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the art of piano playing.

Pianism emerged in the second half of the 18th century, with the artistry of Mozart and M. Clementi and later, J. N. Hummel and J. Field. The art flourished in the mid-19th century (Chopin and Liszt). The representatives of the various schools of pianism from the end of the 19th century to the mid-20th include H. von Bülow, C. Tausig, I. Paderewski, A. Reisenauer, E. d’Albert, F. Busoni, L. Godowsky, J. Hofmann, A. Cortot, A. Schnabel, W. Gieseking, V. Horowitz, A. Benedetti Michelangeli, and G. Gould. In the post-Lisztian period, outstanding contributions to pianism have been made by the Russian school (A. G. Rubinstein, N. G. Rubinstein, A. N. Esipova, and S. V. Rachmaninoff), as well as by the Soviet school (for example, K. N. Igumnov, G. G. Neigauz, M. V. Iudina, V. V. Sofronitskii, E. G. Gilel’s, and S. T. Rikhter). Special courses on the history, theory, and methodology of pianism are offered in Soviet conservatories.


Kogan, G. Sovetskoe pianisticheskoe iskusstvo i russkie khudozhestvennye traditsii. Moscow, 1948. (References.)
Alekseev, A. Istoriia fortepiannogo iskusstva, parts 1-2. Moscow, 1962–67.
Schonberg, H. The Great Pianists. New York, 1963.


References in periodicals archive ?
5] (lower tessitura) somewhat fast, more challenging pianistically
Among its enjoyable first batch of releases came this mightily rewarding coupling of cello sonatas by two great composer-pianists: the aristocratic, pianistically demanding Rachmaninov and the more intimate Chopin.
As unmentioned archival materials confirm, Stravinsky appropriated--lock, stock, and barrel--several of Philipp's pianistically archetypal figurations as the real model for the concerto.
This tiny Spanish woman is pianistically flawless with infallible
Another aspect of playing orchestral reductions is the common accepted performance practice for pianistically impossible violin lines (thirds, sixths and 8vas): when a right-hand passage originally written for violins is technically unmanageable at the piano because it contains sixteenth-note thirds or 8vas marked at quarter note = 144, it is not only practical but acceptable to omit the lower note of the thirds or 8vas (many call this practice playing the "tops").
Bolcom never fails to write pianistically interesting and uniquely fascinating music.
As a result, there is a disappointing lack of attention to contrapuntal interchange and some inconsistent stemming of chordal textures, making the arrangements more difficult to read initially and sometimes awkward pianistically.