It is possible to trace a more or less continuous line of development of the pianoforte from Cristofori who, at the very end of the seventeenth century, devised a keyboard instrument where notes were produced by hammers striking the strings instead of the plucking action of the harpsichord. The first part of this compilation traces the history of pianos since then, dealing with the mechanics (well illustrated with diagrams and photos) and with significant performers during the past 300 years.
During the eighteenth and nineteenth centuries several manufacturers in various parts of Europe, principally Austria, France and England, made markedly different instruments, and in recent years surviving examples, or close copies of them, have been brought into use giving us a better idea of the sound that composers of that period may have expected. From the early part of the present century recordings give us a much better aural image of the actual sound of pianos, and we can hear that, irrespective of manufacturer, it has become more standardised. Recordings also much more clearly illustrate differences in interpretation.
The second part discusses the repertory of the piano. Most solo (and duet) works published from the early nineteenth century were intended for domestic performance by amateurs and are not masterpieces, but there was a tradition of virtuoso performer‐composers even by then, and enough of their works, solos and concertos have survived critical fashion to become part of the canon. The contributors to this companion offer a series of essays on this repertory bringing us up to date with some experimental mid‐ and late twentieth century compositions and those extremely important genres ‐ ragtime, blues, jazz and popular musical.
This is a fascinating addition to an excellent series, even though some composers are treated rather summarily: I think Smetana’s piano works deserve kinder treatment, and I should like to have seen more about Alkan and Janacek, for example, but obviously much detail has to be omitted when the ground to be covered is so vast and varied. There is a short bibliography and a glossary, but no discography. The illustrations are reasonably well reproduced and there are plenty of relevant musical examples.
