. Emphasising the virtuoso's contradictions, the author shows Liszt being constructed as a model aristocrat and a model bourgeois, as a German nationalist and a Hungarian nationalist, as a sensitive romantic artist and a military dictator, as a greedy entrepreneur and as a leading force for humanitarian charity.
"Beginning with Pachmann's childhood in Odessa, Mitchell follows the process by which the youngest of thirteen children evolved into one of the finest - and most colorful - artists in the history of the piano, one who was able to fill London's Albert Hall for a recital. Particular emphasis is placed on the two principal relationships of Pachmann's life: with the pianist Maggie Okey, to whom he was married for a decade, and with Francesco Pallottelli, the waiter-turned-impresario under whose influence he eventually settled in Fascist-era Italy."--Jacket.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Heinrich Wilhelm Ernst: Virtuoso Violinist by Mark Rowe Pdf
From 1840-57, Heinrich Ernst was one of the most famous and significant European musicians, and performed on stage, often many times, with Berlioz, Mendelssohn, Chopin, Liszt, Wagner, Alkan, Clara Schumann, and Joachim. It is a sign of his importance that, in 1863, Brahms gave two public performances in Vienna of his own and Ernst's music to raise money for the now mortally ill violinist. Berlioz described Ernst as 'one of the artists whom I love the most, and with whose talent I am most sympathetique', while Joachim was in no doubt that Ernst was 'the greatest violinist I ever heard; he towered above the others'. Many felt that he surpassed the expressive and technical achievements of Paganini, but Ernst, unlike his great predecessor, was also a tireless champion of public chamber music, and did more than any other early nineteenth-century violinist to make Beethoven's late quartets widely known and appreciated. Ernst was not only a great virtuoso but also an accomplished composer. He wrote two of the most popular pieces of the nineteenth century - the Elegy and the Carnival of Venice - and he is best known today for two solo pieces which represent the ne plus ultra of technical difficulty: the transcription of Schubert's Erlking, and the sixth of his Polyphonic Studies, the variations on The Last Rose of Summer. Perhaps he made his greatest contribution to music through his influence on Liszt's outstanding masterpiece, the B minor piano sonata. In 1849, Liszt conducted Ernst playing his own Concerto Pathque, a substantial single-movement work, in altered sonata form, using thematic transformation. Soon after this performance, Liszt wrote his Grosses Konzertsolo (1849-50), his first extended single-movement work, using altered sonata form, and thematic transformation. This is now universally acknowledged to be the immediate forerunner of the sonata, which refines and develops all these techniques. Liszt made his debt clear when, three years after completi
Hanon Deluxe the Virtuoso Pianist Transposed in All Keys - by C. L. Hanon Pdf
283 pages/240 exercises. The Virtuoso Pianist (Le Piano Virtuose) by Charles-Louis Hanon, is a compilation of sixty exercises meant to train the pianist in speed, precision, agility, and strength of all of the fingers and flexibility in the wrists. First published in Boulogne, in 1873, The Virtuoso Pianist is Hanon's most well-known work, and is still widely used by piano instructors and pupils. The first part, consisting of exercises 1 - 20, is labeled "preparatory exercises." These are also the most famous exercises.
A new and wide-ranging collection of essays by leading international scholars, exploring the concept and practices of virtuosity in Franz Liszt and his contemporaries.
Hanon-Faber: The New Virtuoso Pianist by Randall Faber Pdf
(Piano Adventures Supplementary). While nearly every pianist's training includes the renowned exercises of Charles-Louis Hanon, the power and weight of the modern grand requires an updated approach. This unique edition introduces vital pianistic warm-ups and routines that ensure correct gesture and relaxation. The pedagogical sequence omits inefficient and potentially damaging exercises and presents a long-needed pathway for dexterity and gesture that newly advances the virtuoso pianist. * Includes selected exercises from Hanon's The Virtuoso Pianist, Parts 1 and 2 * New transformative warm-ups develop gesture, dexterity, and virtuosity * For students in Levels 3A, 3B, and above
