JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org..
Music Library Associationis collaborating with JSTOR to digitize, preserve and extend access to Notes. http://www.jstor.org This content downloaded from 188.72.96.104 on Wed, 11 Jun 2014 08:23:42 AM All use subject to JSTOR Terms and Conditions MLA Notes MLA NotesLandler, Waltzes and other dances. It would be well to note that the titles refer to the first experiences pianists will have with these composers because, although only the easiest works are presented, a certain level of familiarity with musical language and piano technique is needed. The works collected in each volume are a refreshing selection of materials, not a reprise of the most familiar scores. All keyboard pieces appear in their original form, the autographs, urtexts and early editions having been painstakingly studied, compared and verified. Editorial suggestions concerning the accurate interpretation of ornaments, phrasing and articulation, fingering, dynamics and tempo are always given in light print which can be used, changed or ignored. The introductory notes to all of these volumes are succinct and readily understood and applied. This printing has a minor error in the text of the Mozart volume regarding the realization of the turn. The error does not appear in the score, however. The Introduction series, intended for the intermediate level pianist, offers an historical survey of the arts to explain and explore the baroque and classical eras. The Italian, English, French and German baroque are discussed using illustrations and biographical sketches to further illuminate the performance of the musical examples. The comments on the performance practices of the period are the most thorough in any teaching edition to date. Praiseworthy for its uniqueness and clarity of presentation is the section on free ornamentation which should encourage every pianist to attempt imaginative embellishing of repeated sections. The explanations of unequal rhythm and over-dotting are also notable. The volume for the classical era also presents a rounded historical perspective. There are copious notes on the development of the era, its style, and the correlation between the development of the piano and its music. We have no other single book that attempts to present this information for this level of pianistic proficiency. The collection is devoted mainly to the works of
