REVIEWS
by Robert Matthew-Walker, editor, Musical Opinion Quarterly [5 stars]
“It is always a pleasure to encounter a book written by a genuine enthusiast for the subject they have chosen, no matter how specialist it may first appear, and that is most certainly the case here. The concept of investigating the sonata principle confined solely to the medium of the piano trio may seem a somewhat daunting prospect, but such is the author’s knowledge and enthusiasm that one is soon caught up in the subject and its varied ramifications. Aimed at those ‘who say they love music “but don’t understand how it works”, as well as for performers and music students of all ages’ – as the publisher’s accompanying text states, Gillian Perrin’s professional knowledge, individual enthusiasm and broadly cast scope of her subject reveals a stratum of classical music that is too often unjustly overlooked The piano trio is a medium that can offer difficult challenges to any composer, and did – from Haydn to the present-day – challenges which many music-lovers are not always disposed to meet and overcome, but Ms Perrin’s quite enthralling book is the perfect answer to those to whom the concept of the instrumental trio and the structural subtleties of the masterpieces which enhance this particular repertoire have often presented self-imposed difficulties. Cleverly aimed at a wide audience, with technical terms clearly and succinctly explained, allied to audio clips via simple website references, in terms of locale, historical authenticity, structure and the inspiration of genius across the centuries, no more suitable guide can be sought than in the pages of this well-produced book, and the informative text of its gifted author.”
by Jane Faulkner, violinist of the English Piano Trio, Founder and Chairman of the Piano Trio Society [5 stars]
“ If music moves you, and you are intrigued to know more about its structure, as well as reasons behind your emotional response, then Past Sounds, written in a clear and stylish narrative, is for you … the enjoyment of reading this book is enriched by the number of colourful contemporaneous images of art and architecture … thoroughly recommended.”
by Mark Ward, Director of Music, The London Oratory School [5 stars]
“ … a joy to read … writing is hugely engaging and informative … sophisticated knowledge of the Piano Trio repertoire … a fantastic resource for music teachers and students.”
by Clare Dawson, Director of Music, Cheltenham Muscat [5 stars]
“ … an ideal read for sixth form music students … an excellent opportunity to extend their wider listening … full of anecdotes which help bring the music and history to life … would also appeal to a much larger audience … easy to read and digest, and packed full of wonderful pieces of music to listen to!”
by Ayla Lepine, Ahmanson Fellow in Art and Religion, The National Gallery, London [5 stars]
“In Gillian Perrin’s wonderfully compelling, lucid, and engaging new book on the sonata, a chronological structure carries the reader across three centuries of the western musical canon … To enhance its accessibility and dynamism, Perrin’s book is supplemented by invaluable digital material … This process of reading and listening … is hugely effective, especially for the general reader … the impact of Perrin’s clarity on the subject is amplified, as is the pleasurable enjoyment of the music itself.”
by David Threasher, reviewer Gramophone [5 stars]
“… The chosen repertoire covers the major trios of the 18th and 19th centuries … Perrin demonstrates the versatility of [the sonata] design, showing how injections of chromaticism, rhythmic displacement and harmonic ambition contributed not only to its expansion but also to its supremacy among musical structures … An eminently laudable standpoint that falls, despite the eternal efforts of musicians, music lovers and music educators, upon the increasingly closed ears of policymakers.”
by “Peter Grimes” for Amazon [5 stars]
“A truly excellent book - The knowledge, research and sheer good writing make this a book that will satisfy everyone with the deepest to the lightest interest in formal classical music.”
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