(pp. 947-977 and 996-1048)

Much of the history has been practice-based and -oriented, so that a separate chapter on the performance practice is used for those concrete matters that pertain more to the present-day application.

Issues include the matter of which instruments to play on for which techniques, e.g. lists of the types of problems a pianist can expect to encounter when wanting to play a work by Georg Crumb on piano model X by brand Y. A chart is provided with an overview of the plate sections and string chorus divisions, helpful to prepare and practice playing on the inside of the piano when the instrument at home is not the same as the one expected on the stage (p. 951).

Two appendices (p. 996-1032 & 1031-1049) deal with photographs and measurements of all 78 original preparations for John Cage’s Sonatas and Interludes, which I found in the attic of Richard Lippold, and measurements and detail pictures of 17 present-day piano models that are current on the international stage. The latter appendix is useful in conjunction with the matrix on p. .