By Carol Montparker
Those intensely own and perceptive essays discover the author's existence as a pianist - practising, appearing, instructing and writing - yet they can be the innovations and reflections of any artist. They recount the demanding situations, rewards and joys of her reviews in her selected occupation.
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Extra resources for A Pianist's Landscape
Example text
He recalled the poem "A Toccata of Galuppi's," in which Browning refers to the interval of a diminished sixth in Schumann's music. Galuppi, an eighteenth-century Venetian composer, may be an obscure name for many of us, Page 39 but in that poem Lowenthal found a reference point, the diminished sixth, that became pivotal for his understanding of Schumann's Fantasy in C major, Opus 17, and even that work's derivation from a Beethoven song, "An die ferne Geliebte" (To the Distant Beloved). " <><><><><><><><><><><><> In my own studio, within arm's reach are art books and music reference books of any given period or subject that will enhance my understanding of music literature; I also read from certain collections of composers' letters if I think they will serve to enlighten.
The writer E. B. " I like to have a busy mind. Each precious day is, at once, twice as long and never long enough, especially when I am engaged in preparing a program. Each facet enhances and subtracts from the other, and I always feel a tug-of-war between practicing and writing, simply because of the limits of time and energy. It is much easier to write: it is not the physical labor that playing is, and words are not the evasive, abstract expressers of feelings that notes are. " Granted that a lot of ourselves goes into it, but we have to tread within certain valid confines of expression that are as true to the composer as to ourselves.
177 22 Playing Classes, Recitals, and Auditions 186 23 Students I've Known and What They've Taught Me 198 24 Teaching the Nitty-Gritties, Marking the Music, the Human Factor 210 25 Leopold Mittman: A Memoir 218 26 On Being Respected and Loved as a Teacher 227 27 One Door Closes and Another Opens 232 In The Field 28 In the Field 243 29 That Infernal Little Machine 252 30 The Most Jazzy Encounters 260 31 Coping with the Extraordinary 267 32 Away From Home 278 33 Home Again: Some Final Thoughts 283 Notes 287 Bibliography 292 Index 293 Page 9 FOREWORD Those who deplore the tendency of pianists to be "fortists" will particularly enjoy Carol Montparker's collection of essays.