Notes
1 The piano to c. 1770
1 The development of piano actions prior to Cristofori is discussed in Stewart Pollens, The early pianoforte (Cambridge, 1995), chs. 1 and 2.
2 Giuliana Montanari, ‘Bartolomeo Cristofori’, EM , 19 (1991), pp. 383–96; Pollens, Pianoforte , p. 45.
3 Montanari, ‘Cristofori’, p. 385; Pollens, Pianoforte , p. 45.
4 Pollens, Pianoforte , p. 45.
5 Maffei’s description is published in full along with a detailed description of Cristofori’s surviving instrument in Pollens, Pianoforte , p. 232.
6 Ferrini’s keyboard instruments are discussed at length in Luigi Ferdinando Tagliavini, ‘Giovanni Ferrini and his harpsichord “a penne e a martelletti”’, EM , 19 (1991), pp. 399–408 and Stewart Pollens, ‘Three keyboard instruments signed by Cristofori’s assistant, Giovanni Ferrini’, Galpin Society Journal , 44 (1991), pp. 77–93. His harpsichord/piano is described in Pollens, Pianoforte , ch. 5.
7 Pollens, Pianoforte , ch. 5.
8 Pollens, Pianoforte , p. 119.
9 Charles Burney, The present state of music in France and Italy (London, 1771), ed. Percy Scholes (London, 1959), p. 152.
10 Pollens, Pianoforte , p. 58.
11 Joel Sheveloff, ‘Domenico Scarlatti: tercentenary frustrations’, MQ , 72 (1986), pp. 90–118.
12 Pollens, Pianoforte , p. 57.
13 Pollens, Pianoforte , p. 119.
14 Lorenz Mizler, Neu erö ff nete musikalische Bibliothek , vol. 3, part 3 (Leipzig, 1747), pp. 474–7; Friedrich Wilhelm Marpurg, Kritische Briefe über die Tonkunst , vol. 3, part 1 (Berlin, 1764), pp. 81–104.
15 See Sarah Hanks, ‘Pantaleon’s Pantalon: an eighteenth-century musical fashion’, MQ , 55 (1969), pp. 215–27.
16 For further information on the keyed pantalon, see Michael Cole, The pianoforte in the classical era (Oxford, 1997).
17 Johann Heinrich Zedler, Grosses vollständiges Universal-Lexicon (Halle and Leipzig, 1732–50), vol. 5, pp. 135–40.
18 Jacob Adlung, Musica mechanica organoedi , 2 (Berlin 1768), p. 116, tr. in Hans T. David and Arthur Mendel, The Bach reader ( rev. edn, New York, 1966), p. 259.
19 Johann Nikolaus Forkel, Ueber Johann Sebastian Bach’s Leben (Leipzig, 1802), pp. 25–6.
20 Silbermann’s surviving grands are described in detail in Pollens, Pianoforte , pp. 175–84.
21 Spenersche Zeitung (11 May 1747), tr. in Christoph Wolff, ‘New research on Bach’s Musical O ff ering ’, MQ , 57 (1971), p. 401.
22 Wolff, ‘New Research’, p. 403.
23 All of these upright grands are described in Pollens, Pianoforte , pp. 107–114, 186–202.
24 Heinrich Christoph Koch’s Musikalisches Lexicon (Frankfurt, 1802) s.v. ‘Fortbien’ gives 1758 as the date of Friederici’s invention of the square: the date of a square by Socher (1742) is unreliable.
25 The action of one of J. H. Silbermann’s pianos is shown in Rosamond Harding, The Piano-forte: its history traced to the Great Exhibition (Old Woking, 1978), p. 38.
26 Carl Philipp Emanuel Bach, Versuch über die wahre Art das Clavier zu spielen , part 1 (Berlin, 1753), tr. and ed. by William J. Mitchell (London, 1949), p. 36.
27 Jacob Adlung, Anleitung zu der musikalischen Gelahrheit (Erfurt, 1758), p. 563.
28 Charles Burney, The present state of music in Germany, the Netherlands, and United Provinces (London, 1775), ed. Percy Scholes (London, 1959), p. 39.
29 Burney, Germany , p. 96.
30 Burney, Germany , p. 160.
31 Burney, Germany , p. 200.
32 Johann Adam Hiller in Anhang zu dem dritten Jahrgang der Nachrichten und Anmerkungen die Musik betre ff end , part 4 (Leipzig, 24 July 1769), p. 32.
33 Abraham Rees, The Cyclopaedia; or Universal Dictionary (London, 1819), s.v. ‘Harpsichord’.
34 Ibid.
35 Slava Klima, Garry Bowers, Kerry Grant (eds.), Memoirs of Dr. Charles Burney, 1726–1769 (Lincoln, 1988), pp. 72–3.
36 Rees, ‘Harpsichord’.
37 Memoirs of Dr. Charles Burney , p. 73.
38 Paget Toynbee and Leonard Whibley (eds.), The correspondence of Thomas Gray (Oxford, 1971).
39 Thomas Mortimer, Universal director (London, 1763), p. 50.
40 David Wainwright, Broadwood by appointment: a history (London, 1982), p. 41.
41 Charles Burney, Music, Men and Manners in France and Italy , ed. H. Poole (2nd edn, London, 1974), pp. 19–20.
42 Warwick Henry Cole,‘Americus Backers: original forte piano maker’, The Harpsichord and Pianoforte Magazine , 4 (1987), pp. 79–85.
43 Alvaro Ribiero (ed.), The Letters of Dr Charles Burney (Oxford, 1991), vol. 1, p. 163.
44 Edward Francis Rimbault, The pianoforte, its origins, progress and construction (London, 1860), p. 133.
45 Information from London newspapers given to me by Richard Maunder.
46 Information from London newspapers given to me by Richard Maunder.
47 Gillian Sheldrick, The accounts of Thomas Green 1742–1790 (Hitchin, 1992).
48 Eugène de Bricqueville, Les ventes d’instruments de musique au XVIII siècle (Paris, 1980), p. 11.
49 Hiller, Jahrgang der Nachrichten , 24 July 1769.
50 William Dowd, ‘The surviving instruments of the Blanchet workshop’, in Howard Schott (ed.), The historical harpsichord , 1 (1984), p. 89.
51 Frank Hubbard, Three centuries of harpsichord making (Cambridge, MA, 1965), p. 293.
52 Hubbard, Harpsichord making , p. 294.
53 Hubbard, Harpsichord making , p. 311.
54 Burney, France and Italy , p. 27.
55 Denis Diderot, Correspondence , ed. G. Roth (16 vols., Paris, 1955–70), vol. 11, pp. 197, 213.
56 In Ernest Closson, La facture des instruments de musique en Belgique (Brussels, 1935); tr. Delano Ames, ed. Robin Golding as History of the piano (2nd edn, London, 1974), p. 86.
57 Marie-Christine and Jean-François Weber, J. K. Mercken (Paris, 1986), p. 22.
58 Hubbard, Harpsichord making , p. 295.
59 Wainwright, Broadwood , p. 62.
60 See J. Gallay, Un inventaire sous la terreur. Etat des instruments de musique relevés chez les émigrés et condamnés par H. Bruni (Paris, 1890).
61 See Voltaire’s letter of c .15 December 1774 in Theodore Besterman (ed.), Correspondence and related documents of Voltaire (Banbury, 1975), vol. 41.
2 Pianos and pianists c. 1770– c. 1825
1 Friedrich Kalkbrenner, Méthode pour apprendre le pianoforte (Paris, 1830); Eng. tr. Sabilla Novello (London, 1862), p. 10.
2 The merits of pianos by Walter, Stein/Streicher and Schanz are discussed by Schönfeld in his Jahrbuch der Tonkunst von Wien und Prag (1796), sections of which are translated in Eva Badura-Skoda, ‘Prolegomena to a history of the Viennese fortepiano’, Israel Studies in Musicology , 2 (1980), p. 94.
3 It is discussed in detail in Kurt Wittmayer, ‘Der Flügel Mozarts’, Mozart-Jahrbuch (1991), pp. 301–12.
4 Carl Czerny, Supplement (oder verte Theil) zur grossen Pianoforte Schule (Vienna, 1842), tr. and ed. P. Badura-Skoda (Vienna, 1970), p. 10; and Emily Anderson (ed. and tr.), The Letters of Beethoven (London, 1961), p. 82.
