Product Description

Among the world's instruments, the piano stands out as the most versatile, powerful, and misunderstood -- even by those who have spent much of their lives learning to play. In Piano Notes, a finalist for a 2003 National Book Critics Circle Award, Charles Rosen, one of the world's most talented pianists, distills a lifetime of wisdom and lore into an unforgettable tour of the hidden world of piano playing.

You'll read about how a note is produced, why a chord can move us, why the piano -- "hero and villain" of tonality -- has shaped the course of Western music, and why it is growing obsolete. Rosen explains what it means that Beethoven composed in his head whereas Mozart would never dream of doing so, why there are no fortissimos in the works of Ravel, and why a piano player's acrobatics have an important dramatic effect but nothing more. Ending on a contemplative note, Piano Notes offers an elegant argument that piano music "is not just sound or even significant sound" but a mechanical, physical, and fetishistic experience that faces new challenges in an era of recorded music. Rosen ponders whether piano playing will ever again be the same, and his insights astonish.

Product Details

• Amazon Sales Rank: #76198 in Books
• Published on: 2004-02-03
• Original language: English
• Number of items: 1
• Binding: Paperback
• 256 pages

From Publishers Weekly
"Music is not just sound or even significant sound.... There has to be a genuine love simply of the mechanics and difficulties of playing, a physical need for the contact with the keyboard," writes Rosen, a concert pianist, music critic and National Book Award winner (for 1970's The Classical Style: Haydn, Mozart, Beethoven). He explores those mechanics, difficulties and more in this thoughtful and wide-reaching blend of history, homage and memoir. In a slightly uptight but obviously learned manner, the author explains the various elements that the piano-playing experience entails, from a child's understanding of the fingering for a C major scale to an accomplished concert pianist's position on her stool. Rosen is mainly concerned with the physicalities of playing the instrument, and he takes readers from concert halls, discussing the order of pieces to be performed lest a pianist follow a work in E-flat major by one in D major to the recording studio, examining the facility with which one can splice piano music. Although nearly all of Rosen's examples are from the music of Bach, Debussy, Chopin, Mendelssohn, Schumann and other classical musicians which may alienate readers who play jazz or popular piano his musings are indeed modern; he ponders what will become of the "dinosaur"-like piano in the 22nd century and addresses the problems of performing in a country where piano concerts are only de rigueur in large cities. Filled with trivia and thought-provoking commentary, Rosen's book is a sometimes dense, but important, study of the physical factors involved in tickling the ivories.
Copyright 2002 Reed Business Information, Inc.

From Booklist
From a professional's point of view, pianist Rosen carefully links the physical act of playing and the aesthetics of the music it produces, with movements of the fingers, arms, feet, and torso that introduce dance and gesture into the interpretation of music. He comments on the role of technique, which becomes routine and sublimated to how a score is interpreted; a hall's acoustics, audience interruptions, and the particular instrument played all affect a performance, but the technique is truly unconscious. Competitions and contests tend to breed standard performances thought to please judges, he says, while private concerts lead to experimentation, and public concertizing produces consistent performances. In recordings, a pianist tends to strive instead for perfection because a record freezes a performance. Finally, Rosen comments on the styles and manners of performers he has witnessed. He truly sheds light on all aspects of piano performance, and piano-music lovers and players alike will benefit from his thought-provoking and appreciation-enhancing comments. Alan Hirsch
Copyright © American Library Association. All rights reserved

Review
American Record Guide A gold mine of experience and wisdom. -- Review

Customer Reviews

Dessert, in the best sense of the word
In his brilliant article, "Who's Afraid of the Avant-Garde?" Charles Rosen makes the point that the societal dilemma of the decline of serious music is a false one, as the survival of music depends not on the willingness of audience-goers to listen to it, but on the drive within musicians to play it. In the end, we play the pieces that inspire us and challenge us -- and, above all, the pieces we love. Rosen argues that the commercial aspect of music has made us forget this simple fact: we participate in musical experience because it brings us joy.

