If instantly recognizing the unique textual landscapes (appearances) and fully grasping the core interpretive differences of eight major composers, down to the smallest details, are truly the most significant in reaching the highest of pianistic peaks, this latest 250 page book (very recently published) by Carol Montparker may even be better than any of the accolades of notable luminaries on the back cover. Although we’ve repeatedly heard much of the commentary within over the years from many sources, CM has remarkably succeeded in synthesizing and compiling the most significant interpretive insights, apparently gathered over a lifetime, into one convenient volume. Making this perhaps the most valuable addition to any piano teacher’s pedagogical collection, ESPECIALLY AS A HANDY REFERENCE PRIOR TO ANY LESSON FEATURING ANY OF THE COMPOSERS: Bach, Mozart, Beethoven, Schubert, Schumann, Brahms, Chopin, and Mendelsssohn.
Despite the most meaningful counsel of all “Let the music speak for itself,” ironically from no other than Leopold Mittman, one of her prime teachers, and an exploration in the Beethoven chapter re: whether interpretation can really be taught at all, Carol goes on to consult and pick the interpretive brains of virtually everyone of note under the sun in her musical orbit. The Bibliography alone contains 29 disparate entries from pedagogue legend Heinrich Neuhaus to
Albert Schweitzer to Charles Rosen, not to mention quotes and ideas of apparently hundreds more, most probably sought out during her role as senior editor of Clavier for fifteen years.
A few tidbits -
On Bach: having students sing subject-themes helps. Beethoven: “the most human of all composers.” Mozart: difficulty of creating artistry with fewer notes.
Alfred Brendel’s practicality: “anything played slowly, yet accurately, can be played faster.”
Comedy: Radu Lupu re: textual fidelity re: repeats (p.86). Controversial: ”we can never get to the level of composers’ greatness as the music itself” (p.51)” Tongue ‘n Cheek: blaming Clara Schumann for setting the memorization precedent. Curiosity aroused: To what extent did Clara correct, alter, even revise her beloved husband’s published works? Technique: Best to approach technical passages musically, etc.
The ultimate question of all, however, re: Landscapes, if rated by purely pedagogical standards is
“To what extent have these multitudes of insights, dead on or not, actually contribute in reality to student playing? Especially, unfortunately, during this age when most struggle to simply decode written notation and are preoccupied with simply playing the notes and rhythm accurately. Carol herself would, no doubt, be the best qualified by objectively reflecting on her private teaching and the recent master class series at Steinway. Perhaps, planting seeds. Hopefully more
Also unique: A 16 selection CD, convincingly played by Carol. An appendix devoted to interpreting Chopins’ Barcarolle and Fm Ballade, discussed by renowned pianists, much musicology type analysis minus musicology type jargon, etc.
One cannot help being moved by the sheer amount of work and organization that clearly must have been consumed in such an exhaustive lifetime endeavor. Am sure many SPTF appreciative members would agree.
Unquestionably a major contribution.
Fred Barnett
Published by Amadeus Press, 2014
An Imprint of Hal Leonard Corporation
7777 West Bluemound Road
Milwarkee, WI 53213
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