5 David Wainwright, Broadwood by appointment: a history (London, 1982), p. 60.
6 AMZ , 5 (1802), cols. 196–8.
7 Richard Maunder, ‘Mozart’s keyboard instruments’, EM , 20 (1992), p. 214.
8 Maunder, ‘Mozart’s keyboard instruments’, p. 214.
9 Richard Maunder and David Rowland, ‘Mozart’s pedal piano’, EM , 23 (1995), pp. 287–96.
10 Emily Anderson (ed. and tr.), The letters of Mozart and his family (3rd edn, London, 1985), p. 340.
11 Anderson, Letters of Mozart , pp. 339–40.
12 Caecilia , 10 (1829), p. 238.
13 Anderson, Letters of Mozart , p. 793.
14 AMZ , 5 (1802), cols. 196–7.
15 For a discussion of these works and other details of pedalling, see David Rowland, A history of pianoforte pedalling (Cambridge, 1993).
16 Czerny, Supplement , p. 97.
17 Alfred James Hipkin’s notebooks, quoted in Wainwright, Broadwood , p. 75.
18 Wainwright, Broadwood , p. 75.
19 Wainwright, Broadwood , p. 76.
20 See, for example, Howard Allen Craw, ‘A biography and thematic catalog of the works of J. L. Dussek (1760–1812)’, (diss., University of Southern California, 1964), pp. 109–13.
21 Leon Plantinga, Clementi: his life and music (London, 1977), ch. 6.
22 1789, col. 270 and 1790, col. 72.
23 AMZ , 2 (1799), October Intelligenz-Blatt, no. 2.
24 Rowland, Pedalling , ch. 9.
25 These are described in William Newman, Beethoven on Beethoven: playing his piano music his way (New York, 1988), pp. 50–4.
26 Anderson, Letters of Beethoven , p. 292.
27 Newman, Beethoven , pp. 54 ff.
28 According to Beethoven’s teacher, Neefe, in a letter to Cramer’s Magazin der Musik (Hamburg, 1787), p. 1386, translated Elliot Forbes (ed.), in Thayer’s Life of Beethoven (2nd edn, Princeton, 1967), p. 86.
29 Forbes, Thayer’s Life of Beethoven , p. 105.
30 See, for example, Anderson, Letters of Beethoven , pp. 82–3, 101, 269, 523.
31 Czerny, Supplement , p. 38.
32 Carl Czerny, Erinnerungen aus meinen Leben (MS 1842), tr. by Ernest Sanders in MQ , 42 (1956), p. 309.
33 Rowland, Pedalling , pp. 136–9.
34 Johann Nepomuk Hummel, Ausführliche theoretische-practische Anweisung zum Piano-forte Spiel (Vienna 1828), tr. as A complete theoretical and practical course of instructions on the art of playing the pianoforte (London, 1828), part 3, p. 40.
35 Franz Gerhard Wegeler and Ferdinand Ries, Biographische Notizen über Ludwig van Beethoven (Koblenz, 1838), tr. by Frederick Noonan as Remembering Beethoven (London, 1988), p. 94.
36 Carl Maria von Weber, ‘Tempo-Bezeichnungen nach Mälzl’s Metronom zur Oper Euryanthe’, AMZ , 50 (1848), col. 127, tr. Newman, Beethoven , p. 112.
37 Kalkbrenner, Méthode , p. 10.
38 Kalkbrenner, Méthode , p. 12.
3 The piano since c. 1825
1 See, for example, Rosamond Harding, The piano-forte: its history traced to the Great Exhibition of 1851 (2nd edn, Old Woking, 1978), Appendix C, and Edward Francis Rimbault, The pianoforte, its origins, progress and construction (London, 1860), pp. 149–57.
2 I am indebted to David Hunt for this information.
3 David Wainwright, Broadwood by appointment: a history (London, 1982), p. 127.
4 Harding, Piano-forte , p. 200, and information received from David Hunt.
5 Deborah Wythe, ‘The pianos of Conrad Graf ’, EM , 12 (1984), p. 454.
6 New Grove , s.v. ‘Pianoforte’.
7 Rimbault, Pianoforte , p. 168.
8 Daniel Spillane, History of the American pianoforte (New York, 1890, repr. 1969), ch. 7.
9 Rimbault, Pianoforte , p. 168.
10 Harding, Piano-forte , pp. 237–9. See also Peter and Ann Mactaggart (eds.), Musical instruments in the 1851 Exhibition (Welwyn, 1986), p. 35.
11 Wainwright, Broadwood , p. 328.
12 Harding, Piano-forte , pp. 179–80.
13 Mactaggart, Musical instruments , p. 18.
14 Wythe, ‘Graf’, p. 456.
15 Alfred Dolge, Pianos and their makers (Covina, 1919, reprinted New York, 1980), pp. 97ff.
16 Cyril Ehrlich, The piano: a history (London 1976), pp. 81–2, 140–1.
17 Mactaggart, Musical instruments , p. 34.
18 Mactaggart, Musical instruments , p. 96.
19 Le piano d’Érard a l’Exposition de 1844 (Paris and London, 1844), p. 4; reprinted in Dossier Erard (Geneva, 1980).
20 Harding, Piano-forte , p. 318; AMZ , 31 (1829), col. 596.
21 AMZ , 38 (1836), col. 129–33.
22 New Grove , s.v. ‘Pianoforte’.
23 Perfectionnemens apportés dans le méchanisme du piano par les Érard (Paris and London, 1834), pp. 4–5: reprinted in Dossier Erard .
24 Mactaggart, Musical instruments , p. 15.
25 George Grove (ed.), A dictionary of music and musicians (London, 1879–89), s.v. ‘Pedals’. For further details see David Rowland, A history of pianoforte pedalling (Cambridge, 1993).
26 John Broadwood & Co., Pianofortes (London, 1892), p. 32.
27 Personal communication from the firm.
28 See, for example, Edwin Roxburgh’s Labyrinth for Bösendorfer piano (1970).
29 Ehrlich, Piano , p. 113.
30 Ehrlich, Piano , p. 124.
31 Ehrlich, Piano , pp. 192–3.
32 New Grove , s.v. ‘Yamaha’.
33 Quoted in Rimbault, Pianoforte , pp. 159–60.
34 Ehrlich, Piano , p. 91.
35 Ehrlich, Piano , p. 185.
36 Wainwright, Broadwood , p. 327.
37 Wainwright, Broadwood , p. 151.
38 Wainwright, Broadwood , p. 327.
39 Ehrlich, Piano , p. 52.
40 A more extended description of cabinet and giraffe pianos can be found in Edwin Good, Gira ff es, Black Dragons, and other pianos (Stanford, 1982), pp. 103–12.
41 Harding, Piano-forte , pp. 63–4.
42 These pianos are described in detail in Harding, Piano-forte , pp. 221–4.
43 Harding, Piano-forte , pp. 221–59.
4 The virtuoso tradition
1 Artur Rubinstein, My young years (London, 1973), p. 444.
2 Emily Anderson (ed. and tr.), The letters of Mozart and his family (3rd edn, London, 1985), p. 793.
3 Carl Czerny, The art of playing the ancient and modern pianoforte works (London, c. 1848). Thalberg probably got the idea for his arpeggio e ffects from the harp virtuoso Elias Parish-Alvars. The Moses Fantasy is more or less directly copied from a Parish-Alvars piece of the same name.
4 Daniel Ollivier (ed.),Correspondance de Liszt et de Madame d’Agoult (Paris,1933),vol.1,p.190.
5 Eduard Hanslick, Music criticisms , tr. Henry Pleasants (New York, 1988), p. 107.
6 Carl Lachmund, Living with Liszt , ed. Alan Walker (Stuyvesant, NY, 1995), p. 35.
7 François-Joseph Fétis, ‘Sur l’industrie musicale’, Revue musicale 10 (1830), pp. 193–205.
8 Martin d’Angers, ‘Des pianistes et de la musique de piano’, Revue et gazette musicale , 45 (1845), p. 367.
9 La Mara (ed.), Franz Liszts Briefe (Leipzig, 1893), vol. I, p. 25.
10 Carl Czerny, A systematic introduction to improvisation on the pianoforte , tr. Alice Mitchell (New York, 1983), p. 6.
11 A recording of Hofmann’s entire recital, which took place in the Casimir Hall, Philadelphia on 7 April 1938, can be found on IPA. 5007/8.
