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Seller's Description:
Fine in Very Good+ jacket. Stated first edition, 1992, hardcover with green cloth boards in dust jacket, octavo, 288pp., illustrated in b&w. Book fine with handsome boards and tight binding, text clean and unmarked. DJ VG+ with sun to spine, mild rubbing and soil.
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Seller's Description:
Fine. Size: 9.2 x 5.8 x 0.8 inches; Dust jacket condition: No Jacket. SIGNED by pianist Gaby Casadesus, who wrote the Foreword. FOREWORD Following in the footsteps of Rameau and Couperin, the brilliant harpsichordists, the French school of piano seems to have inherited Chopin's technique--a technique of beauty, legato, sonority, and clarity. This rich heritage has been handed down to us through Georges Mathias, the French pianist and pedagogue who was one of Chopin's favorite students. Francis Plante, born in 1839, was a child prodigy who obtained the first prize at the Paris Conservatory at the age of eleven. From Plant6 we inherited his beautiful sense of touch, suppleness of wrist, subtle phrasing, not to mention clarity worthy of Mozart. My husband and I heard him play Chopin's Barcarolle when he was ninety, and he performed with a soup-lesse and sonority worthy of the composer. Like Chopin, Debussy was very conscious of these same pianistic qualities. He hated a style of playing that was brittle and noisy, and he loved the refinement of Chopin's music. Debussy published an edition of Chopin's works, and dedicated his Douze Etudes to the memory of his revered predecessor. Ravel, on the other hand, gravitated toward the Lisztian concept of pianism, the outcome of which revolutionized piano playing. He truly embodied our classic ideals of clarity, rhythm, and the musical line as a whole. Charles Timbrell is surely not only a virtuoso pianist, but a remarkable musicologist as well. His previous publications attest to his interest in the different schools of pianism. In this book, which reflects his interviews with more than fifty French-trained pianists, he has drawn particular attention to the many significant contributions made by French musicians who are too little known in the United States. Gaby Casadesus Paris, 29 May 1991 (Translated by Michelle A. Mead) 288 pages.