"Piano Notes" is overflowing with this joy, that of a man who has been thinking about, writing about, and playing music for more than 60 years now. And Rosen is so successful in conveying the pleasure the musical experience has to offer, that in reading his new book, we feel it too. We smile and laugh out loud at his comical and endearing anecdotes about music performances and performers, competition juries and contestants, and conservatory students and teachers alike. First and foremost, reading "Piano Notes" is a pure pleasure, like eating good dessert and sharing thoughtful conversation with friends. As such, it calls less for a critical review than for a reflection on and discussion of its ideas.

Of course there is more here than mere pleasure. In between the personal experience and the occasionally sardonic wit lie some of Rosen's most important thoughts and ideas: the qualities of the piano that have attracted composers to it for 200 years; how the tactile experience of playing the piano impacts the way we hear our own performances and others'; the physical limitations of the piano, and their relevance to performance and the realization of music; the effects of the conservatory system on musical individuality; the importance of sight-reading and a deep knowledge of the piano literature; considerations for live and recorded performances; and a survey of differing piano styles from composer to composer throughout the years.

Rosen has, of course, discussed many of these ideas elsewhere (see "The Classical Style", "The Romantic Generation", his essays for the New York Review of Books, some of which appear in "Critical Entertainments", and, more recently, "A Short Companion to Beethoven's Piano Sonatas" and a lecture entitled, "Tradition Without Convention"), but in "Piano Notes" they are given particularly lucid, if brief, treatment, and, thankfully, are free of some of his more grating tics of style. (I must admit that they are endearing, as well. For example, Rosen is usually unrelenting with his superlatives; the construction "no piece demonstrates better..." appears hyperfrequently in some of his earlier books. While I was pleased to see more "variety" (for lack of a better word) in his expressions of praise this time round, I did begin to worry about two-thirds of the way through the book when I hadn't come across it once. I was relieved when it finally arrived, on page 209. Odd though it may seem, such is the complex relationship between a reader like me, and someone as well-written as Mr. Rosen, quirks and all.)

Much of "Piano Notes" is, as its title would suggest, focused on particular piano works (fortunately, all of which I am familiar with), or on the deliciously tactile piano experience (also something I am familiar with); indeed, I feel it would be hard for a non-pianist to enjoy this book as much as I --or any other pianist-- could. Almost every sentence spoke directly to me, was an echo of something I have felt, thought, said, or written at some time about the piano. I should point out, though, that while non-pianists may not be able to relate to some of Rosen's particularly "piano-centric" experiences, anyone with a love for and appreciation of music will find something to enjoy here: his main arguments are supported by his experience with the piano, but are always applied more broadly to music in general.

As a 20-year-old amateur --though I staunchly defend and cling to my snobbish 'student' status, as well-- pianist and music theorist who spends a good deal of time thinking critically about music, Rosen's insightful books and thoughtful performances have always resonated with and been an inspiration to me. Throughout adolescence, I never found a teacher or mentor I wanted to study with --in my experience, thinking about music is not something that appeals to most musicians-- and thus my musical journey has typically been characterized by a sometimes-lonely independence. When reading Rosen's books, perhaps this latest in particular, I am struck with a bit of jealousy for those one-time students of his, and indeed those of any of the excellent teachers he describes in "Piano Notes": as far as thinking musicians like Rosen are concerned, the musical world is frightfully barren.

Insights for All
Rosen is humorous and insightful. He looks at a number of piano and music related topics (concerts, competition, practice, etc.) and imparts a level of understanding that reveals both the brilliance and idiosyncrasies of the music world. This is not just a book for the piano student but for anyone interested in classical music.

The following passage illustrates:

"For whom does one play? To whom is the performance addresses? These questions are odd because they do not seem at first sight to call forth a useful answer. They are worth asking, however, because they raise a more interesting one: to what extent is the performer aware of the public during their actual playing? The latter question is more pertinent to the pianist than any other musician. Unlike the string player of the singer, the pianist does not face the listeners while playing; the public exists only in the margins of his sight. Nevertheless, even for the violinist or the soprano, the contrast of the spotlit stage and the lowered lights in the hall make the audience largely an anonymous blur."

