Piano Notes: The World of the Pianist
by Charles Rosen
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Book Summary Information
Author: Charles RosenEdition: Hardcover
Audio: English (Unknown); English (Original Language); English (Published)
Format: Deckle Edge
Published: 2002-10-29
ISBN: 0743203828
Number of pages: 256
Publisher: Free Press
Book Reviews of Piano Notes: The World of the Pianist
Book Review: Dessert, in the best sense of the word
Summary: 5 Stars
In his brilliant article, "Who's Afraid of the Avant-Garde?" Charles Rosen makes the point that the societal dilemma of the decline of serious music is a false one, as the survival of music depends not on the willingness of audience-goers to listen to it, but on the drive within musicians to play it. In the end, we play the pieces that inspire us and challenge us -- and, above all, the pieces we love. Rosen argues that the commercial aspect of music has made us forget this simple fact: we participate in musical experience because it brings us joy.
"Piano Notes" is overflowing with this joy, that of a man who has been thinking about, writing about, and playing music for more than 60 years now. And Rosen is so successful in conveying the pleasure the musical experience has to offer, that in reading his new book, we feel it too. We smile and laugh out loud at his comical and endearing anecdotes about music performances and performers, competition juries and contestants, and conservatory students and teachers alike. First and foremost, reading "Piano Notes" is a pure pleasure, like eating good dessert and sharing thoughtful conversation with friends. As such, it calls less for a critical review than for a reflection on and discussion of its ideas.
Of course there is more here than mere pleasure. In between the personal experience and the occasionally sardonic wit lie some of Rosen's most important thoughts and ideas: the qualities of the piano that have attracted composers to it for 200 years; how the tactile experience of playing the piano impacts the way we hear our own performances and others'; the physical limitations of the piano, and their relevance to performance and the realization of music; the effects of the conservatory system on musical individuality; the importance of sight-reading and a deep knowledge of the piano literature; considerations for live and recorded performances; and a survey of differing piano styles from composer to composer throughout the years.
Rosen has, of course, discussed many of these ideas elsewhere (see "The Classical Style", "The Romantic Generation", his essays for the New York Review of Books, some of which appear in "Critical Entertainments", and, more recently, "A Short Companion to Beethoven's Piano Sonatas" and a lecture entitled, "Tradition Without Convention"), but in "Piano Notes" they are given particularly lucid, if brief, treatment, and, thankfully, are free of some of his more grating tics of style. (I must admit that they are endearing, as well. For example, Rosen is usually unrelenting with his superlatives; the construction "no piece demonstrates better..." appears hyperfrequently in some of his earlier books. While I was pleased to see more "variety" (for lack of a better word) in his expressions of praise this time round, I did begin to worry about two-thirds of the way through the book when I hadn't come across it once. I was relieved when it finally arrived, on page 209. Odd though it may seem, such is the complex relationship between a reader like me, and someone as well-written as Mr. Rosen, quirks and all.)
Much of "Piano Notes" is, as its title would suggest, focused on particular piano works (fortunately, all of which I am familiar with), or on the deliciously tactile piano experience (also something I am familiar with); indeed, I feel it would be hard for a non-pianist to enjoy this book as much as I --or any other pianist-- could. Almost every sentence spoke directly to me, was an echo of something I have felt, thought, said, or written at some time about the piano. I should point out, though, that while non-pianists may not be able to relate to some of Rosen's particularly "piano-centric" experiences, anyone with a love for and appreciation of music will find something to enjoy here: his main arguments are supported by his experience with the piano, but are always applied more broadly to music in general.
As a 20-year-old amateur --though I staunchly defend and cling to my snobbish 'student' status, as well-- pianist and music theorist who spends a good deal of time thinking critically about music, Rosen's insightful books and thoughtful performances have always resonated with and been an inspiration to me. Throughout adolescence, I never found a teacher or mentor I wanted to study with --in my experience, thinking about music is not something that appeals to most musicians-- and thus my musical journey has typically been characterized by a sometimes-lonely independence. When reading Rosen's books, perhaps this latest in particular, I am struck with a bit of jealousy for those one-time students of his, and indeed those of any of the excellent teachers he describes in "Piano Notes": as far as thinking musicians like Rosen are concerned, the musical world is frightfully barren.
Summary of Piano Notes: The World of the Pianist
Charles Rosen is one of the world's most talented pianists -- and one of music's most astute commentators. Known as a performer of Bach, Beethoven, Stravinsky, and Elliott Carter, he has also written highly acclaimed criticism for sophisticated students and professionals.
In Piano Notes, he writes for a broader audience about an old friend -- the piano itself. Drawing upon a lifetime of wisdom and the accumulated lore of many great performers of the past, Rosen shows why the instrument demands such a stark combination of mental and physical prowess. Readers will gather many little-known insights -- from how pianists vary their posture, to how splicings and microphone placements can ruin recordings, to how the history of composition was dominated by the piano for two centuries. Stories of many great musicians abound. Rosen reveals Nadia Boulanger's favorite way to avoid commenting on the performances of her friends ("You know what I think," spoken with utmost earnestness), why Glenn Gould's recordings suffer from "double-strike" touches, and how even Vladimir Horowitz became enamored of splicing multiple performances into a single recording. Rosen's explanation of the piano's physical pleasures, demands, and discontents will delight and instruct anyone who has ever sat at a keyboard, as well as everyone who loves to listen to the instrument.
In the end, he strikes a contemplative note. Western music was built around the piano from the classical era until recently, and for a good part of that time the instrument was an essential acquisition for every middle-class household. Music making was part of the fabric of social life. Yet those days have ended. Fewer people learn the instrument today. The rise of recorded music has homogenized performance styles and greatly reduced the frequency of public concerts. Music will undoubtedly survive, but will the supremely physical experience of playing the piano ever be the same?
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