- Hardcover: 176 pages
- Publisher: OUP Oxford (1 Jan. 1998)
- Language: English
- ISBN-10: 0198164262
- ISBN-13: 978-0198164265
- Product Dimensions: 16.2 x 1.5 x 24.1 cm
- Amazon Bestsellers Rank: 521,522 in Books (See Top 100 in Books)
Fortepianos and Their Music: Germany, Austria, and England, 1760-1800 (Oxford Monographs on Music) Hardcover – 1 Jan 1998
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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.