FREE Delivery in the UK.
Only 1 left in stock (more on the way).
Dispatched from and sold by Amazon. Gift-wrap available.
Fortepianos and Their Mus... has been added to your Basket
Have one to sell?
Flip to back Flip to front
Listen Playing... Paused   You're listening to a sample of the Audible audio edition.
Learn more
See this image

Fortepianos and Their Music: Germany, Austria, and England, 1760-1800 (Oxford Monographs on Music) Hardcover – 1 Jan 1998

See all formats and editions Hide other formats and editions
Amazon Price
New from Used from
"Please retry"
£80.04 £25.00
Note: This item is eligible for click and collect. Details
Pick up your parcel at a time and place that suits you.
  • Choose from over 13,000 locations across the UK
  • Prime members get unlimited deliveries at no additional cost
How to order to an Amazon Pickup Location?
  1. Find your preferred location and add it to your address book
  2. Dispatch to this address when you check out
Learn more
£84.00 FREE Delivery in the UK. Only 1 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.
click to open popover

Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.

  • Apple
  • Android
  • Windows Phone

To get the free app, enter your mobile phone number.

Product details

Product Description


The long discussion of Haydn's trios and songs is an important strength of the volume. (Harpsichord & fortepiano, Vol 9, No 1, Spring 2001)

filled with highly interesting quotes ... Descriptions of the individual performers' playing styles are fascinating and give great insight into eighteenth century piano performance practice. Here Ms. Komlos really shines as a researcher. (Gwendolyn Toth, Early Music Newsletter)

Katalin Komlos's scholarship is genuine, substantial and illuminating about some of the best music ever written. Her language, which is generally direct and free from jargon or pretence, merely seeks to distinguish early pianos from late ones, over a specified, coherent period. Her confident familiarity with numerous instruments, and contemporary writing about performance on them, would probably be sufficient reasons for recommending the book. But much rarer, and far more valuable, is what she has to say - every word reflecting wide reading and 'hands on' experience - about the subtle connections between technology, technique and the music. (The Times Literary Supplement)

there is so much of the value in Katalin Komlos's book ... Any student of the early piano should find it both interesting and informative. Perhaps the best commendation from me [Michael Cole] would be that, after slipping pieces of paper between the pages to mark some of the more thought provoking passages, I soon found the book so stuffed with tickets that I immediately resolved to read the whole thing through a second time! (F. MRHI)

Komlos's scholarship is genuine, substantial and illuminating about some of the best music ever written. (The Times Literary Supplement)

Though brief in length, this is an ambitious and unusual book, rich in detail, written in clear and unaffected English ... It is a tour de force, delightful reading, and it leaves this reader with a much heightened sense of Geschmack and Empfindung. Most of the examples in this book are superbly chosen, the fruit of long experience with the instruments and of historical study that is both broad and deep. (George Barth, Stanford University, The Hungarian Quarterly, Volume 38, Summer 1997)

From the Back Cover

Eighteenth-century pianos shaped and influenced the music that was written for them. Although organological studies probe in ever more detail, and musical criticism focuses increasingly on the musical repertoire, the relationship between the two has not been properly examined. This book concentrates on the keyboard writing of the last third of the eighteenth century, as inspired by the fundamentally different constructions of the German/Viennese and the English pianoforte. The highly articulated language of Mozart and his Viennese contemporaries, and the more robust, pre-romantic style of Dussek and his London colleagues reflect the very characteristics of these respective instruments. Beyond the scrutiny of the music, attention is given also to the players. The differentiation between professionals and amateurs is addressed, and contemporary sources help provide a description of late eighteenth-century performing styles; such a survey offers new insight into the living art of the pianoforte during the first important period in its history.

Customer Reviews

There are no customer reviews yet.
5 star
4 star
3 star
2 star
1 star