Rosen's writing is accessible and his style witty. Both newcomers to music and the most erudite aficionado will come away with a deeper understanding of the world of classical music. It gives much food for thought and further discussion with friends. Very enjoyable.

Piano wisdom
Charles Rosen belongs to that rare breed of musician in whom is combined high executant skill as an international concert pianist with a formidable wide-ranging intellect: at once creative artist, writer, thinker and academic. In 'Piano Notes', Rosen - the creator of 'The Classical Style', 'Arnold Schoenberg', 'Sonata Forms', and other learned treatises - reveals himself as a raconteur and wit, with a considerable repertoire of tales very much 'out of school'. For those fans and devotees of Rosen and indeed all things pianistic, but who are unwilling to tackle his weightier writings, this manageable and engaging book is the right choice.

Lighter fare though it undoubtedly is, 'Piano Notes' is by no means an inconsequential if amusing throw-away by an otherwise serious writer. Here are all the hallmarks of the author's style: compelling argument, clear expression, the large brush as well as the finely finished decoration, understandable (for the amateur) use of example and illustration, and a good deal of provocation besides. How many dedicated piano teachers will bristle at the observation that 'almost all books on how to play the piano are absurd', that 'beautiful tone production does not exist on the piano apart from the music', or that the masterclass is 'a way of earning more money and doing less work'? But of course, there is cogent reasoning to follow the bald statement, and it would be an obtuse reader who is unmoved by the plain speaking about cherished myths and traditions within the pianist's world, the painful truth - as it would seem to many established professionals - exposed within a few pages by the persuasiveness of the writer's experience, wisdom and uncompromising judgment.

Many pianists of talent who have suffered some erosion of confidence by failing to achieve a place in a major piano competition can take heart from Rosen's unforgiving view of this institution which, like the Conservatory of Music - as he argues with equal insight - does not necessarily serve the interests of the exceptional student. He discusses the conservatism of juries, the inadequacies of voting systems, and not least the capacity - indeed tendency - of the best performers to suffer occasional disasters in contrast to their superb interpretations when on form, this necessary artistic vulnerability sometimes ensuring that the merely consistent triumphs over the extraordinary . But extraordinary qualities are required to be a concert pianist, apart from the rigorous training from infancy. In his inimitable way, Rosen rounds off the perspective: advanced music training and experience should always take account of the 'the public' (as distinct from the experts ), the body who has the refreshing capacity to respond to 'eccentric originality' rather than correctness.

Readers will enjoy the many anecdotal references to 'great' pianists: their widely varying playing positions (Rubinstein and Gould), Horowitz's spliced 'live' recordings, Cherkassky's obsession with piano stools, the studied non-coordination of the hands by Paderewski, Bauer and (more rarely) Hoffman. The various ways and traditions of applause receive instructive treatment as does how to congratulate a pianist after a recital, or the benefits of practising while reading a book. All entertaining stuff, but, in the hands of Rosen, aligned and interlaced with, for example, an enlightening and penetrating examination of the psycho-physical nature of piano-playing, a fascinating argument on the relationship between the changing tactile requirements of keyboard technique through the centuries and the history of the visual arts - as in the Renaissance invention of perspective, Venetian and Baroque coloristic technique, the merging of individual lines and rhythms in Impressionism and beyond - or even an unabashed treatment of modernism (Rosen is a champion of 20th century pianism from Schoenberg to Boulez and Elliott Carter) in which he confronts the public distaste for the avant-garde.

As one would expect from a writer well-versed in literature and language, Rosen offers useful literary parallels and allusions, as for example when discussing the impact of contemporary music: 'a distaste for modernism is understandable and needs neither defense nor apology'. It is typical of the writer that he is careful to distinguish between exploratory argument and definitive assertion, always seeking clarity and the avoidance of intellectual compromise.