Marie JaŽll: The Magic Touch, Piano Music by Mind Training
Admired by Liszt, Saint Sakns and Paul Valiry, Marie Jakll was at the center of a revolution in musical pedagogy. As a brilliant pianist, she was the first to interpret all of Liszt. At the apogee of her famous career, she quit concert performing and threw herself into mastering the piano in a scientific way by applying rigorous methodology. She reinvented herself as a scientist. What seemed before to be a matter of individual luck and "good days" in playing piano, she turned into a subject of formal mental training. She documented how one can draw forth crystalline sounds from the piano on a conscious basis. While talent remains a powerful ingredient in the art of music, it could now be enhanced by a as powerful methodology. Marie Jakll's analytical breakthroughs have helped pianists perfect their touch, drawing forth more beautiful musical sonority.
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aesthetics Alfred JaŽll Alsace artists aural beauty became become Beethoven Berlioz brain Camille Saint-SaŽns Charles Fťrť Chopin chords clavichord color composers concert consciousness create creative Debussy deep links Delacroix dynamic level emotion Europe exploit expression feel Fťrť fingers fingertips French friends give hammer hand harmony harpsichord human idea infinite inner inspired instrumental music intuition keyboard instruments listening Liszt man’s Marie JaŽll Marie Trautmann Marie’s mechanical melody mind moved musical expression musical piece musicians mystery nature nineteenth century notes octaves orchestra painter painting Paris passion perceive perception performance pianist piano acoustics piano music piano pedagogy piano playing piano teaching playing the piano pupils realized rhythm rhythmic Romantic Romantic music Romanticism Saint-SaŽns Schumann Schurť sense sonority soundboard space Steinseltz string symbolic tactile sensations technique thought timbres tonal tone touch unconscious vibrations Victor Hugo virtuoso vision visual Weimar wrote
Page 26 - This is another factor which may have caused local cultivation of grain to increase in the second half of the seventeenth and the first half of the eighteenth century.
Page 23 - ... each note has forged a being, his head bent, smiles strangely before this crowd that applauds him madly." The great pianist Clara Wieck noted in her journal: "We have heard Liszt. He can be compared to no other virtuoso. He is the only one of his kind. He arouses fright and astonishment, though he is a very lovable artist. His attitude at the piano cannot be described—he is original—he grows sombre at the piano. His passion knows no limits. He often wounds one's sense of the beautiful by...