By Carol Montparker

Those intensely own and perceptive essays discover the author's lifestyles as a pianist - training, acting, educating and writing - yet they can be the suggestions and reflections of any artist. They recount the demanding situations, rewards and joys of her reports in her selected occupation.

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Quite recently, because I probed him about it, my father told me that when he was a boy he heard a violin concert and "carried on" until his parents took him to buy one. ). My mother is also somewhat musical, and with her rudimentary knowledge of the piano, she was able to give me a loving start at home until I went to a "real" teacher at age five. <><><><><><><><><><><><> I think it is very important for siblings to study different instruments so that the normal amount of sibling rivalry that exists in most families is not exacerbated.

Used by permission. Excerpts from articles copyright © 1986, 1994, 1995 by The New York Times Company. Reprinted by permission. All illustrations by Carol Montparker. Copyright © 1998 by Carol Montparker. All rights reserved. Library of Congress Cataloging-in-Publication Data Montparker, Carol. A pianist's landscape / by Carol Montparker. p. cm. Includes bibliographical references and index.  PianistsUnited StatesBiography.  Title. W. Second Avenue, Suite 450 Portland, Oregon 97204 USA Printed in Hong Kong Designed by Susan Applegate Page 5 This book is for Ernest Page 7 CONTENTS Foreword by Jerome Lowenthal 9 Acknowledgments 11 Preface 13 At Home 1 Nature and Music 17 2 Working and Concentrating at Home 25 3 An Artistically Nourishing Environment 34 4 Music-Making en Famille 41 5 Pianos as Furniture and as Souls 49 6 Old Music, Music Cabinets, and Tapes 57 7 The Piano as Comfort in Times of Stress 66 8 Letters and Mementos 71 9 A Toast to Fine Technicians and Tuners 86 10 The Creative Impulse 89 On Stage 11 The Love-Hate Paradox of Performing 97 12 On Being a Woman Pianist 107 13 Memory Lapses and Other Mishaps 116 14 Remembering Carnegie, Criticism, and Green Rooms 125 15 Partner-Pianists 135 16 On Playing Chamber Music and Concertos 141 Page 8 17 Some Privileged Coachings 147 18 Early Pianist Jobs 152 19 The Art of Programming 159 20 The Essential Ego 169 In The Studio 21 Why Teach?

Page 33 The last significant difference between writing and performing, and the one for which I am most grateful, is that the ability to edit and rewrite enables us to have an end-product for all time which represents our true intention, whereas it's a one-shot-deal with performance and therefore infinitely more demanding. musicology. " Yet we do it anyway, and for good reasons. " My goals are more modest. I am trying to probe the depth and density of a pianist's experience, and with the encouragement of many readers over the years, I persist.

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A Pianist's Landscape by Carol Montparker
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