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Is there such a thing as the ideal technique? The past and present of musical performance constantly provide evidente that, among the multiple different ways available of using our body, plenty might prove equally efficient and musically convincing. Among al¡ the possible options, however, one merits special attention: the technique employed by composers themselves while creating their works. In this book, ltalian-born pianist and scholar Luca Chiantore sets out to examine the transformations undergone by piano technique, and how this overall history relates to the performative customs of those pianist-composers whose works we today consider the core repertoire of so-called Western classical music. The author illustrates the diversity of their bodily approaches to the keyboard, exploring their respective biomechanical inquiries amidst increasing hand and arm involvement in piano playing and the emergente of often contrasting pedagogical theories. The result of intense, rigorous research, Tone Moves contains an impressive amount of documentation, including a vast number of theoretical works which had never before been studied thoroughly. Through al¡ this, the author narrates a "history" that uncovers crucial parallels with the past three century's aesthetic revolutions. Chiantore spins a tale of widespread, lasting changes, a searching narrative brimming with strong personalities often steering in opposite directions, al¡ in al¡ an avowal of the stunning diversity of options available when expressing ourselves through an instrument. CONTENIDO: Introduction. The quest for tone Between art and mechanism In search of an Ur-Technik? Honing concepts Technique and instrumenta A gentle percussion Pianos and pianofortes Transcribing - Part one: From the monacordio to the pianoforte 1. Keyboard technique until 1770 The first clues Thomas de Sancta María and bis Arte de tañer Fantasía "Good" and "bad" fingers in Diruta's Transilvano France: from Jean Denis to Couperin le grand Rameau's dead hand Pablo Nassarre and the l8th century in Southern Europe A man amid a changing world Johann Sebastian Bach's fingering and technique Carl Philipp Emanuel Bach's essay 2. Mozart, Haydn, and the pianoforte Mozart the conservative Some enticing exercises Haydn's symphonic keyboard 3. Treatises and methods up until Clementi Ricci's method and the Lühlein case Daniel Gottlob Türk and his Klavierschule Experimenting... Pleyel's exercises Clementi the mechanicus? Onward to Parnassus 4. Beethoven, the new man Technical exercises in the Kafka and Fischhof miscellanies A different legato Schindler's copy of Cramer's etudes A look at his sonatas 5. Schubert's utopia "Key become singing voices" Out of his time Singing among friends Erlkönig: an unusual reading 6. Technique and pedagogical texts from Adam to Czerny Adam and Müller: conservatory exercises Towards a technique of expression The insight of Francesco Pollini Héléne de Montgeroult: 700 pages of surprises Cramer: theory through practice The zenith of pianoforte technique: Hummel's method Kalkbrenner and his guide-mains Tradition and cribbing The Dactylion and the "anatomical problema Czerny and his Pianoforte-Schule - Part two: The Romantic piano 7. A new musical scene A method squared Moscheles and variety of touch Thalberg's three hands Mendelssohn's marvellous mimetism Florestan vs. Eusebius 8. Chopin and his point d'appui Chopin, pianist and teacher Chopin's Méthode de piano and his technical theory Some different exercises Chopin's etudes and the birth of a new technique 9. The metamorphoses of Franz Liszt A changing pianism Liszt, teaching at twenty Pianistic prime The spectacle of Liszt's technique Mechanism and figurations Three leeels 10. Brahms, between past and future First composer, then pianist Brahmsian support and harmonic functions 51 legato exercises That December of 1889... 11. The 1830 generation The reign of Anton Rubinstein Mussorgsky's otherness The French connection - Part three: The modern piano 12. Busoni and the Golden Age Tausig, Bülow, and Tchaikovsky's Piano Concerto No. 1 Pianists between two eras Busoni and his "flying technique" 13. Rachmaninoff vs. Scriabin An interpretation of technique "Small line, small musician" A new sound space Overcoming materiality and dissolution of gesture 14. Debussy and Ravel: two faces of modernity Virtuosity and nature Piano technique and Balinese gamelan Piano technique or composition technique? A different Boléro Mechanism and mechanicism "Intelligent hands" 15. The 20th century: Death or transfiguration? Bartók and his imagined authenticity Prokofiev's disguised revolution Different techniques for different landscapes Technique and improvisation in Granados Strumming... A puppet dancing on the keyboard Schoenberg, Webern, and the last breath of a tradition Rhythm and timbre in Messiaen Stockhausen and randomness Experimentation and mannerism Cage and Milo the ape Minimalism and its fringes Experiences 16. Technique, the performer's prerogative Piano schools? Recordings and concert playing Study of technique and study techniques Beyond the master's footsteps - Supplement Technical theories and pedagogical texts from 1850 onwards 1. Teaching piano technique in the 19th century Mechanisms and music Looking back Piano, song, and plenty more William Mason's Touch and Technic Isidor Philipp and French finger technique The hand and arm gesture: Joseph Schiffmacher Searching, searching... Marie Jaéll Trautmann: technique and sensations 2. Different ways to be a great teacher Playing with weight From Deppe to Caland Leschetizky: a grand teacher for frontline pianists 3. Prototypical movements Tobias Matthay and his 42 types of touch The visible and invisible A doctor examines piano technique Breithaupt's "natural" technique 4. Approaching the present A musical education The science of bodily mechanisms Timbre and motion Three paths The spark of excellence A final observation Bibliography Index CASA BEETHOVEN . BARCELONA .