4 of 7 people found the following review helpful:
2.0 out of 5 stars
Off the cuff, January 4, 2005
Kentner warns the reader that this book is more a set of observations and opinions gleaned from experience than a reference, and it can be thought of, aside from the early chapters on piano construction and development thereof, as a series of essays on pianistic subjects.
The writing style is undisciplined, however. The frequent use of foreign phrases (not musically related) without translation is ostentatious, and certain prejudices are strongly or repetitively expressed without much justification (the first sonata of Chopin is called "childish" three times in two pages). A few clumsy turns of phrase ("in actual fact...") should have been edited out. An admitted digression attempts in a single page to demonstrate a "Schubert-Liszt affinity" solely on the basis of enharmonic modulations. The Paganini caprices would not have entranced so many later composers if they were "mostly poor creations."
The early chapter on the process of piano tuning was enlightening in its succinctness. The author's knowledge of pedagogy is evident in several references, which are nonetheless imprecise in origin.
I am not sure if the later edition amends this, but it is interesting that in 1976 (after the deaths of all three) the oeuvres of Bartok, Stravinsky, and Prokofiev are encompassingly called "controversial."
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