Piano Notes: The World of the Pianist

most reviews here will note that this splendid book has a lot to say about the piano and its place in classical music. and it certainly does. but it is much more.it is chock with informative anecdotes from history, such as Liszt playing difficult music while holding a cigar between his fingers. it is buoyed by a pedagogical outlook that treats playing the piano as kind of a sport like tennis or fencing, treats the piano as a "fragile" instrument, disparages "master classes" and endorses indignation in private lessons. it reflects an ominvore's creed that there is no right or wrong way to interpret a piece, or that following a tradition is the best way to kill it, or that pianists that either strongly please or displease on first hearing are worth hearing again. this encompassing outlook extends to his purely technical observations, for example that there is no right or wrong position to sit before or hand technique to play upon the piano, and that certain great pianists had small hands or stubby fingers.the whole is seasoned with occasional very droll music world stories. at a concert where the pianist played a Chopin nocturne at unreasonable speed, Rosen asked his friend, "Why is he playing it that fast?" "Because he can't play it any faster" was the answer. Milton Babbitt's noncommittal way to praise a player for a performance: "You did it again!" Rubenstein once remarked of other pianists, "If they play badly I feel terrible; if they play well I feel worse."this is a book to value not just for the insights it brings but for the experience, humanity and grace with which it is written. highly recommended.

A terrific read.

I begin with a paraphrase from Rosen's book, "A review should cultivate a certain humility before a really fine pianist and writer." Rosen is both. In fact, the man is so talented as to be somewhat intimidating. Not only is he a world-class pianist, he has written volumes on various musical subjects, holds a doctorate in French literature from Princeton, and has served on the faculty at the University of Chicago. He is one of America's remaining public intellectuals.Rosen's earlier works, "Sonata Forms," "The Classical Style," and "The Romantic Generation," have all entered the canon of works that are absolutely essential for the well-informed musician and critic. "Piano Notes" takes a lighter approach: it is part memoir, part anecdote, always highly opinionated, with some choice gossip thrown in. Often, his tongue is firmly planted in cheek. In other words, it's great reading.In relatively few well-chosen words, Rosen offers his considered opinions on topics as diverse as Bach performance, piano tuning and regulation, shenanigans in the recording studio, piano conservatories and competitions, the uses and misuses of concerts and recitals, and the best method of piano practicing for pure technique--reading while practicing, but scrupulously avoiding poetry and "really admirable prose" because these interfere with the rhythm of the music. "The most useful, I have found for myself, are detective stories, sociology and literary criticism. However, any reading matter that distracts the mind without engaging the senses or the emotions too powerfully will work." (p. 40).Rosen believes the traditional piano recital, complete with grand piano, darkened hall, and the costumed pianist as high priest, is on the way out, largely because of the relative ease of acquiring fine recorded performances of most of the repertoire. I for one hope he's wrong. There is something marvelous, as Rosen points out, in caressing those ivory and ebony keys, and having music come out. The person who has never experienced that will never understand the blissful expression on the faces of so many pianists when they can share music with others. But those of us lucky enough to have felt music flow from our fingers and to have placed themselves and others under its thrall, will completely understand when Rosen when rhapsodizes of the pianist's fetishistic need for physical contact with the ebony and ivory, and of the inexpressible beauty that results.An update end of year 2012: My most recent copy of the New York Review of Books, where Rosen published an amazing number of pithy, often controversial but always interesting essays, discloses that he passed away the in the latter part of this year. Rosen's passing is a loss to be mourned by every person who found herself enthralled by his superb writing or his equally magisterial piano performances. I will certainly miss the Maestro, and will regret not being able to look forward to his next tome. I've tried to collect them all. RIP, dear Charles Rosen; we are so much the poorer for your passing.

This is a fun and informative book if you play for your own enjoyment.

