The Pianist's Dictionary, Second Edition

Roberts Wesley, Maurice Hinson

Description

The Pianist's Dictionary is a handy and practical reference dictionary aimed specifically at pianists, teachers, students, and concertgoers. Prepared by Maurice Hinson and Wesley Roberts, this revised and expanded edition is a compendium of information gleaned from a combined century of piano teaching. Users will find helpful and clear definitions of musical and pianistic terms, performance directions, composers, pianists, famous piano pieces, and piano makers. The authors' succinct entries make The Pianist's Dictionary the perfect reference for compiling program and liner notes, studying scores, and learning and teaching the instrument.

Preface to the Second Edition

Preface to the First Edition

List of Abbreviations

The Entries

Bibliography

Sujets

• Musique
• Technique musicale
• Technique musicale
• Techniques musicales
• Piano
• Institut universitaire professionnalisé
• Music
• Roberts
• Référence
• Keyboard
• Keyboard instrument
• IUP
• Indiana University Press
• C. Wesley Roberts
• Multiple signal classification
• Hinson
• Reference
• Musical instrument
• Musical Instruments

Informations

• Publié par: Indiana University Press
• Date de parution: 03 mars 2020
• Nombre de lectures: 6
• EAN13: 9780253047359
• Langue: English
• Poids de l'ouvrage: 2 Mo