12 Trans. Charles Suttoni, Journal of the American Liszt Society , 12 (1982), pp. 12–13.
13 Richard Zimdars (ed.), The piano master classes of Hans von Bülow (Bloomington, IN, 1993), p. 44.
14 Zimdars, Bülow master classes , p. 67.
15 Charles Hallé, Life and letters (London, 1896), pp. 88–89.
16 Robert L. Jacobs and Geoffrey Skelton (trs.), Wagner writes from Paris (London, 1973), pp. 133–4.
17 Angèle Potocka, Theodore Leschetizky , tr. Lincoln (New York, 1903), p. 90.
18 Sigismund Thalberg, L’art du chant appliqué au piano (London, c . 1853).
19 Adrian Williams, Portrait of Liszt (Oxford, 1990), pp. 290–1.
20 The nature of teacher–pupil performance styles is examined further in chapter 5 .
21 Lina Ramann, Liszt-Pädagogium (Leipzig, 1901), new edn with foreword by Alfred Brendel (Wiesbaden, c .1986); August Göllerich, Franz Liszt Klavierrunterricht von 1884–1886 , ed. Wilhelm Jerger (Regensburg, 1975), tr. Richard L. Zimdars as The Piano master classes of Franz Liszt, 1884–1886 (Bloomington, IN, 1997); Frederic Lamond, The Memoirs of Frederick Lamond (Glasgow, 1949); Emil Sauer, Meine Welt (Stuttgart, 1901). For Lachmund, see note 6.
5 Pianists on record in the early twentieth century
1 Roland Gelatt, The fabulous phonograph (2nd edn, London, 1977), p. 114; James Methuen-Campbell, Chopin playing from the composer to the present day (London, 1981), pp. 76–7.
2 Larry Sitsky, Busoni and the piano (New York, 1986), p. 328, from Ferruccio Busoni, Letters to his wife , tr. Rosamond Ley (London 1938, repr. New York, 1975), p. 287.
3 A. J. and Katherine Swan, ‘Rachmaninoff: personal reminiscences’, MQ , 30 (1944), p. 11.
4 Frederick William Gaisberg, Music on record (London, 1946), p. 174.
5 MT , 52 (1911), p. 189.
6 Larry Sitsky, Busoni , p. 326.
7 Quoted in Edward Lockspeiser, Debussy: his life and mind (London, 1965) vol. 2, p. 35.
8 See Robert Philip, Early recordings and musical style (Cambridge, 1992), pp. 28–9.
9 The Observer , 26 March 1922, quoted in Malcolm Gillies, ‘Bartók in Britain: 1922’, ML , 63 (1982), p. 222.
10 Hamish Milne, Bartók: his life and times (Tunbridge Wells, 1982), p. 67.
11 Robert Donaldson Darrell, Gramophone shop encyclopedia of recorded music (New York, 1936).
12 Gaisberg, Music on record , p. 260.
13 Interview with Bernard Keeffe, 30 August 1965, BBC Sound Archives LP29683.
14 See Philip, Early recordings , pp. 51–3.
15 See note 13.
16 Henry Pleasants (ed.), Music criticisms 1846–99 (rev. edn, Harmondsworth, 1963), p. 237.
17 Decombes was in Chopin’s circle and heard him play many times, but he was not a pupil. See Methuen-Campbell, Chopin playing , p. 42.
18 In an interview with Dan Zerdin in The ideal pianist , BBC Radio 4, August 1972, quoted in Brian Crimp, Solo: The biography of Solomon (Hexham, Northumberland, 1994), p. 105.
19 Piano questions answered (London, 1909), reprinted with Piano playing (New York, 1976), p. 25.
20 Tobias Matthay, Musical interpretation (London, 1913), p. 63.
21 Hofmann, Piano questions answered , p. 100.
22 ‘Paderewski on tempo rubato’, in Henry Theophilus Finck, Success in music and how it is won (New York, 1909), p. 459; Denise Restout (ed.), Landowska on music (London, 1965), p. 383.
23 George Woodhouse,‘How Leschetizky taught’, ML , 35 (1954), p. 224.
24 Frederick Niecks, ‘Tempo rubato from the aesthetic point of view’, Monthly Musical Record , 43 (1913), p. 29.
25 For example, Jean-Jacques Eigeldinger, Chopin vu par ses élèves (Neuchâtel, 1970), ed. and tr. by Roy Howat as Chopin: pianist and teacher (Cambridge, 1986), p. 49; and Richard Hudson, Stolen time: the history of tempo rubato (Oxford, 1994), p. 236.
6 The acoustics of the piano
1 Further details of the acoustics of the piano and references to contemporary scientific work on pianos can be found in Neville H. Fletcher and Thomas D. Rossing, The physics of musical instruments (New York, 1991) and Anders Askenfelt (ed.), Five lectures on the acoustics of the piano (Stockholm, 1990).
2 The pitch range quoted here is labelled according to the Helmholtz system. In modern scienti fic literature, the reader is more likely to encounter the rather more rational USA Standard which designates the pitch range as A 0 to C 8 . For an explanation of these systems see John Backus, The acoustical foundations of music (New York, 1969), p. 133.
3 See, for example, Arthur A. Reblitz, Piano servicing, tuning and rebuilding (2nd edn, New York, 1993), pp. 36–61.
4 The term ‘harmonic’ is used in a more specialised way by scientists than musicians. Here we can take it to mean the individual frequency components created by an ideal string.
5 For further details of the physiology and psychology of hearing see Brian C. J. Moore, Introduction to the psychology of hearing (New York, 1977).
6 See the chapter by Hall in Askenfelt, Acoustics , pp. 59–72.
7 Voicing is discussed in detail by Reblitz, Piano servicing , pp. 196–201.
8 The physics involved in these coupled strings is rather complex. A good introduction is given by Weinreich in Askenfelt, Acoustics , pp. 73–81.
9 See Fletcher and Rossing, Physics , pp. 340–2.
10 Various temperaments and scales and their mathematical background and musical signi ficance are discussed in more detail by Backus, Acoustical foundations , ch. 8, pp. 115–40.
11 The difficult role played by the tuner is admirably expressed by Jennifer Zarek, ‘Don’t shoot the piano tuner’, Physics Education , 25 (1990), pp. 19–21.
12 See, for example, Diana Deutsch (ed.), The psychology of music (New York, 1982) or John A. Sloboda (ed.), Generative processes in music: the psychology of performance, improvisation and composition (Oxford, 1988).
13 See Askenfelt, Acoustics , pp. 39–57.
7 Repertory and canon
1 Glenn Gould,‘Glenn Gould interviews himself about Beethoven’ and ‘Glenn Gould in conversation with Tim Page’, in Tim Page (ed.), The Glenn Gould reader (London, 1987), pp. 43, 47, 453.
2 Charles Rosen, in The romantic generation (Cambridge, MA, 1995), p. 285, calls Chopin ‘the greatest master of counterpoint since Mozart’, whose chief model for both composition and keyboard playing was J. S. Bach. Rosen’s views on counterpoint in nineteenth-century piano music are generally antithetical to Gould’s pronouncement. For discussion of the formation of the canon generally and a survey of the literature on the subject see Marcia J. Citron, Gender and the musical canon (Cambridge, 1993), pp. 15–43.
3 Hans von Bülow, Briefe und Schrifte (Leipzig, 1896), vol. 5, pp. 106–9; translated as ‘Mendelssohn’ by Susan Gillespie in R. Larry Todd (ed.), Mendelssohn and his world (Princeton, 1991) pp. 390–3.
4 For a history of the étude as a genre before Chopin, see Simon Finlow, ‘The twenty-seven études and their antecedents’, in Jim Samson (ed.), The Cambridge companion to Chopin (Cambridge, 1994), pp. 50–77. Schumann’s article on the études of his contemporaries is also useful, in Neue Zeitschrift für Musik , 1 (1836), pp. 16–18.
5 See notes to the Henle Urtext edition, 1974.
6 Details of the programmes given at the Gewandhaus are in Alfred Dörffel, Geschichte der Gewandhausconcerte zu Leipzig, 1781–1881 (Leipzig, 1884). Hummel’s B minor Concerto was performed eight times between 1822 and 1870; Moscheles’s G minor Concerto received nine performances between 1824 and 1842.
7 For details of concertos played at the Royal Philharmonic Concerts, see Cyril Ehrlich, First Philharmonic: a history of the Royal Philharmonic Society (Oxford, 1995), Appendix 1.
8 Leon Plantinga, Clementi: his life and music (London, 1977), p. 167.
9 Fétis’s review appeared in the Revue et gazette musicale , 33 (1865), p. 90. The review was hardly impartial, as Fétis had backed the publication of Le trésor . Fétis’s ‘canonic intent’ with regard to the anthology is noted in Katherine Ellis, Music criticism in nineteenth-century France (Cambridge, 1995), p. 61.
10 For details on publication of Beethoven’s piano sonatas see William S. Newman, ‘A chronological checklist of collected editions of Beethoven’s solo sonatas since his own day’, Notes , 33 (1976–7), pp. 503–30.
11 For accounts of Moscheles’s concerts see Musical World , 4 (1837), pp. 155, 184; 5 (1837), p. 28; 8 (1838), pp. 12, 71, 103, 163, 215; 11 (1839), pp. 149, 182.
