Product Description

This is the only complete and up-to-date book containing every major pianist (thousands) and their essential repertoire and recordings. This third edition is completely revised (second edition: 1995 Harvest Books, ISBN# 0-15-600019-9), with hundreds more entries and updated information about existing entries. The book contains a CD for the first time, featuring rare performances."For all those interested in the piano, this book will provide great insight and knowledge. It must be read by everyone who loves the instrument."- Vladimir Horowitz"The Art of the Piano is the best companion a piano aficionado could ask for."- Baltimore Sun

Product Details

• Amazon Sales Rank: #519375 in Books
• Published on: 2005-04-01
• Original language: English
• Number of items: 1
• Binding: Paperback
• 696 pages

Features

• ISBN13: 9781574670882
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

From Library Journal
As a basic handbook for piano enthusiasts, this is an informative and well-researched volume. The first section offers capsule biographies of pianists through history, alphabetically arranged, that assess the stylistic or pianistic traits of each. Recordings--or, in the case of historical figures, contemporary reports on playing styles--are cited for documentation. The second section presents a critical survey of the important piano literature, solo and concerto, with a selective discography for each, based on the author's comparative listening. The amount of space accorded each pianist, as well as the author's critical commentaries, are of necessity highly subjective; nevertheless, Dubal's choices give us an impression of careful judgment and genuine love of the subject. There are some surprising omissions (e.g., Gilbert Kalish, Christian Zacharias) in the biographical section, but the discography lists many additional performers. In sum, this book incorporates in one volume the kind of useful information contained in an historical work such as Harold Schonberg's The Great Pianists and in the various guides to the piano literature that are available.
- Susan Kagan, Hunter Coll., CUNY
Copyright 1989 Reed Business Information, Inc.

Review
". . . a critical appreciation of pianists' talents . . . [a] practical volume." -- American Reference Books Annual, 36th vol.

". . . inclusion of many concert pianists not . . . in standard biographical music dictionaries makes [Dubal's] work important for college music libraries." -- Choice, June 2005

"A reference book that is also compelling reading is a rare book." -- Music Teacher Magazine, June/July 2005

"Dubal presents an amazing wealth of information and does so in a genial but erudite way . . . [a] valuable book." -- American Record Guide, July/August 2005

"Dubal's supple language fits each portrait. . . . This is a bargain treasure. Let it entice, outrage, and inform you." -- Clavier, July/August 2005

"In its new guise, this important title effectively superseded earlier editions and is quite a bargain for libraries; highly recommended." -- Library Journal, February 1, 2005

"an excellent resource book . . . its spine will be getting many creases over the next few years." -- Piano Professional UK, April 2005

Customer Reviews

Engaging, personal reflections on the Great Pianists
Correction - 4.5 star rating.
David Dubal is a Juilliard faculty member, accomplished pianist and a distinguished music author whose books draw the reader deep into the world of classical music. Like his more general 2001 book, "Essential Canon," this book gives you a more colorful, personal view of the composers and performers of classical music. This is the Fourth Edition which has substantial additions (especially in the piano literature) that make it a worthwile upgrade from earlier editions. Let's say up-front that one thing this book is NOT is boring, overly-academic or bogged down in heavy musicology prose. On the contrary, David Dubal's writing is highly engaging ... his stories colorful and human ... his perspectives deeply personal but well-earned. All of this make this book read more like a page-turning novel than a dry, adademic treatise. Here's a snipit from his essay on pianist Wilhelm Kempff to illustrate his expressive writing style:

"Wilhelm Kempff's recordings are the marvelous product of a civilized, gentlemanly mind. He had a clear sense of oganization, and I always feel warmed by his artistic generosity, keen intelligence, musical dignity and gentleness. His Schubert playing is lovely and full of whimsy. He imparts that unique Schubertian amiability which makes for joy. His reading of the final Sonata in B-Flat is angelic. Only in the "Wanderer Fantasy" does Kempff's playing lumber. Kempff is often radiant in Brahms; his E-flat minor Scherzo and F-minor Sonata are all heart, and the smaller pieces can be jewels in his hands. In Schumann, Kempff is even more successful. It is a compassionate, sympathetic Schumann. The darker recesses of the composer's soul are closed to scrutiny; instead, Kempff's Schumann if filled with the fragrance and the apple-cheeked youth of early German Romanticism, all optimism and fancy. He is best in the Davidbundlertanze, Kinderscenen, and a flickering Papillons, but less successful in the Symphonic Etudes and Kreisleriana."

