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Education » Literary
Piano-Playing Revisited: What Modern Players Can Learn From Period Instruments screenshot
English | ISBN: 1648250106 | 2021 | 228 pages | PDF | 4 MB
Today's pianists are expected to play music of three centuries on a single instrument: Steinway's design from the late 1800s. Other types of pianos, such as Mozart's Walter or Chopin's Pleyel, are increasingly being copied or restored, but they are played almost exclusively by specialists in "Historical Performance." David Breitman has been introducing Oberlin Conservatory students to historical keyboards since 1991, and in this book he focuses on the music he cares about most deeply and the problems he has found most perplexing.

He begins by acknowledging the dilemma of confronting historical repertoire with modern instruments, then shows how to apply insights from period instruments to practical problems on any piano, including the relationship between melody and accompaniment and the use of the pedal. The central portion of the book discusses the pianos and piano music of Haydn and Mozart, Beethoven, Schubert, and Chopin, as well as the special place of the clavichord in eighteenth-century keyboard culture. A wide range of musical examples demonstrates how composers were influenced by the instruments they knew, and how that understanding can help today's performers. The book concludes with a passionate plea for individual creativity and autonomy, authentic voices for our own time.


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I personally know pianists who don't know that the clavichord was like those rotten and poor "Yamaha" keyboards, it was made by hundreds of artisans who copied a ready-made European model, so any amateur could play at home.
Still today, some confuse clavichord with the harpsichord. But, the clavichord was tuned like the modern guitar, that is three different notes having the same string, so it is impossible to make ornaments like the baroque trill in many of these neighbor notes, being possible only when the neighboring note had another string gene, since the same gene would not play.
Another thing is that if you played at the end of the keyboard as we play today, the sound would fail a lot due to technical problems, so force must be applied in the middle of the key.

What you need to know about all this: when you hear the music of that pre-baroque period, "super attentive ears" on the trills that are being played by different strings, and that's why there are no exaggerated embellishments as will happen in the Baroque period, then came the amazing professional HARPSICHORD to destroy any past trial and error.

Such an important literature for all pianists, and congratulations for this kind of research work, because RESEARCHERS are never remembered, since we value idiots like Uncle Bill and Zuckerberg who take credit for inventions and great achievements on the stock market, when in fact stole the inventions and ideas of others. But researchers are always hidden.

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