Showing all 8 results
This compilation of articles serves two purposes. Firstly it supplements and amends the usually held view of Schumann’s activities as related to the piano. There has, to my knowledge, never been a special study written on this facet of his musical development. But on the other hand it describes, however briefly, how occupational disabilities such as those experienced by so many pianists gradually develop. Schumann’s ‘case’ is in fact nothing other than a caricatural exaggeration of the same fallacies that are still perpetrated.
After two introductory chapters on the historical Mazeppa and Romanticism as a style, Chapter III deals with some forty literary products. In Chapter IV the hippodrama genre is discussed in depth; this type of performance evolved into the medium of the (silent) film at the beginning of the 20th century, and is discussed in Chapter V. Chapter VI presents dozens of Mazeppa paintings and drawings. The last three chapters are reserved for the approximately sixty Mazeppa compositions that the author managed to track down. Please see III-03 for the English edition.
Soon after the appearance of the Dutch version (AB III-02), I decided to translate this cultural-historic study into English: Mazeppa in the Romantic Arts. However, this English version is not a literal translation. I have tried to tailor the content to the interests of an international readership. The major difference between the two versions, however, lies in the fact that I decided to narrow down the sections about Liszt’s Mazeppa music and to go into depth about this in a separate monograph, entitled The Mazeppa Music of Franz Liszt (AB III-06).
Max Prick van Wely (1909–2000) studied for the main subjects Piano and Composition at the Amsterdam Conservatory and concluded his studies with the performance of his own First Piano Concerto with the conservatory orchestra in the Amsterdam Bachzaal. The present catalogue lists more than a hundred compositions. However, Prick van Wely made his name primarily as an author. Eleven books were published in addition to various translations, arrangements, song albums and fairy-tale collections. A large number of articles – more than 90 in total – complete this overview.
On the occasion of his 88th birthday, I wrote a catalogue of my father’s oeuvre. The 170-page book opens with a sketch of his life, illustrated with photos. This is followed by the catalogue, subdivided into the categories Physics and Chemistry (53 books), Biology (72 books), History (19), Languages (16), Reading booklets (27), Miscellaneous (2) and Articles (8). This is followed by ‘Twelve reading pieces’, parts from various editions.
This book is written for musicians, Liszt experts and anyone interested in this fascinating composer. The monograph comprises three parts. Part I focuses on the keyboard music devoted to the Mazeppa subject. Part II describes the genesis of the Symphonic Poem Mazeppa. Part III discusses the history of the performance and reception of Liszt’s Mazeppa music, which caused a great deal of controversy. The final chapter presents an overview of the many curiously contrasting opinions on this composition by leading composers, famous pianists and conductors, and musicologists.
In the autumn of 1847, Franz Liszt was a guest at Carolyne von Sayn-Wittgenstein’s estate near Woronince in the Ukraine. He composed there an early version of the cycle Harmonies poétiques et religieuses. After correcting the proofs of the first edition (see AB II-09/10) I decided in the summer of 1997 to look for the place where the composer had lived and worked for three months and then – in the footsteps of Franz Liszt! – to undertake the journey from Woronince to Weimar. A travelogue of this adventurous journey.
The book opens with a Preface by Martin Kloos and a Foreword by Jan Wijn. There then follow 17 chapters covering the complete piano technique. What is striking is that Berkhout always links the technical/physical aspect to the artistic dimension and refers to the regular piano literature through a great number of music examples. Towards the end of the book, the author strikes a completely philosophical/spiritual tone with chapters such as ‘Inner sound image’ and ‘Portrayal and artist’.