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Great Pianists on Piano Playing Study Talks with Foremost Virtuosos.
James Francis Cooke
No preview available - 2018
ability ALFRED REISENAUER American Anton Rubinstein arpeggios artist audience Bach beautiful become Beethoven Biographical career child Chopin composer composer's composition concentration concert Conservatory course Cyril Scott Czerny Debussy develop difficult EMIL SAUER ERNEST HUTCHESON Europe Expression and Technic fact fingers Franz Liszt give greatest hand Harold Bauer hear idea individuality instance instrument interest interpretation JOSEF HOFMANN keyboard keys kind Leschetizky MARK HAMBOURG master means mechanical ment mental method mind modern music study musical education musician nature nerves nervous never notes OLGA SAMAROFF orchestra Paderewski passage pedal performer phrase pianist piano piano playing Pianoforte Playing SERIES piece player possible practice pupil Questions in Style Rachmaninoff realize rhythm Rubinstein Russia scales seems sense Sonata student success talent teacher teaching Technic of Pianoforte technical exercises things tion tone touch tours virtuoso VLADIMIR DE PACHMANN wonderful young
Page 119 - The latest Gospel in this world is, Know thy work and do it. 'Know thyself: long enough has that poor 'self of thine tormented thee; thou wilt never get to 'know' it, I believe! Think it not thy business, this of knowing thyself; thou art an unknowable individual: know what thou canst work at; and work at it, like a Hercules! That will be thy better plan.
Page 7 - There is a long row of them on each side of the caravan, a narrow passage up the middle, and a door at both ends. In the centre of the carriage there is usually a stove, fed with charcoal or anthracite coal ; which is for the most part red-hot. It is insufferably close ; and you see the hot air fluttering between yourself and any other object you may happen to look at, like the ghost of smoke. In the ladies' car, there are a great many gentlemen who have ladies with them.
Page 197 - The author is at home in his subject, and presents his views in an almost singularly clear and satisfactory manner. . . . The volume is a valuable contribution to one of the most difficult, and at the same time one of the most important subjects of investigation at the present day.
Page 22 - ... sincere point of view. He must take his chance as to whether his point of view is an attractive one; but sincerity is the one indispensable thing. It is useless to take opinions on trust, to retail them, to adopt them ; they must be formed, created, truly felt. The work of a sincere artist is almost certain to have some value; the work of an insincere artist is of its very nature worthless.
Page 21 - I HAVE lately come to perceive that the one thing which gives value to any piece of art, whether it be book, or picture, or music, is that subtle and evasive thing which is called personality.
Page 140 - ... influence upon the nerves of the voice-making apparatus that any emotion makes. Is it not reasonable to suppose that the finger tips possess a similar sensibility and that the interpretations of any highly trained artist are duly affected through them? INDIVIDUALITY, CHARACTER AND TEMPERAMENT "Indeed, Individuality, Character and Temperament are becoming more and more significant in the highly organized art of pianoforte playing. Remove these and the playing of the artist again becomes little...
Page 238 - One hour of concentrated practice with the mind fresh and the body rested is better than four hours of dissipated practice with the mind stale and the body tired. ... I find in my own daily practice that it is best for me to practice two hours in the morning and then two hours later in the day. When I am finished with two hours of hard study I am exhausted from close concentration. I have also noted that any time over this period is wasted, (p.
Page 83 - during the five years I was with Leschetizky, he made it very plain that he had no fixed method in the ordinary sense of the word. Like every good teacher, he studied the individuality of each pupil and taught him according to that individuality. It might almost be said that he had a different method for each pupil, and I have often said that Leschetizky 's method is to have no fixed method.
Page 65 - ... conventional technical basis to work upon, this has necessarily resulted in several aspects of pianoforte study which are naturally somewhat different from the commonly accepted ideas of the technicians. In the first place, the only technical study of any kind I have ever done has been that technic which has had an immediate relation to the musical message of the piece I have been studying.