This is a great introduction to the world of piano playing explained and guided. The book is written in an easy-to-read style and is recommended to all lovers of piano music. It covers contests, piano sounds, and other topics. ( )

An interesting, semi-autobiographical collection of musings on piano playing and the world of the pianist from Charles Rosen. ( )

"Music is not just sound or even significant sound.... There has to be a genuine love simply of the mechanics and difficulties of playing, a physical need for the contact with the keyboard," writes Rosen, a concert pianist, music critic and National Book Award winner (for 1970's The Classical Style: Haydn, Mozart, Beethoven). He explores those mechanics, difficulties and more in this thoughtful and wide-reaching blend of history, homage and memoir. In an obviously learned manner, the author explains the various elements that the piano-playing experience entails, from a child's understanding of the fingering for a C major scale to an accomplished concert pianist's position on her stool. Rosen is mainly concerned with the physicalities of playing the instrument, and he takes readers from concert halls, discussing the order of pieces to be performed lest a pianist follow a work in E-flat major by one in D major to the recording studio, examining the facility with which one can splice piano music. Although nearly all of Rosen's examples are from the music of Bach, Debussy, Chopin, Mendelssohn, Schumann and other classical musicians but his musings are indeed modern; he ponders what will become of the "dinosaur"-like piano in the 22nd century and addresses the problems of performing in a country where piano concerts are only de rigueur in large cities. Filled with trivia and thought-provoking commentary, Rosen's book is a sometimes dense, but important, study of the physical factors involved in tickling the ivories.

From Booklist
From a professional's point of view, pianist Rosen carefully links the physical act of playing and the aesthetics of the music it produces, with movements of the fingers, arms, feet, and torso that introduce dance and gesture into the interpretation of music. He comments on the role of technique, which becomes routine and sublimated to how a score is interpreted; a hall's acoustics, audience interruptions, and the particular instrument played all affect a performance, but the technique is truly..