Revealing interviews with Arrau, Brendel, de Larrocha, Gilels, Horowitz, Tureck, Watts, 18 other artists. Intimate look at the concert scene and the life of a concert pianist. Introduction by Sir George Solti. Includes 51 photographs.

Mohr's humor and personal perspective on the lives of Rubinstein, Horowitz, and other artists mix music lore with quiet faith.

Shura Cherkassky's life story, like his piano playing, is provocative and captivating. At his death in 1995, Cherkassky was considered one of history's greatest pianists, as well as the last direct link to the Romantic piano tradition of Chopin, Liszt, and Anton Rubinstein. Cherkassky's story merits telling not only for his musical achievements but also for the inspiration he provided by demonstrating tenacity, integrity, common sense, and uncommon courage. Cherkassky began his concert playing life in Ukrainian Odessa at a time of lethal civil strife. Escaping with his parents to America, the child prodigy came under the tutelage of famed pianist Josef Hofmann, whose unfailing personal and professional assistance continued for more than twenty years. Cherkassky overcame poverty, prejudice against his Jewish origins, and unhappiness from his ambivalence over his homosexuality to forge an impressive touring and recording career, an enormous musical repertoire, and an intriguing personality both on stage and off. From his sensational 1923 American debut tour to sold-out concerts on six continents, Cherkassky retained his brilliance throughout a seventy-five year professional career. As a close friend for his last twenty years, author Elizabeth Carr traveled with Cherkassky on tour, attending recording and rehearsal sessions and watching him practice, plan programs, and cope with pianos, acoustics, conductors, and orchestras. Her role as confidante results in a keen understanding of Cherkassky both as a human being and a performer. Through observations, anecdotes, sixteen pages of photos, and personal correspondence reprinted in the book, this biography offers extensive research never before published, and an intimate look at the man and his music.

From A to Z to middle C: An “essential reference” for piano students, teachers, players, and music lovers, with hundreds of definitions (E.L. Lancaster, Alfred Music). The Pianist’s Dictionary is a handy and practical reference dictionary aimed specifically at pianists, teachers, students, and concertgoers. Prepared by Maurice Hinson and Wesley Roberts, this revised and expanded edition is a compendium of information gleaned from a combined century of piano teaching. Users will find helpful and clear definitions of musical and pianistic terms, performance directions, composers, pianists, famous piano pieces, and piano makers. The authors’ succinct entries make The Pianist’s Dictionary the perfect reference for compiling program and liner notes, studying scores, and learning and teaching the instrument. “This new edition is a go-to source for piano scholars and students for quick information on musical terms, pianists, major works in the piano repertoire, piano manufacturers, and more . . . comprehensive, easy to use.” —Jane Magrath, University of Oklahoma

Originally published in 1997, The Pianist's Bookshelf, was, according to the Library Journal, "a unique and valuable tool." Now rewritten for a modern audience, this second edition expands into the 21st century. A completely revised update, The Pianist's Bookshelf, Second Edition, comes to the rescue of pianists overwhelmed by the abundance of books, videos, and other works about the piano. In this clear, easy-to-use reference book, Maurice Hinson and Wesley Roberts survey hundreds of sources and provide concise, practical annotations for each item, thus saving the reader hours of precious research time. In addition to the main listings of entries, such as "Chamber Music" and "Piano Duet," the book has indexes of authors, composers, and performers. A handy reference from the masters of piano bibliography, The Pianist's Bookshelf, Second Edition, will be an invaluable resource to students, teachers, and musicians.

Using factors extrapolated from historical and social science literatures to frame the observations of twenty current U.S. piano teachers, A Portrait of Contemporary U.S. Teachers of Piano: A Musical Journey explores the contemporary U.S. piano teacher through a social science lens. Drawing on many interviewees' experiences with teaching piano, Barbara Stolz argues that each teacher is an artist and a pedagogue, teaching approaches are eclectic and pragmatic, and knowing each student is paramount.

Benser explores the kaleidoscopic world of twenty-first-century pianism through a series of extended interviews with eight major pianists. Interviewees talk with Benser about such matters as their first experiences at the piano, the meaning of musicianship to them, and the joys and difficulties of a professional career doing what they love.