3 comments about The Music Box: The Story of Cristofori.

1. I love this book. Any young person studing music should read this book. It not only familiarizes kids(not to mention adults) with the story of the most important person in the history of the piano, but it has a section that teaches about the piano and how it works. Ive read it a bunch of times and look back on it regularly. Parents dont always think their kid taking piano lessons needs music books like they need school books, but they do. This book goes well in a young persons bedtime reading library.



2. "The Music Box - The Story of Cristofori" is a unique educational story about the invention of the piano. In a wonderful and clear fashion, children (and adults) learn about music before the piano existed and discover the mechanical-musical genius of Cristofori's invention. Additional pages at the end of the book give more specific information about the piano and the inventor. Recommended for all children to encourage exploration. Also suggested for elementary classes and all music teachers...Dr. Kathleen Kain, scientist and educator.



3. I love this book! It is so much fun to read aloud and kids love it. I've been fortunate enough to hear the author and illustrator read this book to kids and they were mezmarized. The language is as musical as its subject and the illustrations are true to the times and bring Bartolomeo to life. Kudos to Suzanne Guy and Donna Lacey.

5 comments about A Guide to the Harpsichord.

1. Ann Bond's A Guide To The Harpsichord is a practical, "reader friendly" guide to one of the truly classical instruments of European music which treats the mechanics and evolution of the instrument while offering an informative survey of thematically appropriate literature. Students of the Harpsichord will find a wealth of advice on touch and technique (including articulation and fingering), along with a lucid exposition of the issues involved in historical performance practice accompanied by a clear explanation of ornamentation. A Guide To The Harpsichord is an invaluable reference manual and history for students of the instrument, as well as a highly recommended addition to music history and classical music department reference library collections.



2. I bought this book because I just inherited my first harpsichord and I thought this book would answer some questions I had after receiving it. The book spends the first few chapters going over the history, then one chapter on how it works with very few illustrations, and then the rest of the book is devoted entirely to playing the instrument. I had hoped to see more illustrations and a glossary of terms but was disappointed upon reading it. I would recommend this book to someone interested in a brief overview of the instrument and mostly learning to play, but not for someone who want to better understand the instruments inner workings.



3. Ann Bond has written an outstanding introduction to the many aspects of the Harpsichord. Her main audience is existing keyboard players coming to the Harpsichord though as a Classical Guitarist I found this book to be immensely useful.

   While Ann Bond is clearly hugely knowledgeable about her subject she never allows too much information to get in the way of putting her key points across in an informative and well-reasoned manner. The book is very readable and her style and enthusiasm mean that reading this book is enjoyable throughout.

   Chapters deal with the range of subjects which those coming fresh to the Harpsichord need to confront. These include issues of the instrument itself such as maintenance and how acquire, key differences with the piano especially regarding fingering, an overview of different styels of instruments and music as well as a very useful summary of the main Harpsichord repertoire including a listing of Bachs Harpsichord music. In addition there are sections on Figured Bass and how to play with other musicians.

   In taking up this instrument I have found answers to all of the questions I have had and the advice has been thoroughly practical.

   Indispensable to anyone interested in playing the Harpsichord.




4. Having inherited a rather valuable Baroque-era French harpsichord, I found myself unable to find an adequate tutor. While I am accomplished on the pianoforte, the harpsichord is a different beast entire.
   Ann Bond's guide is easy to follow and will have the novice attaining fluency at a rapid pace.
   I've been practicing daily and my parlor is alive with wonderful Baroque music.
   I started with Bach and am moving towards Couperin and Rameau.
   Splendid!



5. A helpful listeners guide
   Most books about harpsichord are for builders and players of the instruments. A reader gets lost within a view pages in technical details and very detailed matters of ornamentation. I am always amazed why there is so little attention for listeners of harpsichord music. A brief history of the instrument, the main composers and schools, the performers and recordings are hardly the core of any study.
   This book by Bond is no exception in that line. It is intended for the player who is about to buy a harpsichord. Modern performers are hardly mentioned at all. Recordings are not quoted. And there is no taste for modern harpsichord. Still the book covers a lot of information for listeners to get a better understanding of the music because all the important issues are covered in a way that English has not to be your native tongue to understand it fully. Especially the chapters concerning how to play to get an aimed effect are revealing. Your ears are retuned in a pleasant way. The book is cheap, easy to read and without consuming details still covering all the major issues. In short recommended for the listener although we have to wait for the ultimate listeners guide yet.

2 comments about Interpreting Bach at the Keyboard (Clarendon Paperbacks).