Very personal reflections indeed. But, the first thing one notices in this book is just how many pianists he lists - not just the well-known ones but a couple hundred perhaps. Dubal rightfully pays due honor to the legends and greats by giving pages of biography chocked full of fascinating stories, defining events, style analysis and critique - all which make for fun and fasinating reading. Significant coverage is given to legends such as Beethoven, Chopin, Liszt, Rubinstein, Arrau, Gould and especially Horowitz. Thankfully, he gives some interesting commentary on some of today's new and formidable talents like Marc-Andres Hamelin, Evgeny Kissen and Lang Lang - although not hiding his outright distaste for the latter showman. However, other pianists popular with the public (Uchida, Kovacevich, Janos) often get only one tiny paragraph which can leave fans hungering for more. Similarly, it may be frustrating to some readers not to even see their favorites listed (such as Angela Hewitt whose ever-growing discography is quite distinguished). Equally odd too is that many relatively "obscure" pianists get an unusual amount of coverage - but perhaps some these truly deserve to be better known.

What most makes this book so compelling is the way Mr. Dubal weaves in his musical insights, concert experiences and personal conversations with these great pianists which gives the book a more "being there" feeling. For example, he shares some interesting things he took away from private phone calls with Glenn Gould or recalls how pianists in NYC flocked to Carnegie Hall with great anticipation when Martha Argerich flew into town. His impressions of the stage mannerisms of performers like Richter or Serkin are vivid tidbits of intrigue. Certainly, Dubal has "hob-nobbed" around the music scene for a while and has many fascinating stories to share. And while Dubal is definately not shy to critique someone's style or performance, he also rightfully loads heaps of praise as well - all of this helps transform such a book from more of a sterile, academic quality to a spicier, engaging read. Sometimes though, he could be less definitive in his criticism and leave pure opinions in the realm of personal preferance. In all his accounts, Mr. Dubal's sincere love and passion for the art is unmistakable. Even the many portraits in the book of the great pianists that Dubal sketched himself seems to reveal his deep respect and honor for these legends.

The second part of this book will delight pianists and fans alike where Mr. Dubal reviews the major piano literature with decent commentary. For example, he lists and comments on ALL of Beethoven's 32 sonatas, Bach's 48, the majority of Chopin's piano compositions and so on. He also lists (but does not compare or describe) a range of the recordings to consider for each. Last, one enticing bonus in the latest (4th) edition for serious pianophiles and collectors is the inclusion of a CD of RARE RECORDINGS - some 31 works mostly recorded pre-WWII. But, the sound of nearly all is pretty scratchy.

In short, this is a most engaging book that should serve as a valuable resource for the serious classical fan or pianist. It is one of my favorite books on classical music that is referred to a lot. In the end, it was Dubal's story-telling and "behind-the-scenes" accounts that won my attention and admiration. Such writing creates more three-dimensional, compellingly-human depictions of the past and present pianists who have blessed our world with the finest art that can be achieved. 4.5 stars (not 3).

A sloppy mess
I find it interesting that none of the reviews already posted seem to be aware of the atrocious level of misspellings, typos, factual errors, omissions, and generally dismal production values of this book. Here are some examples: for misspellings, we have "Jorge Rolet" (for Bolet), "Emil Saver" (for Sauer), "Casadesis" (for Casadesus), "Cyziffra" (for Cziffra), "Rachmanimoff," Carlo Maria "Giuliani" (for Giulini), Sergio "Fiorento" (for Fiorentino), "Firku_n_y" (for Firkusny), "rhaphsodies," "allimand", Liszt's "Funeralilles", "Leschetizsky" (for Leschetizky), "Fienberg" (for Feinberg), "Relich" (for Pogorelich) and so on and on. CD labels fare no better: "Marsten" (for Marston), "Arbitor" (for Arbiter, not to forget "OUCH Arbitor" on page 591), "Stradivarious", et cetera.

