By Alfred Brendel
'This publication distils what, at my complicated age, i think capable of say approximately tune, musicians, and issues of my pianistic profession.'
Ever because Alfred Brendel bid farewell to the live performance level after six many years of appearing, he has been passing on his perception and adventure within the type of lectures, readings and master-classes. This reader for fans of the piano distils his musical and linguistic eloquence and large wisdom, and should turn out worthwhile to an individual with an curiosity within the method, background and repertoire of the piano.
Erudite, witty, enlightening and deeply own, A Pianist's A to Z is the appropriate ebook for all piano enthusiasts, musicians and track aficionados: hardly has the software been defined in such an pleasing and clever type.
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Additional resources for A Pianist's A-Z: A piano lover's reader
Beethoven’s Diabelli Variations demystifies creativity even more, and in quite a different way. For here, this analysis will suggest, something like a meditation on the nature of creativity and music─creatively constructing aural patterns─is built into the piece itself. It is by hearing Beethoven’s thirty-three variations on the Diabelli waltz, not by studying the stages of editing and rewriting, that one comes on an understanding of creating music that is sufficiently nuanced that it no longer seems divinely or demonically mysterious.
Listeners always know that the glorious structure unfolding before them has something outside itself, something other than itself, as its origin. The continuous reference to a starting point is a reference to limitation in two ways: there is that which cannot be done without violating the inceptive material, 48 and by growing to luxuriant heights and depths while staying within the bounds of the inceptive material the set continuously reveals and refers to the latter’s limitedness. The second way is paramount, and the analysis below will suggest that the special way Beethoven’s Op.
50 out of the given materials, and not, as Shaffer and Mann wonder or worry, out of divine or demonic inspiration, and not, as Romantic interpreters would presuppose, out of Beethoven’s soul and its “need” to “express” itself or its intuitions. The connections are of two kinds: first, each individual variation refers to the phrase structure and harmonic progressions within each phrase of Diabelli’s waltz; and, second, Beethoven fashions his variations so that they form, in various ways, groups of variations, and in the end these groupings form an overall coherence that is astonishing in its own right─as astonishing in fact as that of the universally admired Ninth Symphony and even more astonishingly stays within the limits set down by the inceptive material by explicitly referring to it.
A Pianist's A-Z: A piano lover's reader by Alfred Brendel