12 The OED confirms the use of the word ‘recital’ with reference to Liszt, though cites an earlier use (1811) meaning a concert of works by one composer. For more on the rise of public concerts in this period, see Janet Ritterman, ‘Piano music and the public concert’, in Samson, Chopin companion , pp. 11–31 (see also chapter 4 ).
13 Chopin was often regarded as somewhat suspect in England. See Derek Carewe, ‘Victorian attitudes to Chopin’, in Samson, Chopin companion , pp. 222–45.
14 For more on this aspect of English musical life see Cyril Ehrlich, The music profession in Britain since the eighteenth century (Oxford, 1985), pp. 104–7.
15 Ehrlich, Music profession , p. 114. The Guildhall had 3600 pupils in 1896. British music colleges established between 1823 and 1898 are listed in Table 6, p. 238.
16 We are grateful to the Librarian of the Associated Board for access to past examination syllabuses in their collection.
17 Oscar Bie, A history of the pianoforte and pianoforte players (London, 1899), p. 303.
8 The music of the early pianists (to c. 1830)
1 As announced in The Morning Post , 27 May 1795.
2 The letter is quoted in Gottfried Müller, Daniel Steibelt (Leipzig, 1933), p. 92.
3 For a detailed discussion of the sonata see William Newman, The sonata in the classic era (Chapel Hill, 1963).
4 Charles Burney, A general history of music , 4 (1789), p. 483.
5 Emily Anderson (ed. and tr.), The letters of Mozart and his family (3rd edn, London, 1985), p. 793.
6 For a discussion of Beethoven’s indebtedness to the ‘London school’ see Alexander Ringer, ‘Beethoven and the London Pianoforte School’, MQ , 56 (1970), p. 754.
7 See the keyboard concertos K107, 1–3, which are arrangements of J. C. Bach’s sonatas Op. 5 Nos. 2–4. Other J. C. Bach quotations may be found in Mozart’s works.
8 Anderson, The letters of Mozart , p. 793.
9 Charlotte Papendieck, Court and private life in the time of Queen Charlotte (London, 1838), vol. 2, pp. 184–5.
10 Anderson, Letters of Mozart , p. 886.
11 Anderson, Letters of Mozart , p. 888.
12 For a discussion of aspects of Beethoven’s continuo parts see Tibor Szász, ‘Beethoven’s basso continuo : notation and performance’ in Robin Stowell (ed.), Performing Beethoven (Cambridge, 1994), pp. 1–22.
9 Piano music for concert hall and salon c. 1830–1900
1 J. Barrie Jones, Open University, A214 Understanding music: elements, techniques and styles , Unit 28 (The romantic period) (Milton Keynes, 1994), p. 19.
2 See Amy Fay, Music study in Germany (London, 1886, reprinted, 1979), pp. 205–71.
3 Ernest Hutcheson, The literature of the piano (London, 1974), pp. 160–1.
4 Hutcheson, Literature , p. 163.
5 Quotations from Beethoven in particular and from other sources in general are prominent features in Schumann’s music. See Alan Walker (ed.), Robert Schumann (London, 1972), p. 52 and elsewhere.
6 Hutcheson, Literature , p.190.
7 For some illuminating comments on the Phantasie , see Charles Rosen, The Romantic generation (Cambridge, MA, 1995), pp. 100–12 and elsewhere.
8 Rosen, Romantic generation , p. 83.
9 Carl Schachter’s phrase in his discussion of ‘Chopin’s Fantasy Op. 49: the two-key scheme’, in Jim Samson (ed.), Chopin studies (Cambridge, 1988), pp. 221–53.
10 J. Barrie Jones, Open University A314 From baroque to romantic: studies in tonal music , Units 25–6 (Romantic piano music) (Milton Keynes, 1984), p. 77.
11 See Alan Kendall, Gioacchino Rossini (London, 1992), p. 193.
12 For Liszt’s ‘programme’, based on Lenau’s Faust and often omitted from many editions, see Hutcheson, Literature , p. 290.
13 J. Barrie Jones, ‘Fauré’, in Justin Wintle (ed.), Makers of nineteenth century culture 1800–1914 (London, 1982), p. 207.
14 New Grove , s.v. ‘Piano duet’, p. 680.
10 Nationalism
1 In Fryderyk Chopin, Mazurkas , ed. Thomas Fielden (n.d.), p. 127.
2 Ernest Hutcheson, The literature of the piano (London, 1974), p. 217.
3 After Op. 1, individual titles were printed in Norwegian, with German, English and French translations. For the sake of convenience, hereafter I shall use English titles.
11 New horizons in the twentieth century
1 Quoted (from a letter by Busoni to Woltersdorf written in 1898) in Derek Watson, Chambers music quotations (London, 1991), p. 229.
2 MQ , 2 (1916), pp. 271–94.
3 For Long’s many fascinating reminiscences, see her book At the piano with Debussy , tr. Olive Senior-Ellis (London, 1972).
4 Quoted by Maurice Dumesnil: see Roger Nichols (ed.), Debussy remembered (London, 1992), p. 163.
5 Edward Lockspeiser, Debussy: his life and mind (rev. edn, Cambridge, 1978), vol. 2, pp. 34–5, 43–4.
6 Dent, ‘The pianoforte and its influence’, p. 288.
7 Dent, ‘The pianoforte and its influence’, p. 292.
8 Nichols, Debussy remembered , p. 156.
9 Bartók’s answer to a questionnaire prepared by the Musikblätter des Anbruch , reproduced in Benjamin Suchoff (ed.), Béla Bartók Essays (London, 1976), p. 288.
10 Vyacheslav Gaurilovich Karatïgin, quoted in Rita McAllister, ‘Sergey Prokofiev’, in New Grove Russian Masters, 2 (London, 1986), p. 118.
11 See Malcolm Gillies (ed.), The Bartók companion (London, 1993), p. 317.
12 Malcolm Gillies (ed.), Bartók remembered (London, 1990), p. 118.
13 Igor Stravinsky, An autobiography (New York, 1936), p. 93.
14 In Denis Matthews (ed.), Keyboard music (Harmondsworth, 1972), p. 349.
15 Quoted in Roger Nichols, Messiaen (Oxford, 1975), p. 37.
16 Reginald Smith Brindle, The new music: the avant-garde since 1945 (2nd edn, Oxford, 1987), p. 161. Brindle gives (on pp. 206–7) selected examples of new notational symbols introduced in post-war piano music to represent some of the more radical techniques discussed here.
12 Ragtime, blues, jazz and popular music
1 As originally published in 2/4, the right hand’s semiquavers give a pattern of (1) 2 3 4 5 6 (7) 8 9 10 11 12 , as against the left’s quavers on beats 1 3 5 7 9 11 13. If heard in 4/4, which is more commonly used today, the polyrhythmic pattern of quavers versus semiquavers is the same.
2 It must be emphasised that even those of selfconfessed amateur status cannot hope to learn to play jazz with the aid of books, unless they also devote a considerable period of time to listening to relevant recordings of as many different performers as possible.
3 Many introductory texts explain the ternary form of three four-bar phrases making up the blues stanza, but fail to underline the fact that its repetitious nature remained equally compulsive despite the harmonic additions of later generations. The same is true of the ‘blue notes’ (typically the flat third, and flat seventh of the home key) which deliberately contradict the accompanying major chords. In imitation of the microtonal variations of vocalists, pianists of all generations have often articulated the contradiction by, for example, playing simultaneously the flat third and natural third, a semitone apart.
4 Although jazz gave its name to the decade, and did indeed enjoy its first classical period in the 1920s, it should be remembered that the huge majority of what is called ‘jazz’ by the media of the day has rather little to do with what is now perceived as the lasting jazz of the time.
5 In years to come, it may be more widely recognised that the jazz players’ approach to composed material has had a more beneficial effect on the performers of European repertory than on composers. Glenn Gould’s statement that ‘The performer must be convinced that he is doing the right thing and that he can find ways of interpreting it of which not even the composer himself was fully aware’ did not express a new ideal, but an ideal nurtured by every jazz player.
Contrast this with the dilettante approach to jazz by violinist Itzhak Perlman. Holding the traditional view that in composed music the composer’s authority is absolute, he was heard to mock the typical popular performer who announces his next offering as ‘A piece that goes “something like this:”’ (Kaleidoscope , BBC Radio 4, May 1995). Missing the deliberate irony of such studied casualness which – if real – will have taken much training to achieve, Perlman also ignores the genuine freedom to reinterpret which is bestowed.
Select bibliography
This short bibliography contains references to books in the English language: references to journal articles and to foreign-language literature will be found in the notes to each chapter. The bibliography is divided into two parts: part 1 lists books on the history of the piano and its performers; part 2 concerns repertory. In addition to the titles in part 2 , there is a short list of relevant published repertory at the end of chapter 12 , ‘Ragtime, blues, jazz and popular music’.
