Review by Booklist Review
The modern piano is so ubiquitous, many might take its origin for granted, but Rusch's latest offering brings the instrument's history merrily to the center stage. Through extensive research and consultation with replica-instrument makers, Rusch pieces together the story of Bartolomeo Cristofori, an Italian harpsichord builder with the title of master instrument maker and tuner. While Cristofori builds much-admired harpsichords, which play loudly, and clavichords with soft tones, he is frustrated that he cannot make an instrument that successfully does both. But while wandering around the city, he's inspired by the ingenuity of artisans around him to build a wholly new kind of instrument. Priceman's gouache-and-ink illustrations exuberantly fill all available page space. Musical terms are incorporated into the images to amplify what is happening in the text, and short excerpts from primary sources appear throughout the book to give it historical context. Fast-paced, lively, and informative, this book will appeal to music lovers as well as a wider audience, who may be creatively inspired by these passionate musicians and their instruments.--Whitehurst, Lucinda Copyright 2017 Booklist
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
Rusch (Electrical Wizard: How Nikola Tesla Lit Up the World) playfully weaves aural imagery throughout this engaging story of how Bartolomeo Cristofori came to invent the piano. Sounds of 17th-century Italian life abound as the instrument maker heads to the Medici court in Florence to work alongside other craftsmen: "Wool beaters thump and looms clatter-clack. Ka-chunk goes the printing press." The auditory motif continues as dynamics notations headline each spread: a booming "forte (loud)" rises from a noisy harpsichord, while "pianissimo (very soft)" curls across a scene of Cristofori tuning a clavichord. Wanting an instrument that can be played either loudly or softly, he builds the pianoforte, later shortened to piano. Priceman's (Miracle on 133rd Street) bold brushstrokes and vibrant colors add energy and humor; an orange tabby cat, often comically startled awake by music, appears in most scenes. Extensive endnotes include a timeline, comparisons between the original and modern pianos, suggested listening (from Chopin to Tori Amos), and thorough discussion of the sources Rusch used. It's a spirited, informative tale that will resonate with music aficionados young and old. Ages 4-8. Author's agent: Kelly Sonnack, Andrea Brown Literary. (Apr.) © Copyright PWxyz, LLC. All rights reserved.
(c) Copyright PWxyz, LLC. All rights reserved
Review by School Library Journal Review
K-Gr 3-A well-researched, fascinating account of the father of modern-day pianos. Bartolomeo Cristofori was a talented 17th-century inventor born in Padua, Italy, who loved the light and powerful sounds of the clavichord and the harpsichord. He longed to create an instrument that married both of these kinds of notes. With the patronage of Prince Ferdinando de' Medici, Cristofori was able to spend the rest of his life tinkering away in his quest for what would eventually become the pianoforte. Rusch's energetic text is paired well with Priceman's vibrant images, rendered in gouache and ink with bold strokes. Each spread is introduced by a musical term, defined in parentheses, that not only sets up the narrative that will be showcased on those pages but also introduces readers to piano-playing techniques (e.g., forte, pianissimo, crescendo). The curly and bold font used for these headings adds to the dynamic layout of each page and illustrates the lively music that the piano inspires. Quotations from and about Cristofori are peppered throughout. In addition to a detailed time line and source notes, the thorough back matter includes author's notes on the few updates that have been made since Cristofori's pianos, where children can find his remaining instruments, a list of classical and modern music pieces that make great use of the piano, and how Rusch was able to reconstruct the inventor's life from primary and secondary sources. VERDICT A strong purchase for music lovers, budding pianists, and large biography and STEAM collections.-Shelley M. Diaz, School -Library Journal © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Horn Book Review
Readers take a journey to Italy during the closing years of the Renaissance to meet a man whose invention is better known than his name. Hired by Prince Ferdinando de Medici to restore and build musical instruments in Florence, Bartolomeo Cristofori repairs sixteen instruments and builds a couple of spinets, an organ, and six harpsichords from 1690 to 1698. Even with this prodigious output, he dreams of creating a new instrument, one that will produce both the soft sounds of the harpsichord and the loud sounds of the clavichord. Surrounded by the opera, sculpture, and art, he is overwhelmed with how much can be expressed with stone and paint and bows on strings. If only Cristoforis keyboard instruments could so fully express the music of life! With this dream in mind, he creates the first pianoforte, a precursor to todays piano, in 1700. Ruschs evocative text is underscored by Pricemans breezy but detailed gouache-and-ink illustrations and the books dynamic design, including festive ribbon-shaped banners, labeled with musical terms for volume, which add a near soundtrack to the words. When Cristofori first arrives in Florence, for example, the banner reads mezzoforte; as Hayden (crescendo) and Mozart (molto crescendo) popularize the pianoforte, the dynamic level increases. Exemplary notes detail both the authors research process and points of literary license. Additional back matter includes a timeline, further information about the piano and pianoforte, web sources for listening to distinctive piano selections, a bibliography, documentation, and an index. Bravo! betty carter (c) Copyright 2017. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review
A bright, colorful introduction to a beloved instrument.Rusch pairs up with Caldecott honoree Priceman (Zin! Zin! Zin! A Violin!, 1995) to produce this biography of the white Italian musician and craftsman Bartolomeo Cristofori. In 1688, Fernando de Medici chose Cristofori to build and restore harpsichords and other instruments. Priceman's signature artwork is a perfect match for the words, which emphasize Cristofori's desire for a keyboard instrument capable of the nuance of the violins he hears at the opera and the color he sees in paintings. Banners defining musical terms run across the tops of pages. Throughout are visual and textual cues to the meanings of those terms. One page is headed "pianissimo (very soft)," while the narrative reads, "a hush envelops the room.Feet pad across the room. Cloth rustles. Sand falls silently through an hourglass." Here, soft purple watercolors surround the words, and a sleeping cat curls around the hourglass. Horses "whinny, snort, and stamp as a young prince and his entourage spring from the carriages to the cobblestones" in reflection of "crescendo (becoming louder)." By 1700, Cristofori's new instrument, the pianoforte, is complete. Colorful waves of sound pour out of the opened instrument. Source material for the story is effectively embedded in the pages. Extensive backmatter further illuminates the text and invites readers to listen to recordings of surviving and replica pianos. Delightfully energetic, this will inspire young pianists. (Picture book/biography. 4-8) Copyright Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.