Factual errors on the part of Dubal: Sauer did not record Chopin's B Minor Sonata. Egon Petri did not record Busoni's Toccata. Glenn Gould's last recital was not in Chicago in March 1964, but in Los Angeles the following month. Gould recorded 22, not 18, Beethoven Sonatas. Wanda Landowska was born in 1879, not 1877. Kathleen Dale, not Kathleen Long, is author of "Nineteenth-Century Piano Music." Shostakovich did not dedicate his Preludes and Fugues to Nikolayeva, nor did he record all 24 of them. Adam Harasiewicz did not record the complete works of Chopin. Persichetti wrote 12, not 11, piano sonatas. Liebermann's "Gargoyles" consist of four, not three, pieces. Rachmaninoff recorded seven, not "49," takes of his Midsummer Night's Dream Scherzo transcription. There is no Richter recording of Prokofiev's Sonata No.3 (he never played the piece). Rubinstein did not record Liszt's Hungarian Rhapsody No.3. Louis Kentner did not play all the Beethoven sonatas at his U.S. debut; he played them here four years later. Shall I go on?

The book omits, without explanation, all piano four-hand and two-piano music as well as chamber music involving the piano. Those seeking information on this repertoire will be out of luck. Dubal lists timings for the Beethoven sonatas, but does not say whose timings, or explain why these are the only works thus treated. He may provide descriptions of Bach's 48 Preludes and Fugues, but he provides no specific listings for the French Suites, English Suites, or Partitas, nor for any of the dozens of Haydn Sonatas. He ignores the piano works of Clara Schumann and Fanny Mendelssohn. Only one of Mozart's 17 variation sets is listed. He omits Couperin and Rameau, believing incorrectly that their keyboard works are "seldom played or recorded" by pianists.

Dubal's listings of recordings, quite apart from questionable inclusions and omissions, also swarm with inaccuracies such as incorrect record labels and ambiguous CD or LP availability.

Omissions in the section devoted to pianists are numerous. If you are looking for information concerning Joseph Villa, Werner Haas, Seta Tanyel, Gilbert Kalish, Piers Lane, Geoffrey Tozer, Germaine Thyssens-Valentin, Konstantin Scherbakov or Steven Osborne--all of whom are represented on many current CDs--you'll find nothing here.

Dubal's own amateurish sketches of some 53 pianists and composers, in place of actual photographs, are hideous in the extreme and should not have even been considered for inclusion.

Apparently neither the author nor anyone else connected to the book's production had either the expertise or the concern to insure a minimal standard of fact-checking or typographical accuracy. The sheer quantity of blunders eliminates any credibility the book might have for reference purposes. All concerned should be ashamed.

Donald Manildi

*THE* Bible for pianophiles!
No one on earth does a better job writing about classical pianists than Mr. Dubal. For almost a decade, I consulted the second edition of this comprehensive book on an almost-daily basis to get invaluable information about the lives and art of great classical pianists. In the first half of the book, Dubal writes a separate essay on each pianist (hundreds of them), where he gives a brief biographical sketch and a more detailed discussion of his/her pianism. In the second half, Dubal discusses virtually all major compositions (solo pieces and concertos) in the classical piano repertoire, and recommends good recordings of each piece.

I agree with virtually everything he says, and think this book is infinitely more useful than, say, the Penguin Guide and the Gramophone Good CD Guide. I thought the second edition was already perfect, but this (much thicker) third edition is EVEN BETTER! Lots of important updates have been added, e.g. articles about new pianists Lang Lang and Volodos and many others, comments on new recordings by Hamelin, Leslie Howard, Kissin and tons others, and many more recording recommendations in the second half of the book. This new edition includes a bonus CD loaded with historic recordings, many of which previously unpublished or unavailable on CD.

So, get yourself a copy of this new edition even if you already have an older edition!