Part 1
Askenfelt, Anders (ed.), Five lectures on the acoustics of the piano (Stockholm, 1990)
Backus, John, The acoustical foundations of music (2nd edn, New York, 1977)
Badura-Skoda, Eva and Paul, Mozart-Interpretation (Vienna, 1957); tr. Leo Black as Interpreting Mozart on the keyboard (New York, R/1986)
Brown, Howard Mayer and Sadie, Stanley (eds.), Performance practice: music after 1600 (London, 1989)
Cole, Michael, The pianoforte in the Classical era (Oxford, 1997)
Deutsch, Diana (ed.), The psychology of music (New York, 1982)
Ehrlich, Cyril, The piano: a history (London, 1976; 2nd edn, 1990)
Eigeldinger, Jean-Jacques, Chopin vu par ses élèves (Neuchâtel, 1970), ed. and tr. Roy Howat as Chopin: pianist and teacher (Cambridge, 1986)
Ferguson, Howard, Keyboard interpretation from the 14th to the 19th century (London, 1975)
Fletcher, Neville H. and Rossing, Thomas D., The physics of musical instruments (New York, 1991)
Friedheim, Arthur and Siloti, Alexander, Remembering Franz Liszt (New York, 1986)
Gelatt, Roland, The fabulous phonograph (2nd edn, London, 1977)
Gerig, Reginald, Famous pianists and their technique (Washington, 1974)
Harding, Rosamond, The piano-forte: its history traced to the Great Exhibition of 1851 (Old Woking, 1933; 2nd edn, 1978)
Hofmann, Joseph, Piano questions answered (London, 1909); repr. with Piano playing (Philadelphia, 1920; repr. New York, 1976)
Hudson, Richard, Stolen time: the history of tempo rubato (Oxford, 1994)
Komlós, Katalin, Fortepianos and their music (Oxford, 1995)
Lachmund, Carl, Living with Liszt , ed. Alan Walker (Stuyvesant, NY, 1995)
Methuen-Campbell, James, Chopin playing from the composer to the present day (London, 1981)
Moore, Brian C. J., An introduction to the psychology of hearing (4th edn, San Diego, 1997)
Newman, William, Beethoven on Beethoven: playing his piano music his way (New York, 1988)
Philip, Robert, Early recordings and musical style (Cambridge, 1992) Pollens, Stewart, The early pianoforte (Cambridge, 1995)
Reblitz, Arthur A., Piano servicing, tuning and rebuilding (2nd edn, New York, 1993)
Rosenblum, Sandra, Performance practices in classic piano music: their principles and applications (Bloomington, IN, 1988)
Rowland, David, A history of pianoforte pedalling (Cambridge, 1993)
Sadie, Stanley (ed.), The piano (The New Grove musical instrument series) (London, 1988)
Sloboda, John A. (ed.), Generation processes in music: the psychology of performance, improvisation and composition (Oxford, 1988)
Spillane, Daniel, History of the American pianoforte (New York, 1890; repr. 1969)
Wainwright, David, Broadwood by appointment: a history (London, 1982)
Williams, Adrian, Portrait of Liszt (Oxford, 1990)
Zimdars, Richard (ed.), The piano master classes of Hans von Bülow. Two participants’ accounts (Bloomington, IN, 1993)
Part 2
Blesh, Rudi and Janis, Harriet. They all played ragtime (4th edn, London, 1971)
Brown, A. Peter, Joseph Haydn’s keyboard music: sources and style (Bloomington, IN, 1986)
Citron, Marcia J., Gender and the musical canon (Cambridge, 1993)
Cooper, Barry (ed.), The Beethoven compendium (London, 1991)
Demuth, Norman, French piano music (London, 1959)
Ferguson, Howard, Keyboard duets from the 16th to the 20th century for one and two pianos: an introduction (Oxford, 1995)
Gillies, Malcolm (ed.), The Bartók companion (London, 1993)
Hinson, Maurice, Guide to the pianist’s repertoire (Bloomington, IN, 1987)
Hinson, Maurice, Music for more than one piano (Bloomington, IN, 1983)
Hinson, Maurice, The pianist’s reference guide (Los Angeles, 1987)
Hinson, Maurice, The piano in chamber ensemble: an annotated guide (Bloomington, IN, and London, 1978)
Hutcheson, Ernest, The literature of the piano (London, 1974)
Kernfeld, Barry (ed.), The New Grove dictionary of jazz (London, 1988)
Kirby, Frank Eugene, A short history of keyboard music (New York, 1966)
Komlós, Katalin, Fortepianos and their music (Oxford, 1995)
Landon, H. C. Robbins (ed.), The Mozart compendium (London, 1990)
Lyons, Len, The great jazz pianists (New York, R/1989)
McGraw, Cameron, Piano duet repertoire (Bloomington, IN, 1981)
Matthews, Denis (ed.), Keyboard music (Newton Abbot, 1972)
Newman, William, The sonata in the classic era (Chapel Hill, 1963; rev. edn, 1972)
Newman, William, The sonata since Beethoven (Chapel Hill, 1969; 3rd edn, 1983)
Plantinga, Leon, Clementi: his life and music (London, 1977)
Rosen, Charles, The classical style (London, 1971)
Rosen, Charles, The romantic generation (Cambridge, MA, 1995)
Rosen, Charles, Sonata forms (2nd edn, New York, 1988)
Samson, Jim (ed.), Chopin studies (Cambridge, 1988) Silvester, Peter, A left hand like God: a study of boogie woogie (London, 1988)
Smallman, Basil, The piano quartet and quintet: style, structure and scoring (Oxford, 1994)
Smallman, Basil, The piano trio: its history, technique, and repertoire (Oxford, 1990)
Taylor, Billy, Jazz piano: a jazz history (Dubuque, IA, 1982)
Walker, Alan, Liszt (London, 1971)
Walker, Alan (ed.), Robert Schumann (London, 1972)
Wintle, Justin (ed.), Makers of nineteenth century culture 1800–1914 (London, 1982)
Index
action, 7 , 8 , 10 –12 , 16 , 17 , 19 , 23 –5 , 27 , 36 , 40 , 45 , 46 , 51 , 52 , 54 , 55 , 100 , 109 , 112 , 153 , 206 , 225
Adlung, Jacob, 13
Agosti, Guido, 68
Agoult, Countess d’, 58
Agricola, Johann Friedrich, 10 , 11 , 15
Albert, Eugène d’, 72 , 73 , 82 , 84 , 88
Albert, Mr, 27
‘Alberti’ bass, 139
Allen, William, 40
Ampico, reproducing pianos, 77 , 78 , 91
Ansorge, Conrad, 72
Arensky, Anton, 174
Armstrong, Louis, 217 , 219 , 221
Arrau, Claudio, 93
Artaria, music publishers, 32 , 121
Auber, Daniel-François-Esprit, 162
baby grand pianos, 56
Bach, Carl Philipp Emanuel, 12 , 13 , 125 , 127 , 130 , 133 , 140 , 147 , 148