1. Here is performance information for the pianist without apologies. There are numerous excellent books for organists and harpsichordists from which I have been forced to extrapolate to the piano. Badura-Skoda exhaustively covers all facets of Bach performance on the piano: rhythm, articulation, tempo, and that endless bug-a-boo, ORNAMENTS! He is fearless in expressing his insight and opinion on ornaments and their execution. Musical examples are plentiful, avoiding the need to fetch scores. Of particular interest is his section on the Chromatic Fantasy and Fugue, a short chapter on 18th c. organ-barrels(!), and a Gouldian Imaginary Interview on the "Urtext Problem". "Interpreting Bach" is an informative reference book reminiscent of Rosenblum's "Performance Practices" in scope and ease of use. Well worth the investment for the pianist knocking on Bach's door seeking entry. Badura-Skoda can help open it for you.



2. Thank you to Paul Badura-Skoda for this very excellent and helpful book.

No comments about L'Art De Toucher Le Clavecin. The Art of Playing the Harpsichord.

5 comments about Keyboard Music.

1. Dover publishing has succeeded in printing a very affordable edition of the Bach-Gesellschaft editions of these major Bach works. The only complaint is that the print is rather small, so there's not much room to write in fingering,of which there are none. So this book, by the nature of the music and the lack of fingering, is not for the beginner.

   That's the only complaint that prevented a five-star rating. Recommended, despite the print size!




2. There's plenty of great music here, but the print is too small in my opinion to be easily visible from a piano bench. And there are no fingerings provided.
   
   For these reasons, I'd calling this a "study edition" rather than a "performing edition."



3. No more comments... this is part of Bach production! Fantastic and in an original format!



4. This reprint of the Bach Gesellschaft of the English Suites, French Suites, Partitas, Goldberg Variations, and 2 and 3 part inventions is well worth the price. Though the edition has been superseded in accuracy by the Henle edition, this is a far better value. To become acquainted with these gems, this volume is exceptionally fine. Also handy is the fact that all these works are put together in a small, portable, not-too-heavy volume. That is especially handy for packing as one of those "just in case I get stranded on a desert island (with a piano!)" music books when traveling. So, though the Gesellschaft edition is not always the best, the price and portability are great.



5. This extremely cheap edition of some of Bach's works by no means surprises you with its quality. In some cases, ink is missing from the sides of notes (making them look like crescents rather than noteheads) and the staves are terribly small.
   Also, if you're playing piano while reading it, be prepared to crane your neck a good bit as it's nearly impossible make it lie flat.
   If you want something with great quality, and not as expensive as a Henle edition, buy it from either Schirmer (at the risk of getting wrong notes thrown in) or Alfred Masterworks (which I also have. It's very good indeed, although slightly pricey)

4 comments about The Harpsichord Owner's Guide: A Manual for Buyers and Owners.

1. I read this book as a first-time owner of a partially-built harpsichord which I hope to complete. As such, my experience with and knowledge of harpsichords was limited to practically zero, although I was musically trained and played several instruments in the past. With that in mind, I proceed...

   Mr. Kottick seems to know his subject thoroughly, although he's VERY opinionated about certain construction techniques and disdainful of those who experiment with their own ideas. Perhaps this is deservedly the case, perhaps not. At times, he assumes the reader has virtually no knowledge,but the book lacks a glossary, which is sorely needed. This shortcoming makes it difficult for a beginning builder or owner to understand the meanings of terms as yet unknown. More photos of harpsichord parts would be useful. Even so, the book is a necessity in the library of any harpsichord enthusiast.




2. I used this book as the main source of advice (along with the help of a professional) when I rebuilt a partially completed harpsichord. I was able to succesfully perform repairs, restring, install new set of jacks, regulate, adjust stagger, and voice a Flemish single. Every time I ran into a problem I was able to find it addressed in the book in very clear terms. I would recommend this book to any harpsichord owner who does his or her own repairs and regulation.



3. I've bought a few books over the past few weeks on the subject but each of the other books only touched briefly on how a harpsichord works. This book has it all. There were ample illustrations and an excellent description of each part and what it does. I would recommend this book to anyone interested in the working of a harpsichord or considering building/purchasing one.



4. Many years ago a brother and I built a harpsichord from a kit. If we would have had this book, it sure would have made it easier. It is clear and concise, packed with information any harpsichord owner or someone contemplating a harpsichord purchase should have.

4 comments about Essay on the True Art of Playing Keyboard Instruments.

