An Amateur At The Keyboard

Written to benefit and inspire the person who has had some early music exposure and would like to rekindle the flame, Amateur at the Keyboard speaks to busy people who must find the time for steady practice in order to achieve results. The reader is taken step by step through the joys of selecting the instrument, choosing the perfect library of both piano scores and books about the piano, assembling the best CDs for each composer and redefining the practice goal so that it brings joy and excitement to each session. Interspersed throughout the text are numerous brief musical examples from scores showing fingering tricks, phrasing, methods of shorthand markings and clues to inner voicings. The various editions of the classical repertory are discussed plus odd and little-known sources for hard-to-find material and study aids. A thorough index concludes the work.

As editor of the Guardian, one of the world's foremost newspapers, Alan Rusbridger abides by the relentless twenty-four-hour news cycle. But increasingly in midlife, he feels the gravitational pull of music—especially the piano. He sets himself a formidable challenge: to fluently learn Chopin's magnificent Ballade No. 1 in G minor, arguably one of the most difficult Romantic compositions in the repertory. With pyrotechnic passages that require feats of memory, dexterity, and power, the piece is one that causes alarm even in battle-hardened concert pianists. He gives himself a year. Under ideal circumstances, this would have been a daunting task. But the particular year Rusbridger chooses turns out to be one of frenetic intensity. As he writes in his introduction, "Perhaps if I'd known then what else would soon be happening in my day job, I might have had second thoughts. For it would transpire that, at the same time, I would be steering the Guardian through one of the most dramatic years in its history." It was a year that began with WikiLeaks' massive dump of state secrets and ended with the Guardian's revelations about widespread phone hacking at News of the World. "In between, there were the Japanese tsunami, the Arab Spring, the English riots . . . and the death of Osama Bin Laden," writes Rusbridger. The test would be to "nibble out" twenty minutes per day to do something totally unrelated to the above. Rusbridger's description of mastering the Ballade is hugely engaging, yet his subject is clearly larger than any one piece of classical music. Play It Again deals with focus, discipline, and desire but is, above all, about the sanctity of one's inner life in a world dominated by deadlines and distractions. What will you do with your twenty minutes?

Research in the field of keyboard studies, especially when intimately connected with issues of performance, is often concerned with the immediate working environments and practices of musicians of the past. An important pedagogical tool, the keyboard has served as the ’workbench’ of countless musicians over the centuries. In the process it has shaped the ways in which many historical musicians achieved their aspirations and went about meeting creative challenges. In recent decades interest has turned towards a contextualized understanding of creative processes in music, and keyboard studies appears well placed to contribute to the exploration of this wider concern. The nineteen essays collected here encompass the range of research in the field, bringing together contributions from performers, organologists and music historians. Questions relevant to issues of creative practice in various historical contexts, and of interpretative issues faced today, form a guiding thread. Its scope is wide-ranging, with contributions covering the mid-sixteenth to early twentieth century. It is also inclusive, encompassing the diverse range of approaches to the field of contemporary keyboard studies. Collectively the essays form a survey of the ways in which the study of keyboard performance can enrich our understanding of musical life in a given period.