Virtuosi A Defense and a (Sometimes Erotic) Celebration of Great Pianists Mark Mitchell A bravura performance "Vigorous, opinionated, and always entertaining, here is a personal essayist of great charm and sincerity. Mitchell's erudition--his collection of odd and illuminating bits of knowledge--is always a delight and adds a sauce piquanteto the whole dish " --Edmund White "...a literary work of real lan, vibrancy, and grace--the very qualities that in his view define the virtuoso. Mr. Mitchell explores] the traditional linking of musical and sexual virtuosity, the ethical implications of the original instruments' movement, the near deification of Mozart in Anglo-Saxon culture, and, in a particularly witty section, the relationship of the virtuoso to his stool. Throughout, Mr. Mitchell's prose is humorous, intimate, and unapologeticaly polemical." --Cynthia Ozick The artistic merit of performers with superior technique has long been almost ipso facto denied. At last, Mark Mitchell launches a counterattack. In essays crackling with pianistic lore, Mitchell takes on topics such as encores, prodigies, competitions, virtuosi in film and literature, and the erotics of musical performance. Liszt, Horowitz, and Argerich share these pages with the eccentric Pachmann, Ervin Nyiregyh ("the skid-row pianist"), and Liberace. The illustrations include rare portraits of long-forgotten girl prodigies, historic concert programs, and stills from a lost 1927 film on Beethoven. Punctuating this celebration of personal voice are vignettes, running from the beginnings of the author's obsession with the piano to the particularities of concert-going in Italy (where he now lives). Mark Mitchell's piano studies led to a friendship with Vladimir Horowitz and other pianistic luminaries. With David Leavitt he co-authored Italian Pleasures and co-edited Pages Passed from Hand to Hand. He also edited The Penguin Book of International Gay Writing.

In the 1940s and 1950s, Soviet musicians and ensembles were acclaimed across the globe. They toured the world, wowing critics and audiences, projecting an image of the USSR as a sophisticated promoter of cultural and artistic excellence. In Virtuosi Abroad, Kiril Tomoff focuses on music and the Soviet Union's star musicians to explore the dynamics of the cultural Cold War. He views the competition in the cultural sphere as part of the ongoing U.S. and Soviet efforts to integrate the rest of the world into their respective imperial projects. Tomoff argues that the spectacular Soviet successes in the system of international music competitions, taken together with the rapturous receptions accorded touring musicians, helped to persuade the Soviet leadership of the superiority of their system. This, combined with the historical triumphalism central to the Marxist-Leninist worldview, led to confidence that the USSR would be the inevitable winner in the global competition with the United States. Successes masked the fact that the very conditions that made them possible depended on a quiet process by which the USSR began to participate in an international legal and economic system dominated by the United States. Once the Soviet leadership transposed its talk of system superiority to the economic sphere, focusing in particular on consumer goods and popular culture, it had entered a competition that it could not win.

A compelling new study of instrumental music in early modern Naples and of the string virtuosi who disseminated it through Europe.

In Notebooks, English Virtuosi, and Early Modern Science, Richard Yeo interprets a relatively unexplored set of primary archival sources: the notes and notebooks of some of the leading figures of the Scientific Revolution. Notebooks were important to several key members of the Royal Society of London, including Robert Boyle, John Evelyn, Robert Hooke, John Locke, and others, who drew on Renaissance humanist techniques of excerpting from texts to build storehouses of proverbs, maxims, quotations, and other material in personal notebooks, or commonplace books. Yeo shows that these men appreciated the value of their own notes both as powerful tools for personal recollection, and, following Francis Bacon, as a system of precise record keeping from which they could retrieve large quantities of detailed information for collaboration. The virtuosi of the seventeenth century were also able to reach beyond Bacon and the humanists, drawing inspiration from the ancient Hippocratic medical tradition and its emphasis on the gradual accumulation of information over time. By reflecting on the interaction of memory, notebooks, and other records, Yeo argues, the English virtuosi shaped an ethos of long-term empirical scientific inquiry.

Practicing Music by Design: Historic Virtuosi on Peak Performance explores pedagogical practices for achieving expert skill in performance. It is an account of the relationship between historic practices and modern research, examining the defining characteristics and applications of eight common components of practice from the perspectives of performing artists, master teachers, and scientists. The author presents research past and present designed to help musicians understand the abstract principles behind the concepts. After studying Practicing Music by Design, students and performers will be able to identify areas in their practice that prevent them from developing. The tenets articulated here are universal, not instrument-specific, borne of modern research and the methods of legendary virtuosi and teachers. Those figures discussed include: Luminaries Franz Liszt and Frederic Chopin Renowned performers Anton Rubinstein, Mark Hambourg, Ignace Paderewski, and Sergei Rachmaninoff Extraordinary teachers Theodor Leschetizky, Rafael Joseffy, Leopold Auer, Carl Flesch, and Ivan Galamian Lesser-known musicians who wrote perceptively on the subject, such as violinists Frank Thistleton, Rowsby Woof, Achille Rivarde, and Sydney Robjohns Practicing Music by Design forges old with new connections between research and practice, outlining the practice practices of some of the most virtuosic concert performers in history while ultimately addressing the question: How does all this work to make for better musicians and artists?