Bach, Johann Christian, 17 , 20 , 120 , 133 , 135 , 137 , 139 –41 , 147 –9
Bach, Johann Sebastian, 10 –12 , 67 , 68 , 84 , 85 , 92 , 117 , 119 , 125 , 127 –33 , 156 , 158 , 163 , 203 , 213
Bach, Wilhelm Friedemann, 177
Backers, Americus, 17 –19 , 22 , 26
Backhaus, Wilhelm, 82 , 85 , 93
Balbastre, Claude-Bénique, 20
Bartók, Béla, 80 –2 , 93 , 94 , 117 , 166 , 189 , 193 , 197 –200 , 202 , 205 , 206
Basie, William ‘Count’, 217
bassoon stop, lever or pedal, 33 , 35 , 225
Bax, Arnold, 92
Bechstein, piano firm, 48 , 55
Bedford, David, 208
Beecham, Sir Thomas, 94
Beethoven, Ludwig van, 1 , 25 , 30 , 36 –8 , 58 , 64 , 65 , 73 , 80 , 83 , 85 –8 , 92 , 93 , 117 –19 , 121 , 122 , 125 , 127 , 128 , 130 –3 , 136 , 141 –6 , 148 , 149 , 152 –4 , 156 , 158 , 163 , 166 –9 , 174 , 177 , 179 , 181 , 193 , 199 , 205 , 213
Beiderbecke, Bix, 201
Belgiojoso, Princess Christina, 57 , 60 , 61 , 63
Bellini, Vincenzo, 60 , 61 , 162 , 163
Bennett, William Sterndale, 126 , 128
Berger, Ludwig, 32
Berio, Luciano, 208
Bériot, Charles-Wilfred de, 61
Berlioz, Hector, 62 , 65 , 73 , 121
Bertini, Henri, 63
Beyer, Adam, 17
Blacher, Boris, 166
Blake, Eubie, 212
Blanchet, François-Etienne, 20
Blüthner, piano firm, 48
Blumenfeld, Felix, 91
Bösendorfer, piano firm, 46 –8
Boisselot, Xavier, 47
Bonavia, Ferruccio, 79
Borodin, Alexander, 173 , 182 –4
Borwick, Leonard, 83
Botsford, George, 208
Boulez, Pierre, 205
bracing, 23 , 40 –3 , 62 , 225
Bradshaw, Susan, 203
Brahms, Johannes, 79 , 84 , 85 , 88 , 92 , 117 , 128 , 129 , 131 , 157 –60 , 166 , 168 , 170 , 172 –4 , 181 , 192 , 199 , 213
Brandus et Cie, music publishers, 128
Branitzky, Count, 12 ,
Breitkopf und Härtel, music publishers and piano dealers, 32 , 128
Brendel, Alfred, 73
Brickler, Miss, 19
bridge, 44 , 97 , 99 , 101 , 102 , 106 , 108 , 111 , 225
Brillon, Madame, 17
Broadwood, piano firm, 17 , 19 , 20 , 25 , 32 , 33 , 36 , 40 , 41 , 44 , 46 –8 , 50 , 51 , 53 , 54
Brubeck, Dave, 220 , 222 , 224
Bruch, Max, 191
Brüll, Ignaz, 158
Bull, John, 127
Bull, Ole, 188
Bulla, J.C., 32
Büllow, Hans von, 64 , 66 , 72 , 73 , 120 , 158
Buntebart, Gabriel, 17
Burney, Charles, 9 , 15 –17 , 20 , 32 , 140 , 149
Busoni, Feruccio, 66 –8 , 72 , 75 , 76 , 79 , 84 , 166 , 187 , 192 , 198
Byrd, Roy ‘Professor Longhair’, 214
Byrd, William, 127
cabinet pianos, 51 , 53 , 54 , 225
Carreño, Teresa, 83
Caruso, Enrico, 75
Casals, Pablo, 84
case, 11 , 14 , 99 , 105 , 109 , 225
cast-iron frame, 44 , 46 , 48 , 50 , 55 , 62 , 97 , 99
Chabrier, Emmanuel, 171 , 173 , 174
Challen, piano firm, 48
Chaminade, Cécile, 131
check, check rail, 24 , 25 , 225
Chickering, Jonas, 43
Chickering, piano firm, 43
Chopin, Fryderyk, 2 , 28 , 38 , 61 , 63 , 64 , 66 –74 , 76 , 82 –94 , 117 , 118 , 120 , 123 , 126 –33 , 146 , 151 , 152 , 154 , 160 –3 , 165 –7 , 169 –71 , 173 , 177 –81 , 183 , 185 , 190 –3 , 197
clavichord, 1 , 2 , 12 , 13 , 15 , 16 , 20 , 24 , 27 , 133 , 140 , 141
Clayderman, Richard, 223
Clementi, Muzio, 19 , 26 , 27 , 29 , 31 , 32 , 50 , 57 , 119 –22 , 125 –30 , 132 , 133 , 137 , 141 , 142 , 144 , 146 , 149
Cohen, Harriet, 92
Cole, Michael, 1
Colloredo, Archbishop, 27
Coltrane, John, 222
combination harpsichord/piano, 8 , 16 , 24 , 26 , 225
Comer, David, 210
compass, 7 , 18 , 32 , 33 , 36 , 46 , 47 , 50 , 97 , 99 , 135 , 145
compensation frame, 40
Conway, Russ, 213
Corea, Armando ‘Chick’, 222 –4
Corelli, Arcangelo, 130
Corri, Mrs N, 135
Cortot, Alfred, 82 –5 , 89 , 90 , 93 , 94
Cottone, Salvatore, 75
Couperin, François, 125 , 127 , 129 , 205
Cousineau, music publisher and piano dealer, 20
Cramer, Johann Baptist, 26 , 30 –2 , 120 –2 , 125 , 132 , 133 , 141 , 146
Craxton, Harold, 92
Crisp, Samuel, 16
Cristofori, Bartolomeo, 7 –12 , 16 , 99 , 100 , 113 , 225
cross-stringing, 44 , 46 , 48 , 50 , 54 , 55 , 99 , 225
Crumb, George, 208
Czerny, Carl, 25 , 30 , 37 , 38 , 58 , 59 , 61 , 63 , 69 , 119 , 125 –8 , 133 , 143 , 149 , 156 , 161 , 165 , 166
Dale, Knut, 189
dampers, 7 , 14 , 22 , 23 , 31 , 47 , 100 , 104 , 197 , 206 , 225
Dante, Alighieri, 164
Davies, Peter Maxwell, 198 , 208
Davis, Miles, 221
Debussy, Claude, 79 , 84 , 164 , 171 , 173 , 192 –202 , 207 , 215 , 222
Decombes, Emile, 89
Delius, Frederick, 189
Dent, Edward J., 192 , 194 , 195
Dettmar & Son, piano firm, 55
Diabelli, Anton, 166
Dibden, Charles, 19
Diderot, Denis, 20
digital recording, 77
Disklavier, 113
Ditanaklasis, 52
Döhler, Theodor, 63 , 72 , 126 , 127
Dolge, Alfred, 45
Domino, Antoine ‘Fats’, 214
Don Antonio of Portugal, 8
Donegan, Dorothy, 219
Dorsey, Tommy, 218
double escapement, 45 , 62 , 100 , 225
Dreyschock, Alexander, 72 , 126
dulcimer, 10
Duo-Art, reproducing pianos, 77 , 78
Dussek, Jan Ladislav, 26 , 30 –2 , 37 , 120 –2 , 125 , 128 , 130 , 132 , 133 , 135 , 136 , 138 , 141 , 142
Dvo ř ák, Antonin, 173 , 180 , 181 , 190 , 218
Eckard, Johann Gottfried, 19 , 20
Eigeldinger, Jean-Jacques, 71
electrical recording, 75 , 76 , 79 , 80 , 84 , 85
electronic keyboards, 112 , 113
Elgar, Edward, 84 , 92 , 94 , 191
Ellington, Edward ‘Duke’, 216 , 219
Epstein, Julius, 158
Erard, piano firm, 21 , 36 , 40 –3 , 45 , 46 , 48 , 100
Erard, Sebastian, 21 , 33 , 45 , 225
escapement, 7 , 23 –5 , 96 , 100 , 225
Falls, Mildred, 220
Farinelli, (Carlo Broschi), 8 , 9
Farrenc, Jacques Hippolyte Aristide, 127 , 128 , 129
Fauré, Gabriel, 151 , 170 , 171 , 173 , 192
Ferguson, Howard, 92
Ferrini, Giovanni, 8
Fétis, François-Joseph, 60 , 62 , 127
Field, John, 32 , 130 , 133 , 146 , 162 , 169
Filtsch, Karl, 71
Forkel, Johann Nikolaus, 11
Foss, Likas, 208
Franck, César, 153 , 167 , 169 –71
Frescobaldi, Girolamo, 127
Friederici, Christian Ernst, 10 , 12 , 13 , 15
Friedheim, Arthur, 66 , 72 , 73 , 84 , 88
Friedman, Ignacy, 69 , 85 , 86
Gade, Niels, 188
Gaisberg, Fred, 76
Garden, Mary, 79
Gerhard, Roberto, 208
Garner, Erroll, 218 , 220 , 223 , 224
Gershwin, George, 3 , 216 , 223
