Notes from the pianist's bench:
Gespeichert in:
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New Haven ; London
Yale University Press
[2017]
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| Ausgabe: | Second edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Register // Gemischte Register |
| Beschreibung: | xiii, 236 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9780300221527 0300221525 9780300221534 0300221533 |
Internformat
MARC
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| 245 | 1 | 0 | |a Notes from the pianist's bench |c Boris Berman |
| 250 | |a Second edition | ||
| 264 | 1 | |a New Haven ; London |b Yale University Press |c [2017] | |
| 264 | 4 | |c © 2017 | |
| 300 | |a xiii, 236 Seiten |b Illustrationen, Notenbeispiele | ||
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Datensatz im Suchindex
| _version_ | 1804178022514819072 |
|---|---|
| adam_text | Preface to the Second Edition ix
Preface to the First Edition xi
Part I In the Practice Room
1 Sound and Touch 3
2 Technique 26
3 Articulation and Phrasing 56
4 Matters of Time 82
5 Pedaling 104
6 Practicing 121
Part II Shaping Up a Performance
7 Deciphering the Composer s Message 149
8 Seeing the Big Picture 161
9 Technique of the Soul 181
10 At the Performance (and Prior to It) 192
11 The Art of Teaching and the Art of Learning 2x1
viii Contents
Notes 225
About the Author 229
Index 231
Credits 237
INDEX
agogic stress, 61, 75,103,169
Aibeniz, Isaac, 174
Alberti bass, 109,154
analysis of the music, 129,142,152. See
also Schenkerian analysis
appoggiatura, 129-130
arm/upper arm, weight of, 10-12,
27-28,32,46,55
arpeggios, 20, 24, 36, 41, 51-53,121
articulation, 10,13,16, 32, 53, 56, 58-59,
61, 64, 74-75,129-132,143,160,190;
in early music, 62-64,123; finger, 11,
13, 27, 29, 33-34,127-128
Ashkenazy, Vladimir, 26
associations. See connections
attack, 5, 8, 9,15, 21, 56, 58, 66,117,119.
See also articulation
Bach, Johann Sebastian, 16, 63, 75,
99-100,122-123, H0» 153~154»
163-167,178, 215, 223; articulation,
62-64; harmony, 153-154,164-167;
pedaling, 105; phrasing, 76-77;
polyphony, 140-141; repeats, 197;
spelling of movements, 171-172;
technique, 28-31
Bartok, Béla, 5, 35-36, 66, 88-89,
141,174,190; pedaling, 115-116;
rhythmic flexibility, 84
basso continuo, 164-165
Beethoven, Ludwig van, 9,15,19,
49, 68, 94,100-101,122-126,131,
154,158-159,161,177-178,180,
195~197 201 215 217 223’ articu-
lation, 62-63,131^ dynamics, 22,
77-79; orchestration allusions,
60,162-163; pedaling, 107,109,
110-112,118; rhythm, 85; tech-
nique, 28, 35, 42,134,136; tempo,
88-89, 91»’ transitional passages,
186,196
Berg, Alban, 74
Berio, Luciano, 91,117,120
Bizet, Georges, 217
body: mass 10-12, 27, 46; position/
posture, 31, 32
Boulez, Pierre, 61, 73
Brahms, Johannes, 7-8, 51,110,
134-136,190, 203; articulation, 57-58,
159-160; connections to dance, 173;
emotional content, 155-156,175, 219,
222; finger technique, 34; meter,
232 Index
Brahms, Johannes (continued)
87-88; rhythm, 85-86; sostenuto,
168; tempo, 90-91
breath/breathing: musical, 69, 73, 75,
101; physical, 2, 47
Brendel, Alfred, 24
Bulow, Hans von, 82
Busoni, Ferruccio, 132
Cage, John, 73
Cegledy, Janos, 145fr}
Chaliapin, Feodor, 199
chamber music, 216
