The Art of the Piano: Its Performers, Literature, and Recordings Revised and Expanded Edition (Amadeus) [Paperback] Review

I find it interesting that none of the reviews already posted seem to be aware of the atrocious level of misspellings, typos, factual errors, omissions, and generally dismal production values of this book. Here are some examples: for misspellings, we have "Jorge Rolet" (for Bolet), "Emil Saver" (for Sauer), "Casadesis" (for Casadesus), "Cyziffra" (for Cziffra), "Rachmanimoff," Carlo Maria "Giuliani" (for Giulini), Sergio "Fiorento" (for Fiorentino), "Firku_n_y" (for Firkusny), "rhaphsodies," "allimand", Liszt's "Funeralilles", "Leschetizsky" (for Leschetizky), "Fienberg" (for Feinberg), "Relich" (for Pogorelich) and so on and on. CD labels fare no better: "Marsten" (for Marston), "Arbitor" (for Arbiter, not to forget "OUCH Arbitor" on page 591), "Stradivarious", et cetera.

Factual errors on the part of Dubal: Sauer did not record Chopin's B Minor Sonata. Egon Petri did not record Busoni's Toccata. Glenn Gould's last recital was not in Chicago in March 1964, but in Los Angeles the following month. Gould recorded 22, not 18, Beethoven Sonatas. Wanda Landowska was born in 1879, not 1877. Kathleen Dale, not Kathleen Long, is author of "Nineteenth-Century Piano Music." Shostakovich did not dedicate his Preludes and Fugues to Nikolayeva, nor did he record all 24 of them. Adam Harasiewicz did not record the complete works of Chopin. Persichetti wrote 12, not 11, piano sonatas. Liebermann's "Gargoyles" consist of four, not three, pieces. Rachmaninoff recorded seven, not "49," takes of his Midsummer Night's Dream Scherzo transcription. There is no Richter recording of Prokofiev's Sonata No.3 (he never played the piece). Rubinstein did not record Liszt's Hungarian Rhapsody No.3. Louis Kentner did not play all the Beethoven sonatas at his U.S. debut; he played them here four years later. Shall I go on?

The book omits, without explanation, all piano four-hand and two-piano music as well as chamber music involving the piano. Those seeking information on this repertoire will be out of luck. Dubal lists timings for the Beethoven sonatas, but does not say whose timings, or explain why these are the only works thus treated. He may provide descriptions of Bach's 48 Preludes and Fugues, but he provides no specific listings for the French Suites, English Suites, or Partitas, nor for any of the dozens of Haydn Sonatas. He ignores the piano works of Clara Schumann and Fanny Mendelssohn. Only one of Mozart's 17 variation sets is listed. He omits Couperin and Rameau, believing incorrectly that their keyboard works are"seldom played or recorded" by pianists.

Dubal's listings of recordings, quite apart from questionable inclusions and omissions, also swarm with inaccuracies such as incorrect record labels and ambiguous CD or LP availability.

Omissions in the section devoted to pianists are numerous. If you are looking for information concerning Joseph Villa, Werner Haas, Seta Tanyel, Gilbert Kalish, Piers Lane, Geoffrey Tozer, Germaine Thyssens-Valentin, Konstantin Scherbakov or Steven Osborne--all of whomare represented on many current CDs--you'll find nothing here.

Dubal's own amateurish sketches of some 53 pianists and composers, in place of actual photographs, are hideous in the extreme and should not have even been considered for inclusion.

Apparently neither the author nor anyone else connected to the book's production had either the expertise or the concern to insure a minimal standard of fact-checking or typographical accuracy. The sheer quantity of blunders eliminates any credibility the book might have for reference purposes. All concerned should be ashamed.

Donald Manildi

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