"... a joy to read." —Choice
"... spiritedly written... " —Music and Letters
Although the Russian piano concerto had inauspicious beginnings, its development during the19th century laid superb artistic foundations for the monumental concerti of the 20th century. Insights gained here will help performers and teachers to understand later developments in concerto writing.
This monograph, the first volume in the new series Russian Music Studies, delves into the origins and development of the Russian piano concerto. The text is scholarly but a joy to read. Norris is highly analytical, diligently comparing and contrasting the concertos of Anton Rubinstein, Tchaikovsky, Balakirev, Mussorgsky, Taneyev et al. with those of their European progenitors. Interestingly, among the elements that gave the genre its particularly unique and colorful flavor was the introduction of materials extracted from Slavic folk songs and orthodox chant of the Slavic race (Rimsky—Korsakov and Balakirev in particular). The author includes copious musical examples and interesting charts, including one that skillfully delineates the importance and pedagogical influence of Irish pianist and composer John Field (who lived in Russian from 1803 to 1837) on Russian musicians and composers. David Griffioen's discography is invaluable for those interested in comparing renditions and tracing performance history. No less than 105 recordings of Tchaikovsky's First are given. Considering the significance of this well-written work, this reviewer hopes the publisher pursues additional volumes in the series. For all substantial music collections, academic and public.J. R. Belanger, San Diego Public Library, Choice, November 1994
(J. R. Belanger, San Diego Public Library Choice 1994)JEREMY NORRIS is Lecturer in the History of Music (Didactics) at the Brescia Conservatoire and author of a monograph on Rachmaninov's piano music.
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