Gibbons, Orlando, 117 , 127 , 134
Giornovichi, Giovanni, 136
Glinka, Mikhail, 176 , 180 , 182 , 184
Gluck, Christoph Willibald, 86 , 130
Goddard, Arabella, 118
Godowsky, Leopold, 83 , 84 , 217
Goermans, Jacques, 20
Gogol, Nikolay, 183
Göllerich, August, 73
Goodman, Benny, 218
Gottschalk, Louis Moreau, 131 , 191
Goulding and d’Almaine, music publishers, 121 , 122 , 124
Gounod, Charles, 75
Graf, Conrad, 34 , 36 , 44 –6 , 64
Grainger, Percy, 69 , 70 , 76 , 83 , 84 , 90 , 189
Granados, Enrique, 61
Gray, Thomas, 16
Green, Thomas, 19
Greville, Fulke, 16
Grieg, Edvard, 79 , 82 , 118 , 131 , 153 , 173 , 174 , 181 , 188 –91
Grünfeld, Alfred, 75
Grusin, Dave, 224
Gulda, Friedrich, 223
Hambourg, Mark, 57 , 69 , 71 , 82 , 85 –7
hammers, 7 , 11 , 12 , 14 , 17 , 20 , 23 –5 , 35 , 37 , 40 , 44 , 45 , 47 , 48 , 51 , 54 , 55 , 62 , 77 , 78 , 96 , 100 , 101 , 104 , 106 , 107 , 112 , 197 , 206 , 208 , 226
Handel, George Frederic, 8 , 120 , 125 , 127 –31 , 136 , 158
Handy, William Christopher, 214
Harney, Ben, 210
harp stop, lever or pedal, 30
harpsichord, 1 , 2 , 7 –9 , 11 , 13 , 15 –21 , 26 , 27 , 31 , 32 , 99 , 127 , 130 , 141 , 147 , 171 , 198 , 199 , 206
harpsichord stop, 11
Harrington, Mr, 135
Harrison, Lou, 208
Hartmann, Victor, 183
Haskill, Clara, 90
Haslinger, music publishers, 122 , 128
Hawkins, John, 52
Haydn, Joseph, 117 , 119 –22 , 125 , 126 , 128 –33 , 135 –7 , 140 , 141 , 144 , 149 , 174
Hebenstreit, Pantaleon, 10
Heilmann, Joseph, 32
Heilmann, Matthäus, 32
Heine, Heinrich, 154
Heller, Ferdinand, 126
Henselt, Adolf, 72 , 126 , 129 , 130
Herder, Johann Gottfried, 158 , 159
Hérold, Ferdinand, 162
Herz, Henri, 61 , 63 , 72 , 121 –3 , 125 , 126 , 169
Hexaméron , 61
Hildebrand, Johann Gottfried (?), 15
Hiller, Ferdinand, 126
Hindemith, Paul, 173 , 201 , 202
Hirt, Franz Joseph, 85
hitchpin plate, 41 –3 , 50 , 226
Hoffmann, Christian Gotthelf, 13
Hoffmann, E.T.A., 156
Hofmann, Joseph, 64 , 66 , 74 , 76 , 91 –3
Holle, music publishers, 128
Hook, James, 19
Horowitz, Vladimir, 91 , 92 , 217
Howard-Jones, Evelyn, 85
Howat, Roy, 198
Hummel, Johann Nepomuk, 36 –8 , 58 , 121 , 125 , 127 , 133 , 143 , 152 , 154 , 162 , 166 , 169
Hünten, Franz, 121 , 130 , 169
Hutcheson, Ernest, 152 , 156 , 180
intermediate lever, 7 , 100 , 226
iron frame;see cast-iron frame
Jackson, Mahalia, 220
Janá č ek, Leos, 181
Jankowski, Horst, 221
Jensen, Adolph, 131
Jobim, Antonio Carlos, 221
John, Elton, 223
Johnson, Robert Sherlaw, 208
Jones, Round and Co, piano firm, 52
Joplin, Scott, 210 –12 , 223 , 224
Kagel, Mauricio, 208
Kalkbrenner, Friedrich, 22 , 26 , 38 , 118 , 121 , 122 , 125 –7 , 130 , 133 , 169
Katin, Peter, 92
key, 7 , 23 , 51 , 96 , 97 , 99 –101 , 105 , 109 , 112 , 113 , 206
Kiallmark, George, 123
Kirkman, piano firm, 46
Kirnberger, Johann Philipp, 15
Klemperer, Otto, 81
Klengel, Alexander, 32
Klindworth, Karl, 72
knee levers, 22 , 30 , 33 , 226
Koczalski, Raoul, 71 , 88 , 89
Kodály, Zoltán, 197
Kova č evich, Stephen, 92
Kozeluch, Leopold, 26 , 121 , 125
Krell, William H., 201
Kriss, Eric, 224
Kullak, Theodore, 126
Kuppler, Johann Georg, 32
Labéque, Katia, 223
Labéque, Marielle, 223
Lachmund, Carl, 73
Lachnith, Ludwig Wenzel, 125
Lamond, Frederic, 72 , 73 , 84 , 85 , 88
Landowska, Wanda, 93
Lara, Adelina de, 90
Leclair, Jean-Marie, 130
Leschetizky, Theodor, 68 , 69 , 71 , 72 , 85 –7 , 94 , 118
Lhévinne, Joseph, 76 , 78 , 91
Liadov, Anatol, 173
lid, 109
Liste, Anton, 126
Liszt, Franz, 2 , 38 , 57 –66 , 68 , 69 , 71 –3 , 75 , 82 , 84 , 85 , 88 , 91 , 94 , 117 , 118 , 121 , 126 –8 , 130 , 131 , 133 , 146 , 147 , 151 , 153 , 154 , 158 , 160 , 162 –9 , 173 , 175 , 183 –7 , 190 –3 , 197 , 199 , 204
London school, 22 , 26 , 29 , 31 , 32 , 37 , 141 , 145
Long, Marguerite, 89 , 193 , 197
Longman and Broderip, music publishers and piano dealers, 32
Longman, James, 32
lute stop, lever or pedal, 33 , 226
Lutosl-awski, Witold, 166
lyrachord, 16
MacDowell, Edward, 191
MacGregor, Joanna, 223
Mahler, Gustav, 196
Marius, Jean, 19
Marsalis, Wynton, 223
Mason, William (eighteenth-century English cleric), 16
Mason, William (nineteenth-century American pianist), 71 , 72
Massart, J.Lambert, 65
Massenet, Jules, 218
Mattheson, Johann, 10 , 127 , 129
Matthews, Dennis, 92
Maunder, Richard, 28
Mayerl, Billy, 210
Mayseder, Joseph, 126
Mazzinghi, Joseph, 120
Medici, Giuliano de’, 164
Medici, Ferdinando de’, 7
Mela, Domenico del, 12
Mendelssohn, Felix, 82 , 117 , 118 , 120 , 126 , 128 –33 , 152 –4 , 156 , 163 , 166 , 172 , 174 , 188 , 199
Mendes, Sergio, 221
Mercken, Johann Kilian, 21
Merriweather,‘Big’ Maceo, 215
Mersennes’s law, 102 , 104 , 106
Merulo, Claudio, 127
Messiaen, Olivier, 195 , 196 , 203 –5
Mewton-Wood, Noel, 92
Meyerbeer, Giacomo, 65
Michal-owski, Alexander, 88 , 89
Michelangelo, 164
Mikuli, Karol, 71 , 72 , 88 , 89
moderator stop, lever or pedal, 33 , 35 , 37 , 101 , 226
Moiseiwitsch, Benno, 69 , 83 , 84 , 86 , 87
Moniuszko, Stanislaw, 180
Morton, Ferdinand ‘Jelly Roll’, 212 –14 , 224
Moscheles, Ignaz, 58 , 118 –22 , 126 , 127 , 129 , 132 , 133 , 154 , 160 , 161 , 166
Mott, piano firm, 46
Motta, José Vianna da, 72
Mozart, Leopold, 149
Mozart, Wolfgang Amadeus, 1 , 2 , 25 –9 , 36 , 38 , 57 , 58 , 62 , 69 , 85 , 92 , 117 , 119 –22 , 125 , 126 , 128 , 130 –33 , 137 , 138 , 141 –3 , 147 –9 , 163 , 167 , 174 , 179
Müller, August Eberhard, 126
Müller, Matthias, 52
Musorgsky, Modest, 176 , 183 , 184
Nägeli, Hans Georg, 126
Nero, Peter, 221
Neubauer, Frederic, 16
Newman, Ernest, 94
Niecks, Frederick, 94
Nield, Mr, 136
Onslow, George, 126
Orff, Carl, 196
Ottoboni, (Cardinal) Pietro, 7
over-stringing; see cross-stringing
Pachmann, Vladimir de, 70 , 74 , 76 , 82 , 83 , 94
Pacini, Giovanni, 60
Paderewski, Ignacy, 57 , 62 , 66 , 67 , 69 , 70 , 73 , 74 , 76 , 82 , 84 , 86 , 87 , 93 , 94 , 118 , 131 , 180
Paganini, Nicolò, 71 , 80 , 81 , 156 , 158 , 166