1. This an historically significant work worthwhile for a number of reasons--of course--, but I am particularly interested in its treatment of figured bass. Why? Although it was composed after Rameau published his revolutionary theory of root progression, C.P.E. Bach repudiated Rameau's theory, and this work remains untouched by it. Consequently, reading this is the easist way to get a feel for how things stood before Rameau and (ironically for C.P.E. Bach) to appreciate truly Rameau's achievement.

   Also recommended: PENTATONIC SCALES FOR THE JAZZ-ROCK KEYBOARDIST by Jeff Burns.




2. The previous reviewer is referring to "part two" of this text, the portion which deals with counterpoint, etc. However, players of J. S. Bach will especially appreciate the first part of the text, which has a large chapter explaining the various embellishments which one finds in J. S. Bach's works; it is a fine reference for anyone playing music with Baroque markings for trills, turns, mordents, etc.



3. Interesting to see how J.S. Bach's perhaps most important composer son, who had a large influence on Mozart, viewed the art of figured bass and counterpoint. Apparently the Bachs were aware of Rameau's theory of harmony and root progressions, but preferred the contrapuntal approach to harmonization. This book bears serious study by those interested in music theory and composition.



4. I recently consulted this book - Chapter 2 - and found it helpful to me in interpreting ornamentation/embellishment in flute music written during the early Classical period (after 1750).
   
   In this context, embellishment is defined as a note or notes written around a main note which ornaments a melody, rhythm or harmony. In the words of C.P.E., a musical ornament/embellishment "joins notes . . . enlivens them . . . gives them emphasis and accentuation, and . . . brings out their expression."

2 comments about Five Centuries of Keyboard Music.

1. John Gillespie has written an invaluable resource for anyone interested in solo keyboard music. There are brief biographies of the most important composers, and the author's recommendations of each composer's best solo keyboard works. Gillespie also mentions minor composers, and summarizes the "mood" of each musical period. I don't always agree with his critiques, but that just makes it more interesting. If you are a pianist, teacher, or student, you should own this book



2. Gillespie was professor of Music at the Indiana University. He endeavored to satisfy a wide range of interests. From the clavier literature student to the musical gourmet , he presents the different phases of keyboard development . Beware about the organ music . He prevents the organ music has its own niche and requires a separate volume .
   Individual chapters and articles will be helpful in quickly locating information about particular composers , even the most unknown and sometimes neglected composers of the different countries and periods . Footnotes and bibliographies will be important for the professional , student , performer or simply casual investigator .
   As result of the final reading you will obtain a precise scope about the development of the works for the solo keyboard , traditions , interconnections from the first works of the sixteenth century to the new composers of today.
   A real must for the music lovers and every person sincerely interested in the evolution of the instrument.

1 comments about Ruckers: A Harpsichord and Virginal Building Tradition (Cambridge Musical Texts and Monographs).

1. I paid a huge premium for this book which, sadly, is now out of print, and I bought it with a rather limited purpose: to better understand a few instruments that I am considering for purchase. Even for my limited use, it was money well spent. For harpsichordists working with "Ruckers" instruments, I should think this book would be extremely useful, and for anyone involved with building and/or maintaining harpsichords, it is probably indispensable. The world of music is potentially much richer thanks to the years of tenacious research that O'Brien has put into this book.

5 comments about The Well-Tempered Clavier: Books I and II, Complete.

1. The Well-Tempered Clavier: Books I and II, Complete are a very good and nice copy of Bach's music. I have the German Editions of these books as well, and there are only a two differences between the two books: Price and the ink sometimes did not print dark enough in the cheaper book, but it is still clearly readable. The best part about this book is the low price and the fact that it basically a copy of the German edition. It is a much better idea to buy this book rather than the German editions because you can really use the book, write in it, and not feel guilty that your ruining a book if music that cost you over $50. Highly recommended, very good quality for the price.



2. Don't let this book go... it is simply amazing and the price it's just symbolic. They might as well charge triple for it and it would be still a bargain.



3. Any pianist would be honored to own Bach's "Clavier"...
   This book moves through his growth as a pianist and musician.
   A 'must-have' for any serious pianist.



4. No more comments... this is part of Bach production! Fantastic and in an original format!



5. This is among the most well-known technical manuals for anyone studying the piano. But this, by far, does not diminish its beauty as a musical composition. Beethoven, in his youth, was said to have churned out "the 48", as it has been called, as part of his act. Its influence has come to be considered among the cornerstones of the modern concept of harmony as we know it in western music.