Landowska on Music

By Wanda Landowska

Book Overview

Wanda Alexandra Landowska (5 July 1879 - 16 August 1959) was a Polish (later a naturalized French citizen) harpsichordist whose performances, teaching, recordings and writings played a large role in... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 0812812336
• ISBN13: 9780812812336
• Release Date: June 1969
• Publisher: Stein & Day Pub
• Weight: 1.35 lbs.

Customer Reviews

I'm not sure

I am surprised that such a renowned performer would not have more to say, especially in a book this thick. Of the three sections of the book, the second section consists of comments on individual baroque and classical works. These comments consist of little more than poetic images. If you want a technical analysis of the two-part inventions, you would do better with the book by Johnson (0819125830). If you want a technical analysis of the Well-Tempered Clavier, you would do better with the book by Ledbetter (0300097077). I also take issue with Landowska's cynicism. Throughout the 410 pages of "Landowska on Music," she doesn't say a word of praise for any contemporary performer besides herself. However, I was relieved to find that someone else shared some pet peeves which I thought might be mere delusions on my part. Such peeves include: --transcriptions. When I voice disapproval of transcriptions, some wise guy always reminds me that Bach himself wrote transcriptions. Landowska attempts to deal with this argument on page 230. --monster compositions and monster performances. It seems that some composers hope to write a greater symphony than Beethoven's Ninth just by a symphony which is longer, louder, and heavier in instrumentation. --Italian markings such as "dolce" and "espressivo." When I see such markings, I suspect the composer of dumping his own responsibility onto the performer. --glissando shifts on the violin. I have studied violin, but I didn't make glissando shifts except when they were marked. --damper pedal addiction. For evidence of this, just click on some piano solos on youtube. --excerpts. Landowska doesn't openly express disapproval of this practice, but she hints at it a couple of times. If I hear "O Fortuna" or "Nessun dorma" one more time, I'll scream. It is difficult, then, to say how much of Landowska`s negativity is warranted and how much is not. I once met a former student of Landowska's who commented on her cynicism. I commented that I was offended by her quip, "You play Bach your way and I'll play it his." He replied, "Oh, but she said that to someone who really deserved it."

Like her playing--full of warmth, passion, and humor.

Wanda Landowska's writing is full of warmth, passion, and humor--just as her playing is. In both, one sees her absolute delight not just with music, but with life. An indespensible book for anyone who loves the music of this remarkable woman.

A treasure chest of knowledge and information for musicians

One of the best books on music ever. An articulate, thorough, precise, and honest discussion on the art of music.