A Natural History of the Piano: The Instrument, the Music, by Stuart Isacoff

By Stuart Isacoff

A desirable party of the piano, together with stories of its masters from Mozart and Beethoven to Oscar Peterson and Jerry Lee Lewis, informed with the services of composer and writer of Temperament, Stuart Isacoff.
This historical past takes us again to the piano's humble genesis as an easy keyboard, and indicates how each person from Ferdinando de’ Medici to Herbie Hancock affected its evolution of sound and impression in well known tune. providing the tool that has been on the middle of musical improvement over the centuries in all its attractiveness and complexity, this explores the piano’s features and the variety of emotional expression it conveys in several artists’ palms. A typical background of the Piano is fast moving and interesting, with appealing illustrations and photographs, a must-read for tune fans and pianists of each level. 

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Additional resources for A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between

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7 The chairman of the search committee that nominated Foss as music director and conductor of the Buffalo Philharmonic Orchestra was Allen D. , a Harvard-educated composer, who came to the University of Buffalo in the summer of 1961 to be the Slee Professor of Composition and Chair of the Department of Music. S. Army cryptanalyst during World War II. A large, articulate man with a commanding personality, Sapp was intent on restructuring and upgrading his new department. He quickly immersed himself in the cultural and civic affairs of the region and became an advisor to both the Buffalo Philharmonic Orchestra and the Albright-Knox Art Gallery.

Michael Sahl joined the Center in January of the first year: “I knew a bunch of people in Europe,” he recalled: I knew Frederic Rzewski, Fritzie [Karl] Kraber, and I had known Freddie Myrow from USC and he turned up in Rome. I also knew Sylvia Brigham-Dimiziani from Darmstadt. A lot of these people joined Lukas’ project and somebody called me up on account of Pierrot Lunaire. Nobody (not Freddie Myrow or George Crumb) wanted to play Pierrot [which Foss wanted to schedule for performance]. I didn’t either, but I was so desperate for a job that I decided to come up to Buffalo.

16 In the summer of 1964, Sapp described the selection process to Gerald Freund of the Rockefeller Foundation: We have received about sixty-five applications and have interviewed well over forty-five or fifty people. . At the moment we have appointed eleven Creative Associates. They are on the University rolls. The title, Creative Associate, has been accepted and approved by the State personnel office and carries with it full faculty status and privileges. We are in negotiation with numbers twelve through seventeen, one of whom is in Palermo at the moment.

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