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Full-Text Articles in Arts and Humanities
Lliçons Magistrals, Antoni Pizà
Lliçons Magistrals, Antoni Pizà
Publications and Research
No seria pianista. Jo no arribaria mai a ser pianista. L’epifania va començar a cristal·litzar poc després d’haver arribat a Salzburg el 1982 amb intencions d’estudiar-hi piano. Com el narrador de la novel·la de Thomas Bernhard Der Untergeher (si es vol, el fracassat o el mediocre), jo havia quedat psicològicament gelat per la presència d’alguns dels millors pianistes del món. En poc temps, i sense capacitat de digerir-ho —tenia vint anys escassos—, havia vist i sentit en viu Alfred Brendel, Maurizio Pollini, Claudio Arrau i Bruno Leonardo Gelber, entre altres.
Byron Janis, John A. Drobnicki
Byron Janis, John A. Drobnicki
Publications and Research
Byron Janis is a pianist and composer, and whose performing career was interrupted by the effects of psoriatic arthritis. Janis was Vladimir Horowitz's first student.
Mieczysław Horszowski, John A. Drobnicki
Mieczysław Horszowski, John A. Drobnicki
Publications and Research
Mieczysław Horszowski was a pianist and music educator known especially for his interpretations of Beethoven, Chopin, Debussy, and Mozart, as well as contemporary composers like Stravinsky and Szymanowski.
Berlín Era Una Festa: Capllonch Vist Pels Seus Contemporanis A Alemanya, Antoni Pizà
Berlín Era Una Festa: Capllonch Vist Pels Seus Contemporanis A Alemanya, Antoni Pizà
Publications and Research
A principis del segle XX, Berlín i París eren, segons Joaquim Nin Castellanos, ciutats “a l’avantguarda dels països musicals”. Segons ell, les institucions culturals alemanyes eren admirables per la seva solidesa, però entenia i es resignava a acceptar que el futur de les arts passava per París. “París o Berlín?”, es devien demanar aleshores elsjoves artistes amb aspiracions mentre preparaven l’imprescindible viatge a l’estranger per conèixer aquesta “avantguarda”.
Heinrich Schenker As An Interpreter Of Beethoven's Piano Sonatas, William Rothstein
Heinrich Schenker As An Interpreter Of Beethoven's Piano Sonatas, William Rothstein
Publications and Research
There was a time when it seemed necessary for admirers of the work of Heinrich Schenker to remind the musical community periodically that it had grown out of a lifetime of practical musical experience—that is, that Der freie Satz did not represent a self-contained system of theoretical speculation. Schenker himself tried repeatedly throughout his career to impress this point upon his readers. In recent years, fortunately, this reminder—which had threatened to become merely ritualistic—has become somewhat less necessary. The change in Schenker's reputation may, it seems, be dated precisely to 1975, when Dover Publications issued an inexpensive reprint of his …