Palmieri, Charles, 221
Palmieri, Eddie, 221
pantalon, 10
Pape, Henry, 44
Pape, piano firm, 41 , 46 , 54
Parker, Charlie, 219
Patti, Adeline, 95
pedalling, 30 , 31 , 37 , 38 , 70 , 75 , 76 , 79 , 87 , 89 , 164 , 179 , 193 –5 , 198 , 205
pedals, 17 , 22 , 30 , 33 , 34 , 47 , 77 , 101 , 194 , 226
Peterson, Oscar, 220
Philipsen, Carl Bernhard, 84
pianino, 53
piano-roll recording, 77 –9 , 86 , 87 , 91
Picasso, Pablo, 215
Pixis, Johann Peter, 61 , 63 , 122 , 126
Plantinga, Leon, 125
Plenius, Roger, 16
Pleyel, Gabrielle, 137
Pleyel, Ignace, 125
Pole, William, 46
Pollens, Stewart, 1
Pollini, Maurizio, 205
Porpora, Nicola, 129
Pouichnov, Lev, 85
Poulenc, Francis, 79 , 194 , 195
practice pedal, 101
Previn, André, 223
Pugno, Raoul, 67 , 71 , 75 , 76 , 82 , 83
Pushkin, Alexander, 183
Rachmaninoff, Sergey, 67 , 75 , 76 , 80 , 82 , 84 , 86 , 88 , 91 , 93 , 94 , 166 , 174 , 182 , 183 , 191
Ramann, Lina, 73
Rameau, Jean-Philippe, 125 , 127 , 129 , 130
Ravel, Maurice, 61 , 79 , 164 , 171 , 192 , 194 , 195 , 200 , 205 , 206 , 216
Rebennack, Mac ‘Dr. John’, 214
recording;see digital recording, electrical recording, piano-roll recording, tape recording, wax disc recording
Reger, Max, 84
register, 11
regulation, 112
repetition action; see double escapement
Rheinberger, 132
Richards, Tim, 224
Richter, Jean-Paul, 154
Ries, Ferdinand, 38 , 127 , 143
Rimbault, Edward, 43
Rimsky-Korsakov, Nikolay, 182 –4 , 190
Rocco, Maurice, 218
Roseingrave, Thomas, 119
Rosenberger, Michael, 25
Rosenthal, Moriz, 72 , 83 , 84 , 88 , 89
rubato , 27 , 28 , 38 , 80 , 82 , 86 , 88 –91 , 93 –5 , 218
Rubinstein, Anton, 61 , 65 –7 , 72 , 73 , 85 , 91 , 118 , 130 , 131
Rubinstein, Artur, 57 , 69 , 71 , 93 , 201
Rudolph, Archduke, 144
Rumchiysky, Simon, 92
Saint-Saëns, Camille, 79 , 84 , 169 , 174
Salomon, Johann Peter, 135
Sauer, Emil, 72 , 73 , 83 , 84 , 88
scaling, 106
Scarlatti, Domenico, 8 , 9 , 81 , 82 , 92 , 119 , 125 , 129 –31 , 199
Schanz, Johann, 37
Scharwenka, Philipp, 132 , 180
Schnabel, Artur, 69 , 84 –7 , 92 –4
Schoenberg, Arnold, 84 , 134 , 196 , 197 , 200 , 202 , 203 , 205 , 208
Scholes, Percy, 81
Schröter, Christoph Gottlieb, 10 ,
Schubart, Christian Friedrich, 15
Schubert, Franz, 37 , 69 , 85 , 117 , 120 –23 , 126 –33 , 143 , 145 –7 , 149 , 150 , 154 , 164 , 166 , 168 , 169 , 172 , 174 , 177 , 181
Schulhoff, Julius, 69 , 71 , 72
Schulz-Evler, Adolf, 91
Schumann, Clara, 70 , 84 , 85 , 90 , 92 , 118 , 126 , 153 , 154 , 156 –8 , 163 , 175
Schumann, Robert, 61 , 68 , 83 , 84 , 90 –3 , 117 , 126 , 128 –33 , 143 , 145 , 152 , 154 –8 , 161 , 163 , 167 –9 , 172 , 174 , 188 , 191
Scott, Hazel, 219
Sharpe, Herbert, 92
Shostakovitch, Dmitry, 203
Shudi, Burkat, 26
Sibelius, Jean, 188
Silbermann, Gottfried, 10 –13 , 15
Silbermann, Johann Heinrich, 12 , 15 , 19 , 20
Siloti, Alexander, 72
Simrock, music publishers, 181
Sinding, Christian, 118 , 131 , 188
Sloper, E.H. Lindsay, 128 , 131
Smetana, Bed ř ich, 180 –2 , 190
soft pedal (on upright pianos), 101
sostenuto (third) pedal, 47 , 101 , 208 , 226
soundboard, 35 , 40 , 44 , 96 , 99 , 101 , 104 , 108 , 109 , 111 , 226
Sousa, John Philip, 201
Southwell, William, 33 , 52 , 226
Späth, Franz Jakob, 36
square piano, 12 , 14 , 17 , 20 , 21 , 26 , 27 , 36 , 43 , 44 , 48 , 50 –3 , 120 , 226
Stavenhagen, Bernhard, 72
Steibelt, Daniel, 30 , 31 , 33 , 120 , 121 , 125 , 126 , 132 , 136 , 138 , 139
Stein, Johann Andreas, 15 , 19 , 23 –25 , 32 , 36
Stein, Nannette;see Streicher, Nannette
Steinway, Henry, 44
Steinway, piano firm, 44 , 46 –50 , 55 , 62 , 78 , 98
Sterbatcheff, Nikolay, 173
Sternau, C.O., 168
Stravinsky, Igor, 189 , 190 , 198 , 199 , 201 , 202 , 216
Streicher, Johann Andreas, 24 , 36
Streicher, Nannette, 24 , 25 , 27 –9 , 36 , 38
Streicher, piano firm, 33 , 35 , 36 , 43 , 45 , 46 , 48
strings, 7 , 10 , 11 , 14 , 17 , 18 , 27 , 33 , 35 , 37 , 40 , 41 , 43 , 44 , 50 –5 , 62 , 70 , 96 , 97 , 99 –102 , 104 –9 , 111 , 206 , 207
sustaining (damper-raising) stop, lever or pedal, 10 , 11 , 14 , 17 , 22 , 30 , 31 , 33 , 34 , 37 , 47 , 89 , 101 , 146 , 162 , 193 –7 , 206 , 208 , 226
Svendsen, Johan, 188
synthesisers, 113
Székely, Júlia, 198
Szigeti, Joseph, 81
Szymanowski, Karol, 180
tape recording, 75
Taskin, Pascal, 20
Taylor, Cecil, 219 , 220 , 222
Tchaikovsky, Pyotr Il’yich, 131 , 163 , 184 , 185 , 190 , 191
Thalberg, Sigismund, 45 , 49 , 57 –63 , 66 , 70 , 72 , 121 , 122 , 127 , 130 , 152 , 163 , 175
third pedal;see sostenuto pedal
Thom, James, 40
Tomášek, Václav, 126 , 146 , 180
touch, 16 , 17 , 22 , 25 , 40 , 45 , 69 , 91 , 96 , 112
Tovey, Donald, 84
tuning, 37 , 40 , 41 , 51 , 96 , 97 , 99 , 110 , 111 , 208
tuning pins, 41 , 97 , 99 , 226
Turkish music stop, lever or pedal, 33 , 226
Twining, Thomas, 17
una corda , 11 , 17 , 33 , 34 , 37 , 38 , 101 , 108 , 226
upright grand piano, 12 , 50 , 52 , 226
upright piano, 44 , 50 , 52 , 54 , 55 , 75 , 99 –101 , 208 , 225 , 226
Verne, Adela, 83 , Verne, Mathilde, 90 , 92
Viennese school, 26
Viñes, Ricardo, 79 , 80 , 93 , 194
Virbès, de, 20
Voltaire, 21
Vo ř íšek, Jan Václav, 126 , 180
Vuillermoz, Emile, 196
Wagner, Richard, 65 , 163 , 169 , 171 , 176 , 181 , 188
Wainwright, David, 26
Waller, Thomas ‘Fats’, 212 , 213 , 217
Walter, Anton, 24 , 25 , 27 , 28 , 37
Warlock, Peter, 189
wax disc recording, 75
Weber, Carl Maria von, 38 , 87 , 118 , 127 , 128 , 130 , 132 , 133 , 145 , 146 , 152 , 176 , 177
Weisz, Jóseph, 72
Welte-Mignon, reproducing pianos, 77 , 78
Wessel, music publishers, 123
Weyse, Christoph, 126
Wieck, Clara;see Schumann, Clara
Wilkinson, C.V., 131
Winston, George, 223
Wood, Father, 16 , Woodhouse, George, 94
Wornum, pianofirm, 54
wrestplank, 35 , 40 –3 , 51 , 227
Yamaha, piano firm, 48 , 49 , 113
Zachariae, Eduard, 47
Zimmermann, Pierre-Joseph-Guillaume, 63
Zumpe, Johann Christoph 14 , 16 –18 , 20 , 21 , 26