This book is based on detailed notes taken by the author during a decade of study under one of the renowned teachers of piano, whose pupils included such pianists as Gary Graffman, Lilian Kallir, Jacob Lateiner, and Sylvia Saremba and such composer/conductors as Samuel Barber, Leonard Bernstein, Lukas Foss, and Thomas Scherman. Following a brief chapter on Vengerova's personality, the author presents the Vengerova system in respect to posture and hand position, accents, &"singing tone,&" fingering, and pedaling. A final chapter discusses the merits of a relatively rigid system of musical instruction, concluding that Vengerova's approach encouraged &"variety with an underlying unity&"&—a conclusion supported in a survey of her former pupils by Joseph Rezits. The book is illustrated with photographs and excerpts from musical scores. An appendix includes an article by the Soviet musicologist Vitaly Neumann on Isabelle Vengerova's teaching at the St. Petersburg Conservatory from 1906 until the Revolution, following a concert career. It also includes an obituary by Jay S. Harrison outlining her teaching accomplishments at the Curtis Institute and the Mannes College of Music between 1924 and her death in 1956.
The first new survey of the field in more than 60 years, this study concentrates on the basics of music criticism. Because it focuses on core issues and proven principles, the book is likely to become the standard work on the subject. It is written for the audience that reads music criticism in newspapers and popular journals: professional and amateur musicians, scholars, teachers, researchers, librarians, students, music lovers, journalists, and critics. The topics are covered in depth and observations are thoroughly documented, yet the material is enjoyable to read because the writing is easy to understand and special terminology is held to an absolute minimum. The commentary addresses the function of music criticism, the qualifications and training of a critic, the relationship between music criticism and other aspects of journalism, and the principles behind value judgments. Three chapters are devoted to the concert and opera review, one to reviewing recordings, another to radio and television criticism, and one to reviewing ethnic music. Thirty-eight reviews are quoted and analyzed, and 13 are presented in their entirety, along with critical commentary. Index. Appendix. Bibliography
Four Days is a chilling book about every parent's worst nightmare: a kidnapping of their only child, in this case a perky, opinionated six-year old girl. Set in the New England fishing town of Gloucester, Four Days introduces a husband/wife detective team (she, Naomi Little Bird, a Passmaquoddy Native American and he, Tony Fiori, an Italian Gloucester native) who are pitted against a low-life former employee of the child's father who is out for revenge at any cost. Dealing with the intertwined kidnapping and drug dealing themes, the Fioris match wits against the dangerous weather that has killed so many of Gloucester's fi shermen, the ruthless efforts of the kidnappers to collect ransom, and the reality that the longer the girl is missing, the greater the likelihood of a nightmare ending. The effort to rescue the little girl challenges Naomi Little Bird's tracking skills and Tony's dogged detective skills to the limit. Be prepared: even the ending has a surprise twist.
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