character of music, 7, 30, 83,125,127,
131- 134,154,158,161,177,179-180,
184-186,188,190,193,198, 217,
221-222
children, gifted, 182-183
Chopin, Frédéric, 4, 7, 8, 20-21, 28-29,
43, 48, 50-51, 87, 93-94,128,136,
i89,195,198, 201, 215, 219; connec-
tions to dance, 174; études, 34, 36,
38-41, 43, 50,137-138’ 201; fingering,
53,132-133; pedaling, 105-106,111-114;
phrasing, 67, 70-71, 73-74; repeats,
198; rubato, 96, 98-100; sostenuto,
168
chord(s), 6, 9,15-16, 22, 24, 28, 33,
58-60, 81,107-108,112,117,120,
132- 133,151,153-156,159,163,170;
legato, 15; progression, 53; repeated,
43-44; technique needed for, 43-46,
47-48, 50-51; voicing of, 18-20
clarity of performance, 32, 56
clavichord, 104,105
Clement!, Muzio, 50
conducting, 88, 95,200
connections: emotional, 185; with other
repertoire, 161,163,172
continuity: emotional, 185,191; musical,
48,87,95
contrapuntal writing, 154
Cramer, Johann Baptist, 50
crescendo, 8, 22, 53, 71-72, 78, 80,102,
115,158-159,169, 203
Czerny, Carl, 50
Dallapiccola, Luigi, 61
dance, 43, 87-88,105,121,171-174,197,
217-218, 222-223
Davidovsky, Mario, 92
Debussy, Claude, 15-17, 56,109,116,
168,173,176-177,188-189, 204, 217;
dynamics, 16, 80; notation, 122-123;
pedaling, 106,118-120; voicing, 19
de Falla, Manuel, 174
Denisov, Edison, 83
depth of touch, 12-13, 32, 5661
diaphragm, 47
Dvorak, Anton, 174
dynamic(s), 24, 62,123,125,150,190,
222; and articulation, 64-65,130,150,
160,197-198, 212; balance, 105; of
Beethoven, 78-80; control of, 16-18,
24; of Debussy, 80; and left (soft)
pedal, 118; markings, 74-75,122; in
phrasing, 66, 71,101-102; in practic-
ing scales and arpeggios, 53; and
repeats, 197-198; and sound produc-
tion, 9,11-12
economy principle. See technique
editions, 67,122,130,169-170,198
elbow, 11, 32, 43-44, 55; floating,” 45;
as pivot, 45; as shock absorber, 10,
45-46, 209
emotion, 181-191,198-199, 216-222; “as
if state, 187; content of work, 150,
Index 233
152,153,155; identification with, 176;
and practicing, 144; style and, 189-
190. See also continuity: emotional
endurance, physical, 55
enunciation, 32, 56, 62
Esipova, Anna, 6,13, 32, 53
etudes, 34, 36, 38-39, 41-43, 75,121,127,
132,136-138,188-189, 201
exercises, 18, 2i, 34-35, 44, 50-51, 53,
59-60, 95,102,137; daily routine, 51,
121; emotions of, 188-189. See also
practicing
extension principle. See technique
fingering, 130-133
finger(s), 43, 45; activity, 27, 32, 56,128,
218; articulation, 26, 29, 53, 56, 58;
contact with key, 9, 34; distance from
keyboard, 34, 5061; gliding move-
ment, 6fn; independence of, 26, 50;
legato, 16, 41; pedal, 109-110; shape
of, 13-14, 24, 38, 50,132; speed of
action, 5-6, ii, 5661, 61; staccato, 35;
technique, 187; tips of, 14, 32-33
foot. See pedal/pedaling
forearm, 6,10-12, 26-28, 30, 32-33, 35,
42-48, 55,132,199, 213
Frank, Claude, 219
Furtwängler, Wilhelm, 26,15161
Glass, Philip, 73
Godowsky, Leopold, 136
Gould, Glenn, 32, 221
Granados, Enrique, 174
Grieg, Edvard, 174
hand(s): crossing, 47; position, 38, 41;
shape/expansion of, 31, 32, 36-41, 47
Hanon, Charles Louis, 51
harmony, 51, 57, 96,104,107-108,111,
119,133,138,152,156
harpsichord, 16, 58-59, 63-64,102,105,
164-167
Haydn, Franz Joseph, liofn, 157-158,
162,174-175
Hoffmann, Ernst Theodor Amadeus,
176,180
Hoffmann, Joseph, 5,127,145, 200