Extrait

THE
Pianist’s
Dictionary
•
Second EditionTHE
Pianist’s
Dictionary
•
Second Edition
Maurice Hinson and
Wesley Roberts
Assisted by Sida Hodoroabă-Roberts
Indiana University PressTis book is a publication of
Indiana University Press
Ofce of Scholarly Publishing
Herman B Wells Library 350
1320 East 10th Street
Bloomington, Indiana 47405 USA
iupress.indiana.edu
© 2020 by Margaret Hume Hinson and Wesley Roberts
All rights reserved
No part of this book may be reproduced or utilized in any
form or by any means, electronic or mechanical, including
photocopying and recording, or by any information storage
and retrieval system, without permission in writing from
the publisher. Te paper used in this publication meets the
minimum requirements of the American National Standard
for Information Sciences—Permanence of Paper for Printed
Library Materials, ANSI Z39.48-1992.
Manufactured in the United States of America
Cataloging information is available from the Library of
Congress.
ISBN 978-0-253-04731-1 (hdbk)
ISBN 978-0-253-04732-8 (pbk)
ISBN 978-0-253-04735-9 (web PDF)
1 2 3 4 5 25 24 23 22 21 20In Memoriam
Maurice Hinson
(1930–2015)Contents
•
Preface to the Second Edition ix
Preface to the First Edition xi
List of Abbreviations xiii
THE ENTRIES 1
Bibliography 231Preface to the Second Edition
he task of today’s lexicographer is a daunting one when consi-dT ered in light of the sheer abundance of information available. Nowhere
else is this more true than for pianism, a domain now in its ffh century.
Early piano builders could have never imagined the developments - in manu
facturing, piano literature, performance, and audience enthusiasm that
have emerged in the centuries since that time. Te piano’s humbl-e begin
nings, emancipating from the action of the clavichord and embodying the
form of the harpsichord, opened new doors of musical expression that have
inspired composers, performers, and audiences throughout the ages, as they
continue to do today.
Tis second edition of Te Pianist’s Dictionary follows the trajectory
established in the frst edition. Its aim is to provide the reader w - ith a gen
eral reference guide to musical terms, selected compositions, composers,
performers, treatises, and manufacturers of the piano. No one book could
possibly contain all there is to be said, and readers are asked to b- e under
standing if a favorite composer or performer does not appear.
Tis book is the frst in Maurice Hinson’s immense series on the piano
to be published since his passing. It was my privilege to study piano with
Hinson in the late 1970s at the Southern Baptist Teological Seminary and
to serve as his student assistant. Tese were the early days in his editorship
of the Journal of the American Liszt Socie. Hty inson would occasionally send
me to the library to search for details related to Liszt, and occasionally I
managed to fnd information that had eluded him. I imagine this was one
of the reasons he entrusted me as coauthor of a new eTdie tiPoin ano of in
Chamber Ensemble (2006), the frst in what has become a series of c-ollabo
rations. Hinson was always interested in promoting music in the United
States: readers of his works will notice a stronger emphasis on American
composers and their music than is ofen found in other writings on piano
literature. Tis approach was instilled in him early on and manifested itself
in a series of three lecture-recitals he toured with early in his career tracing
the development of the piano and piano literature in America. Tat it spilled
over into his many publications should be no surprise.
ixAssisting me in the preparation of this volume has been my wife, Sida,
whose linguistic skill in several European languages aided me on many
occasions. For her assistance I am most grateful. Readers will fnd that some
foreign terms may be translated in multiple ways. I have taken e - very pre
caution to interpret these in a musical context. Any errors herein are my
responsibility. I am also thankful for the assistance of my colleague James
W. Moore, who digitized musical illustrations, and to Kay Alston, librarian,
and her staf at Campbellsville University’s Montgomery Library - for pro
viding materials in the preparation of this edition.
December 2018
Wesley Roberts
Campbellsville, Kentucky
x | Preface to the Second EditionPreface to the First Edition
his music dictionary aims to assist the pianist in all aspects of his T or her art. It is a practical guide that covers defnitions of t-erms, perfor
mance directions, names of well-known piano pieces, nicknames of pieces,
forms, and styles, plus brief biographies of leading pianists, composers of
piano music, and piano manufacturers as well as parts of the piano (action,
soundboard, etc.) and neglected repertoire the author feels is important.
I have also included the names of some college and university fa-culty mem
bers who are outstanding teachers, performers, or both, or who have made
some unusual contributions to the piano world by their writing or editing.
It is impossible to include some of the most interesting instructions from
composers: Satie suggested the pianist should play “like a nightingale with a
toothache”; Messiaen urged the performer to sound “like someon-e sharpen
ing a scythe.”
To be sure, there is more to interpretation than just recognizing the terms.
Te pianist has to know that allegro means a style as much as a tempo and
that a Brahms grazioso is quite diferent from a Mozart grazios-o. Tis dic
tionary aims to help with the other “part of the meaning” besides speed and
tempo.
How many times has a pianist worked so diligently on a passage or piece
only to realize there was a term or direction present all along that would have
steered him or her in the right direction if only they had been prop-erly under
stood? Tese words cannot be ignored, for they help bring a score to life.
I owe special thanks to Dr. Charles Timbrell for his assistance with death
dates and students of listed pianists, and to Suzie Collins and Linda Durkin
for typing the manuscript.
I have tried to keep the language as simple as possible as relates to the
topic. Te information contained covers the subject from around 1700 (the
beginning of the history of the piano) to the present day. Tis is information
I have worked with while teaching piano for almost sixty years.
Maurice Hinson
Louisville, Kentucky
xiAbbreviations
Beethoven Ludwig van Beethoven
Brahms Johannes Brahms
BWV Bach-Werke-Verzeichnis
ca.Circa; approximately
Chopin Fryderyk (Frédéric) Chopin
Curtis Curtis Institute of Music
Debussy Claude Debussy
e.g. Exempli gratia (Latin); for example
Eng. English
Fr. French
Ger. German
Haydn Joseph Haydn
It. Italian
J. S. Bach Johann Sebastian Bach
Juilliard Te Juilliard School
K. Köchel (for Mozart) or Kirkpatrick (for Scarlatti)
L Lef
L.H. Lef hand
Lat . Latin
Liszt Franz Liszt
mm. Measure
mms. Measures
Mozart Wolfgang Amadeus Mozart
No. Number
Op. Opus
Peabody Peabody Conservatory of Te Johns Hopkins University
Pol. Polish
Port . Portuguese
xiiiR Right
R.H. Right hand
S. Searle catalog
Sp. Spanish
U.S. United States
WoO Work without opus
xiv | List of AbbreviationsTHE
Pianist’s
Dictionary
•
Second EditionA
A (It.), À (Fr.). At, in, to.
À deux (Fr.). For two (as a duet).
À deux mains (Fr.). For two hands.
À l’aise (Fr.). Comfortable; in a relaxed manner.
À la manière de (Fr.). In the style of.
À la mesure (Fr.). A tempo; in strict time.
À peine (Fr.). Slightly, scarcely.
A piacere (It.). At pleasure, as desired. Te pianist is to use his or he-r discre
tion as regards the rhythmic or dynamic nuance; play freely.
À quatre mains (Fr.). For four hands.
A tempo (It.). In the original speed, resume the original tempo afer having
made some deviation from it.
À temps (Fr.). In time.
À un temps (Fr.). In one beat.
À volonté (Fr.). At will, leisurely.
Ab Irato (In a Rage). Franz Liszt, S. 143, 1852. Tis piece frst appeared in
1842 as Morceau du salon. It was expanded and reappeared in 1852
with the new suggestive title. It is an efective octave and chord study
in a mainly violent mood.
ABA. Analysis term used to describe sections of a pie= fcer: sA t section,
followed by contrasting sect, fion olBlowed by repeat (sometimes
modifed) of A section.
Abegg Variations. Robert Schumann, Op. 1, 1829–30. A set of variations on
♭a theme based on the notes A-EB-G-G and dedicated to his friend
Meta Abegg.
Aber (Ger.). But.
1Abgestoßen (Ger.). Staccato, detached.
Abram, Jacques (1915–98). American pianist and teacher, he began p- er
forming in public at the age of six and studied at Curtis with David
Saperton and Juilliard with Ernest Hutcheson. He perform-ed litera
ture from Johann SebastiBaanc h through Béla Bartók and gave the
American première of Benjamin Britten’s Piano Concerto. He taught
at the Royal Conservatory of Music in Toronto and the University of
South Florida in Tampa. His course Issues in Music in Tampa was
immensely popular and usually closed out each semester with over
two hundred students from across campus.
Abridged Sonata Form/Modifed Sonata Form. A form based on sonata
form but not containing a development section.
Absolute music. Music without any attempt to relate to anything else. Te
opposite of programmatic music. Examples would include sonatas,
trios, and quartets.
Abstufungen (Ger.). Nuances.
Accarezzevole (It.). Caressingly.
Accelerando, Accel (It.), Accélerer (Fr.). Increasing the speed, accelerating,
becoming faster.
Accent. A stress or emphasis indicated b>y a sign. Other types of accents
are used by composers, in particular the ∧ sign, which gener-ally rep
resents greater punctuation.
Acciaccatura (It.). A type of grace note indicated by a small note with its
stem crossed through. It is a “crushed note,” to be played a split second
before the principal note and released at once.
Accidental. An indication to adjust a pit