By Carol Montparker
Those intensely own and perceptive essays discover the author's lifestyles as a pianist - training, acting, instructing and writing - yet they can be the strategies and reflections of any artist. They recount the demanding situations, rewards and joys of her reports in her selected career.
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At first one is most charmed by the fantasy of her ornamentation, then by the consistency of developed melodic thought, and finally by the underlying structure of allusive form-types. As with the great cycles of Bach and Chopin, each essay is a building block in the architecture of key-inclusiveness. " To find the answer, read the book. JEROME LOWENTHAL Jerome Lowenthal, concert pianist and faculty member at the Juilliard School, has also served as chairman of Juilliard's piano department. Page 11 ACKNOWLEDGMENTS I would like to give special thanks to my kind publisher at The Instrumentalist Company, James T.
It makes one wish to be stranded on that proverbial desert island. During those rare times when I "just play," I may either indulge in some new music or reacquaint myself with old repertoire. One day I might choose to play through the entire volume of Chopin nocturnes, or spend three hours purifying myself with a Mozart sonata marathon. Soon I might finally get to the Bartók suite that's been on my piano for a year; and finally last summer I learned the Schumann Kreisleriana after yearning to for ages.
Or, more specifically, visual imagery will give me a handle on some music that might otherwise have evaded me. For example, in Chopin's B minor sonata, the E major triplet section of the third movement didn't "click" until I beheld a painting by an artist-friend, Stan Brodsky. His beautiful work depicted the water's edge and tidal flows, and the painting uncannily cast light on the music. Similarly, as so much of music derives from sounds of nature, visualizing water, clouds, fog, wind, or turbulence might help to capture those effects in music.