The book is very light in your hand to hold, and very easy to read. Even though the contents are sometimes very technical and professional, Mr. Rosen made it easy and light enough for non-professionals to be able to understand. He tells about piano as an instrument, its mechanics, its charm, and how you can achieve to get the best out of the instrument. My piano hasn't been tuned in 10 years, because I'm so afraid that the piano tuner I choose may ruin it (it happened once). Now I know a lot more about the instrument and its mechanics, I'll know what to tell the tuner about my piano.Also I was delighted to learn the importance of the piano stool, and how its height can affect your performance.He also tells you about what is essential to survive in the highly competitious classical piano world. I'm not a professional pianist, but I do a lot of creative works (painting, writing, composing), and his points made a great deal of sense.It's a very imformative book which you will not regret reading.

I bought two copies of this book. The first one, I gave it to my concert pianist-mentor so I had to order a second one for myself. Time and time again, my mentor and I find ourselves discussing and re-reading this wonderful cornucopia of pianistic insights, candid opinions, and even backstage drama and rumors. When I first read this book, I thought Rosen was exaggerating the drama and eccentricities in the piano world just a little bit. However, when I had the rare opportunity to interact with eminent pianists (who shall remain unnamed here) during their "day off", I realized that they can be more derisive, condescending but always funnier than one could ever imagine of them. Top artists are indeed mercurial, often with a celebrity-complex but they did not get to where they are by being meek and docile. Rosen's book offers a glimpse of a not-so-innocent world of classical music and a treasure trove of insights in music making. This book is not really about technique or interpretation but a must-have for professional and amateur classical pianists.

This is a fascinating book, which should appeal to anyone with an interest in piano performance, piano music and the piano as an instrument. The late Charles Rosen was a distinguished concert pianist and a writer about classical music . He was and remains noted for his intellectual rigour. His books often include deep analysis of musical forms and of works using those forms, frequently with copious quotations from related musical scores. For the general lay reader "Piano Notes" is a good starting point in Rosen's writings. Admittedly, in this book there are also a few quotations from musical scores and there is some musical terminology, but these should not prove obstacles. Rosen's writings can be opinionated, but this often makes it stimulating, even provocative.I particularly liked Chapter 3 on the piano as a instrument and its susceptibility (or not) to adjustment.The discussion of recording(Chapter 6) is also to be commended. It considers the effects of the recording space, microphones placement/configuration and many other factors including the effects of the recording process on the performer and issues surrounding post-processing of the recording media. Considering that this book was written in 2002 this chapter is prescient: it notes the limitations of CD technology for reproducing the finer nuances of piano music and foresees the advent of enhanced quality digital sound technology, which is indeed happening.The insightful chapter "Styles and Manners" is also highly recommendable, providing a very useful survey of how styles of playing have changed as well as demolishing a few prejudices about how the great pianists of the past used to play.Occasionally bits of the book seem outdated : for example the comments on concert dress (white tie and tails etc.) seemed definitely yesteryear: dress has become much more relaxed in the decade or so since this book was written.I found Rosen's concluding ruminations (in his postscript) on the future of the piano unduly pessimistic. I think that there' ll always be a demand for the piano and pianists to interpret the rich repertoire of the piano and moreover to be able to hear this repertoire played live. Witness also the massive resurgence of the piano and piano playing in Asia and in particular in China. In the pop and jazz world the piano, or rather the keyboard in its various portable forms(electric piano/organ/synthesizer) is a staple. I've no fear for the piano's future in any of its forms!

This is a really interesting book. Rosen is massively opinionated, so it's important to take some of what he states as fact with a pinch of salt. That does make it an interesting read though. His thoughts on competition are amusing, and say more about his cantankerous character than anything else. He is also very disparaging about anyone other than a concert professional (and even has some bad things to say about many of these). What is encouraging is to hear about the recording practices - even the greats make mistakes that they have to make multiple attempted to cover up in the studio. All in all a good read. I would say though that if you're not at least a decent level of musician, many of the examples will be lost on the reader st the beginning of the book. The latter half is more accessible.

Finally a voice from the "inside" of the pianists' world. Including different views on various pianos, various pianists and various composers. Besides, a down-to-earth view on "authentic" interpretation. The author's view on Chopin's orchestration could have mentioned the rather limited sound of the pianos used at the time when he wrote his piano concertos, and the necessity for the orchestra not to overwhelm the piano. But, anyhow, a marvel to read. Simply, a delight.

A must for any classical pianist of any standard.

Piano notes - a book for those wanting to know more about piano player...