Hostname: page-component-586b7cd67f-g8jcs Total loading time: 0 Render date: 2024-11-25T19:16:30.706Z Has data issue: false hasContentIssue false
  • English
  • Français

Neal Peres da Costa, Off the Record: Performing Practices in Romantic Piano Playing (Oxford: Oxford University Press, 2011). xxxiv + 342 pp. $45.00.

Published online by Cambridge University Press:  05 August 2014

Rosângela Yazbec Sebba
Rosângela Yazbec Sebba*
Affiliation:
Mississippi State [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Book Reviews
Information
Nineteenth-Century Music Review , Volume 11 , Issue 1 , June 2014 , pp. 141 - 145
Copyright
Copyright © Cambridge University Press 2014 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Dislocation is discussed in Philip's, RobertPerforming Music in the Age of Recording (New Haven: Yale University Press, 2004)Google Scholar. In a review of that book, Charles Rosen includes it in his list of endangered expressive devices: ‘various expressive devices once common in the early twentieth century have been almost outlawed: portamento (sliding from one note to another on a stringed instrument); playing the piano with the hands not quite together (Philip calls this dislocation); arpeggiating chords (not playing all the notes of the chord at the same time but one after another), and flexibility of tempo’. See Rosen, Charles, ‘Playing Music: The Lost Freedom’, The New York Review of Books 52/17 (3 November, 2005)Google Scholar: 2.

2 Moscheles’, IgnazStudies for the Pianoforte, op. 70 (London: Cramer & Beale, 1827)Google Scholar.

3 Czerny, Carl, Vollständige theoretische-practische Pianoforte-Schule, op. 500, 3 vols (Vienna: Diabelli, 1839)Google Scholar, trans. as Theoretical and Practical Pianoforte School, op. 500 (London: Cocks, 1839).

4 Cramer, Johann, Instructions for the Pianoforte (London: Chappell, 1812)Google Scholar.

5 See Christiani, Adolph F., The Principles of Expression in Pianoforte Playing (New York: Harper and Brothers, 1885)Google Scholar: 299.

6 Anon, ., ‘On Musical Colouring’, Harmonicon, 1/11 (1823)Google Scholar: 162.