Hoiliger, Heinz, 115
humor, 158
identification, emotional, 55,184
imagery, 5,10-12, 33, 38, 46,163,180,
i88fn, 193,195, 217-219
imitation of other instruments, 174,178
imitations, 145,184, 204, 215, 218
injuries, 27, 33, 41, 55
interpretation of the music, 96,151,159,
i83,193, 200, 202-203, 212, 215, 221
keyboard, 5-7,12,13,16, 31-33» 38, 45,
47-5°, 53 55» 63 89» u5 u8 l($2
165,168, 213, 226
Kodaly, Zoltán, 174
Kogan, Grigory, 4,150
leaps and jumps, 36, 41, 43, 45, 47, 49,
131-132,134,137,174
legato, 6fn, 15-16, 24, 35, 41, 55, 58-61,
123,130,159; finger, 15, 41, 58-59»
pedaling and, 104,107,109
Leimer, Karl, 142
Lenz, Wilhelm von, 98
Leschetizky, Theodor, 6
Lhevinne, Josef, 10,13, 42,142
Liszt, Franz, 8-9,16, 24, 50, 60,132,
190
long neck” concept, 11
234 Index
mass. See body: mass
melody/melodic line, 15-16, 62, 68,
73-74, 75, 78-80, 97, 99-100,
105-109,111,128,132,140,153,156,
168,196, 222; phrasing of, 66, 71-75;
voicing of, 18-20, 24, 56-58
memorization, 3,140-143
Messiaen, Oliver, 16-17, 61, 73, 86
meter, 87-88,101
metronome, 88-91,144-145
mistakes in performance (memory
slips), 207-208
Moszkowski, Moritz, 50
motives, 62, 64, 73-74, 76-77, 90,143,
180,195
Mozart, Leopold, 97-98
Mozart, Wolfgang Amadeus, 190,
193֊194î appoggiatura, 130; articula-
tion, 61-62, 64-66; connections to
opera, 161-162; finger pedaling, 109;
finger technique, 34; harmony, 153;
note groupings, 128-130; repeats,
124,198; tempo rubato, 97-98,102;
sound, 4,12,102
Mussorgsky, Modest, 88,176,179
national schools, 7, 204
Neuhaus, Heinrich, 21, 46, 49, 96,102,
193, 205
Newman, William, 30
Oborin, Lev, 5, 89,100, 201, 217-218
octaves, 18, 20, 43-44, 50, 52-53
opera, 161-162,179
orchestration, 23-24,162-163
organ, 16, 58, 64,164
ornamentation, 168,198
pedal/pedaling, 6ifn, 81,104-120,
134,190; in Bach s music, 105;
in Beethoven s music, 108-112;
changes, 106; in Chopin’s music,
111-114; finger, 59,109; finger touch
and, 105,106; foot technique, 106,
107; harmony and, 107; indications,
107,110; left, 118-119; legato and, 15;
sostenuto, 119-120; special effects,
115-117
Perahia, Murray, 74,141
Perelman, Natan, 14, 24,128
performance, 149; anxiety, 206-208;
historical, 167-168; maturing of,
202-203; preparation and preconcert
conditions, 182-187,192-196, 209-
210; style, 190
performance practice, 84, 87,123,168
phrase/phrasing, 4-5,13-14,17, 21, 23,
30, 43, 62-64, 66-78, 92-96,102,
156,168; asymmetrical, 156; begin-
ning and end of, 67, 69; dynamic, 71;
focus of, 70-71, 73; inflection of, 66,
75; parenthetical, 68; repeated, 96,
195,196-197; rhythmic grouping, 131;
temporal, 69,101
piano(s), 4,12,14, 24, 61, 64,104-105,
107,110,114-115,118-119, 209; adjust-
ing to, 208-209; onstage, 14-15,
208-209; as a percussion instru-
ment, 116
pitch, perfect, 91
polyphonic music, 75,105,140
practicing, 4,14, 2ifn, 27, 35,114,121,
125,127-130,134,136,139,142-145,
188,194,198, 200-201, 209, 213,
221; arpeggios and scales, 34;
emotional, 143-144; overpractic-
ing, 221; in rhythms, 128; slow,
130,137
program, concert, 189, 200, 200-202,
204-205, 221, 223
Index 235
Prokofiev, Serge, 23, 30, 35, 72, 83-84,
117-119,128,131,154-155,161, 173-174»
179,184
pulse, musical, 92-97, 99-101,137-138
Rachmaninov, Serge, 5,12, 28, 50,
72-73
