Description
Book SynopsisTraces the progress of the Russian piano concerto, which was inspired by a handful of dilettante concerto-style works and fantasias labelled 'for fortepiano or harpsichord'. This book shows how the Russian composers encountered problems of structural organization.
Trade ReviewThis monograph, the first volume in the new series Russian Music Studies, delves into the origins and development of the Russian piano concerto. The text is scholarly but a joy to read. Norris is highly analytical, diligently comparing and contrasting the concertos of Anton Rubinstein, Tchaikovsky, Balakirev, Mussorgsky, Taneyev et al. with those of their European progenitors. Interestingly, among the elements that gave the genre its particularly unique and colorful flavor was the introduction of materials extracted from Slavic folk songs and orthodox chant of the Slavic race (Rimsky—Korsakov and Balakirev in particular). The author includes copious musical examples and interesting charts, including one that skillfully delineates the importance and pedagogical influence of Irish pianist and composer John Field (who lived in Russian from 1803 to 1837) on Russian musicians and composers. David Griffioen's discography is invaluable for those interested in comparing renditions and tracing performance history. No less than 105 recordings of Tchaikovsky's First are given. Considering the significance of this well-written work, this reviewer hopes the publisher pursues additional volumes in the series. For all substantial music collections, academic and public.
-- J. R. Belanger * Choice *
Table of ContentsPreface
Introduction
1. The European Heritage
2. The Piano Concertos of Anton Rubinstein
3. The Piano Concertos of the Nationalists and the Eclectics
4. The Piano Concertos of Peter Tchaikovsky
Conclusion
Notes
Chronological List of Works Analyzed
Selected Bibliography
Discography, compiled by David Griffioen
