PIANNA

A New Hampshire painter, ``inspired by memories of her own childhood in the early 1900s,'' brings to her first book a sunny, attractively detailed style that—in design, subject matter, and the rendering of its period settings—pays obvious tribute to Barbara Cooney. Ray's story of a woman's lifelong devotion to her music, too, is kin to Cooney's work, especially to Hattie and the Wild Waves (1990): as a girl, Anna (dubbed ``Pianna'' by her sibs in honor of her preoccupation) is the happy owner of Danbury's first piano, traveling 100 miles by train to Boston for lessons; and though marriage brings new joys and responsibilities, she continues to play whenever she can, providing music for local events and, later, solace in her widowhood. There's no plot here, but the upbeat depiction of the central role of music in one long, busy life is a pleasure; both Ray and Henba have chosen authentic specifics that are sure to engage young readers. (Picture book. 4-9)