Ravel, Maurice, 106,173
relaxation, 27, 31, 35, 54, 208
repeats /repetition, 195-198
repertoire, 28, 50-51, 62,121,130,141,
146,161,168, 200, 204, 213, 215, 218
rhythm, 76-77, 82-88, 91-92, 98-99,
102,104,130,138,144,154,160,172,
174, 222
Richter, Sviatoslav, 14261
Riley, Terry, 73
rubato, 81-82, 95-102,168, 221
Sandor, Gyorgy, 28, 30, 43, 55, 60,137,
212
scales, 34, 36, 51-53,121, 212
Scarlatti, Domenico, 83-84,174
Schenkerian analysis, 74,139,152
Schindler, Anton Felix, 89
Schnabel, Artur, 6, 67,122,158, 204
Schnittke, Alfred, 15161
Schoenberg, Arnold, 22, 58, 61, 74,141,
173,192
Schubert, Franz, 29, 44, 57, 68-69,
73» 85, 93» 101-102,136,156-157,161,
169-171,192-193,196,198, 204, 217,
219
Schumann, Clara, 89-90
Schumann, Robert, 50, 68, 72, 76, 80,
89-90,97-98, no, 133,169, i72,176,
95
score, verbal indications, 168
Scriabin, Alexander, 50, 69, 84,107,
108,159,173,19261
self-confidence/security, 139,141,144,
206-207, 215
serial music, 16, 61, 82, 86, 91
Shostakovich, Dmitri, 89, 92-93,
175_177» 201
sight-reading, 49, 51
Silvestrov, Valentin, 115
slurring. See articulation
Smetana, Berdrich, 174
Sofronitsky, Vladimir, 107
sonority, 10, 20, 24, 30, 33,125,127,
168-169; fingering and, 131-132;
imitation of instruments, 23-24,
163-164; pedaling and, 104-106,110,
115-119
sostenuto: in works of Brahms, 168; in
works of Chopin, 168
sostenuto pedal. See pedal/pedaling
sound production, 3-26; “in” kind of, 5;
mass, 10-12, 46; “out” kind of, 5-6;
perception of depth, 12-13; shape of
fingers and, 13-14; speed of activating
the key and, 11-12, 2061, 46, 5661, 58;
weight, 5-6, 9-12,16, 22, 27-28, 32,
46,55
speed: of activating pedal, 106; of
entering the key, 5, 8,10-12, 2061,
46, 5661, 58, 60,130-131,137; finger-
ing and speed of learning, 130; of
playing, 89,130-131,137
stage fright. See performance:
anxiety
Stanislavsky, Konstantin, 182,184-
185,187,18761,188,18861,199, 203,
208, 220
Stockhausen, Karlheinz, 62, 73, 92
Stravinsky, Igor, 5, 43, 61, 76,141,154
structure: of compositions, 82, 95,107,
127,139,146,155,185,193-195; of
phrases, 67-68, 76, 94,156
236 Index
student, development of, 176,183-184,
194, 211, 212, 214-215, 221, 223
style, 28, 62, 82, 88, 95,109,132,150,
152-153,155,160,162,172,174,196,
215, 222; defined by phrasing, 70, 73;
defined by rhythm, 82-84; defined
by sound, 4; emotional tone of work
and, 152,190-191. See also articula-
tion; technique
syncopation, 77-78, 80,112
Tausig, Karl, 51
Tchaikovsky, Peter Ilich, 44,153-154
technique, 3,12,15, 22, 26-55, 59-60,
105,109,115,120-121,136, 201, 208,
218, 220; appropriate to style, 28-30;
economy principle, 30-31; emotional
(technique of the soul), 181-191;
extension principle, 30-31. See also
finger(s): technique
tempo, 4, 35, 41, 44, 82-85, 92-101,122,
127,130-131,137,168-169,189,199,
211, 221; delay of downbeat, 102-103;
metronome indications, 87-92;
steadiness of, 144-145; time signa-
ture, 87-88. See also pulse, musical
tension, physical, 14, 27, 32-33, 41, 43,
45-46,54-55
texture, 13,16, 20,38, 42, 55, 58, 75, 97,
105,106-107,109-110,120, 132-133,
139-141; accompanying, 58,110;
chordal, 18; harmonic, 105,109,140,
164-167; polyphonic, 75,140,141
thumb, 35-37, 42, 50,130
time perception, 89, 92,137,180,195,
198
