- Paperback: 238 pages
- Publisher: Clarendon Press; Reprint edition (Oct 1 1995)
- Language: English
- ISBN-10: 0198163045
- ISBN-13: 978-0198163046
- Product Dimensions: 21.5 x 13.9 x 1.4 cm
- Shipping Weight: 340 g
- Average Customer Review: 4.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: #1,702,297 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Product Details |
Product Description
Review
`Not only the first book on the subject, but also the last word.' Times Literary Supplement
`Smallman's judgments are neat, wise, and confidence-inspiring. The reader will enjoy the narrative, benefit from the scholarly, lively perceptions.' Hi-Fi News and Record Review
`The book contains a large amount of information presented in a clear and readable style and admirably fulfils the author's declared aim "to create a unified picture of the genre's development".' Music Journal
'Professor Smallman's pioneering survey of this important genre of chamber music provides a useful overview of some of the major contributions to the repertory and contains many helpful insights into particular works.' Music and Letters
`fully worthy of its delightful genre...The reader will enjoy the narrative, benefit from the scholarly, lively perceptions - and look forward to renewing acquaintance with, or playing or hearing for the first time some hitherto under appreciated riches of the piano trio repertoire.' Peter Branscombe, HI-FI News and Record Review
'concise yet elegant style ... The Clarendon Press has done an admirable job of producing the volume ... Smallman's discussions of the standard repertoire for piano trio are as delightful as they are innovative and perceptive. Smallman's contribution to the scholarly literature is a valuable one. The volume that he has produced is informative, functional, and worthy of a place in any serious music library.' The Music Review
`Smallman's judgments are neat, wise, and confidence-inspiring. The reader will enjoy the narrative, benefit from the scholarly, lively perceptions.' Hi-Fi News and Record Review
`The book contains a large amount of information presented in a clear and readable style and admirably fulfils the author's declared aim "to create a unified picture of the genre's development".' Music Journal
'Professor Smallman's pioneering survey of this important genre of chamber music provides a useful overview of some of the major contributions to the repertory and contains many helpful insights into particular works.' Music and Letters
`fully worthy of its delightful genre...The reader will enjoy the narrative, benefit from the scholarly, lively perceptions - and look forward to renewing acquaintance with, or playing or hearing for the first time some hitherto under appreciated riches of the piano trio repertoire.' Peter Branscombe, HI-FI News and Record Review
'concise yet elegant style ... The Clarendon Press has done an admirable job of producing the volume ... Smallman's discussions of the standard repertoire for piano trio are as delightful as they are innovative and perceptive. Smallman's contribution to the scholarly literature is a valuable one. The volume that he has produced is informative, functional, and worthy of a place in any serious music library.' The Music Review
Hi-Fi News & Record Review
`Smallman's judgments are neat, wise, and confidence-inspiring. The reader will enjoy the narrative, benefit from the scholarly, lively perceptions.'
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Most helpful customer reviews
4.0 out of 5 stars
An interesting guide, but not comprehensive,
By klavierspiel "klavierspiel" (TX, USA) - See all my reviews
This review is from: The Piano Trio: Its History, Technique, and Repertoire (Paperback)
Smallman traces the history of the piano trio, that is, chamber music written for the pianoforte and two other instruments, from its origins in the eighteenth century to the late twentieth century. He points out how the first two great composers whose trios remain in the repertory, Haydn and Mozart, followed essentially different paths with regard to the genre, the former developing the old-fashioned concept of the accompanied keyboard sonata to its ultimate peak in his superb late trios, the latter aiming for a new type of collaborative style between three independent instruments. The main musical problem, as Smallman implies but does not explicity state in a useful chapter on basic trio-writing technique, is that the piano quickly evolved into such a massive and tonally powerful instrument that composers since Beethoven have been hard-pressed to maintain equality between it and two other, much weaker instruments.As can be seen from the above description, Smallman aims at a discussion of broad themes and topics as much as a chronological survey. While his technique of grouping compositions together by topic, within broadly chronological chapters, is usually successful, it results in some odd omissions: surely Vincent d'Indy's monumental Trio in B-flat for Piano, Clarinet and Cello is worth some detailed description, particularly since its composer is mentioned several times in other contexts. The last chapters on the twentieth century seem sketchy and unduly if understandably weighted toward composers from the United Kingdom. Still, any successive authors on this topic will be hard put to surpass the skill with which Smallman has surveyed and ordered this genre of classical music.
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Most Helpful Customer Reviews on Amazon.com (beta) Amazon.com:
4.0 out of 5 stars (1 customer review) 7 of 7 people found the following review helpful
4.0 out of 5 stars
An interesting guide, but not comprehensive,
By klavierspiel "klavierspiel" - Published on Amazon.com
This review is from: The Piano Trio: Its History, Technique, and Repertoire (Paperback)
Smallman traces the history of the piano trio, that is, chamber music written for the pianoforte and two other instruments, from its origins in the eighteenth century to the late twentieth century. He points out how the first two great composers whose trios remain in the repertory, Haydn and Mozart, followed essentially different paths with regard to the genre, the former developing the old-fashioned concept of the accompanied keyboard sonata to its ultimate peak in his superb late trios, the latter aiming for a new type of collaborative style between three independent instruments. The main musical problem, as Smallman implies but does not explicity state in a useful chapter on basic trio-writing technique, is that the piano quickly evolved into such a massive and tonally powerful instrument that composers since Beethoven have been hard-pressed to maintain equality between it and two other, much weaker instruments.As can be seen from the above description, Smallman aims at a discussion of broad themes and topics as much as a chronological survey. While his technique of grouping compositions together by topic, within broadly chronological chapters, is usually successful, it results in some odd omissions: surely Vincent d'Indy's monumental Trio in B-flat for Piano, Clarinet and Cello is worth some detailed description, particularly since its composer is mentioned several times in other contexts. The last chapters on the twentieth century seem sketchy and unduly if understandably weighted toward composers from the United Kingdom. Still, any successive authors on this topic will be hard put to surpass the skill with which Smallman has surveyed and ordered this genre of classical music. |
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