Within his broad historical narrative Professor Smallman provides descriptive analyses of key works, many with music examples, and also comments perceptively on local trends and developments.
Intended as a supplement to The Mechanical Muse: The Piano, Pianism and Piano Music, c.1760-1850, this Companion provides additional information which, largely for reasons of space but also of continuity, it was not possible or desirable to include in that volume. The book is laid out alphabetically and full biographical entries are provided for all musical figures mentioned, including composers, performers, theoreticians and teachers, as well as piano makers and publishers of music, within the period covered by The Mechanical Muse. There are also entries on figures of importance from outside the period but whose influence is palpably important within it, such as J.S. Bach. As well as biographical information, all these entries contain lists of principal works and a section on further reading so that readers can follow up people and matters of particular interest. Also included in The Companion are entries devoted to particular works and other information of relevance, such as descriptions of musical forms, characteristics of dances and so on, as well as some technical information on music and explanations of technical terms pertaining to keyboard instruments themselves and to ways of playing them. This Companion is not intended to replace existing reference books such as Grove or Musik in Geschichte und Gegenwart, but will be useful for those who desire to know more about a particular topic and do not necessarily have access to more specialist reference works, or time to visit large or specialist libraries. As such it is indispensable to users of The Mechanical Muse.
Paul Taffanel (1844-1908) is essentially the father of modern flute playing. Drawing on previously unavailable material from a private archive in Paris, Blakeman describes and evaluates Taffanel's life, career, and works, with particular reference to his influence as founder of the modern French School of flute playing.
This major new study of Beethoven and his music is written as a single, continuous narrative, using a strictly chronological approach that enables each work to be seen against the musical and biographical background from which it emerged. The result is a much closer integration of life and works than is often achieved. The approach works particularly well for Beethoven for two reasons. Firstly, composition was his central preoccupation for most of his life: 'I live entirely in my music', he once wrote. Secondly, recent study of his large numbers of musical sketches has enabled a much clearer picture of his everyday compositional activity than was previously possible, leading to many new insights into the interaction between his life and music. The volume concentrates on Beethoven's artistic achievements both by examining the origins of his works and by commentary on some of their most striking and original features. Statements in earlier biographies have been treated with caution, and have been accepted only where they are supported by sound evidence. Everything-even down to the translations of individual German words-has been reassessed as far as is feasible, in an effort to avoide recycling old errors. Many well-known but fictitious anecdotes have thereby been eliminated, while conversely numerous details discovered in recent years have been incorporated into a general Beethoven biography for the first time-notably information derived from sketch studies and from a new edition for correspondence. This volume reaches many fresh conclusions that should be of interest to both specialists and the general musical public. -