tone, emotional, 175,189,191, 217. See
also style
transcriptions, 23,136,166
trill, 42, 45
una corda. See pedal/pedaling: left
voice(s), 74-75,139-141; voice leading,
18-20,110,132
Walter, Bruno, 100-101
Weber, Carl Maria, 136
Webern, Anton von, 173,19361
weight, 5, 9-12,16, 22, 27-28, 32, 46,
55
Wolff, Konrad, 6
wrist, 24, 26-27, 29-30, 32, 41-46, 50,
55,130, 214; bouncing movement of,
30, 44; flexibility of, 10, 24, 27, 42,
50; horizontal movements of, 29, 42;
rotation of, 26, 42; as shock ab-
sorber, 10, 45, 55, 209; technique, 43
Yankelevich, Yuri, 3161
|
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| author | Berman, Boris 1948- |
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| id | DE-604.BV044621185 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:57:22Z |
| institution | BVB |
| isbn | 9780300221527 0300221525 9780300221534 0300221533 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-030019455 |
| oclc_num | 1020588305 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | xiii, 236 Seiten Illustrationen, Notenbeispiele |
| publishDate | 2017 |
| publishDateSearch | 2017 |
| publishDateSort | 2017 |
| publisher | Yale University Press |
| record_format | marc |
| spelling | Berman, Boris 1948- Verfasser (DE-588)133068218 aut Notes from the pianist's bench Boris Berman Second edition New Haven ; London Yale University Press [2017] © 2017 xiii, 236 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Berman, Boris 1948- (DE-588)133068218 gnd rswk-swf Klaviertechnik (DE-588)4222405-6 gnd rswk-swf Klavierspiel (DE-588)4030996-4 gnd rswk-swf Klaviermusik (DE-588)4030993-9 gnd rswk-swf Piano / Instruction and study Piano / Performance Klaviermusik (DE-588)4030993-9 s Klaviertechnik (DE-588)4222405-6 s Klavierspiel (DE-588)4030996-4 s DE-604 Berman, Boris 1948- (DE-588)133068218 p Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030019455&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030019455&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Register // Gemischte Register |
| spellingShingle | Berman, Boris 1948- Notes from the pianist's bench Berman, Boris 1948- (DE-588)133068218 gnd Klaviertechnik (DE-588)4222405-6 gnd Klavierspiel (DE-588)4030996-4 gnd Klaviermusik (DE-588)4030993-9 gnd |
| subject_GND | (DE-588)133068218 (DE-588)4222405-6 (DE-588)4030996-4 (DE-588)4030993-9 |
| title | Notes from the pianist's bench |
| title_auth | Notes from the pianist's bench |
| title_exact_search | Notes from the pianist's bench |
| title_full | Notes from the pianist's bench Boris Berman |
| title_fullStr | Notes from the pianist's bench Boris Berman |
| title_full_unstemmed | Notes from the pianist's bench Boris Berman |
| title_short | Notes from the pianist's bench |
| title_sort | notes from the pianist s bench |
| topic | Berman, Boris 1948- (DE-588)133068218 gnd Klaviertechnik (DE-588)4222405-6 gnd Klavierspiel (DE-588)4030996-4 gnd Klaviermusik (DE-588)4030993-9 gnd |
| topic_facet | Berman, Boris 1948- Klaviertechnik Klavierspiel Klaviermusik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030019455&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030019455&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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