Piano Mastery: Talks with Master Pianists and Teachers, and an Account of a Von Bülow Class, Hints on Interpretation |
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acquire America arched hand arm weight arpeggios artist Bach beautiful Beethoven begin Brahms Bülow Busoni Chopin chords composer composition concerto course Czerny difficult Edwin Hughes effects Ernest Schelling études everything expression feel finger action firm Fugue give Hamburg master hand position HANS VON BÜLOW Harold Bauer hear idea instrument interpretation keyboard keys legato Leschetizky lessons listen Liszt MARK HAMBOURG master Matthay means melody memorizing mental method metronome movement Mozart musician nail joint never notes octaves orchestra Paderewski passage pedal phrase pianist pianist and teacher piano playing piano study piano teachers piano technic piece player principles of piano Pugno pupil quality of tone Raoul Pugno recital relaxation repertoire rhythm Rubinstein scales and arpeggios sonata sound staccato teaching technical exercises technical practise things thought tion tise Tobias Matthay tonal touch variety velocity WILLIAM MASON wonderful
Popular passages
Page 10 - A great artist's performance of a noble work ought to sound like a spontaneous improvisation; the greater the artist the more completely will this result be attained.
Page 87 - You must never hit a key down, nor hit at it. The finger-tip may fall on the key, and in gently reaching the key you may follow up such fall by acting against the key.
Page 46 - ... be studied with the constant idea of improvement in mind, and it is seldom, working in this way, that I do not find that I can improve some one or another detail" (Casals, 1923, p. 234). Working out the intended music experience in detail allows the musician to carefully monitor their performance. "I try to form an ideal conception of the piece, work this out in every detail, then always endeavor to render it as closely like the ideal as possible
Page 43 - Hymn, on a toy piano containing eight keys, which had been given me. My older sister, who was studying the piano, noticed this...
Page 103 - ... rigid lines, does not mean there are no better, broader, less limited ways of reaching the goal we seek.
Page 43 - Vienna ; the pupils understood the numbers on the program, were wide awake, and well informed as to what was going on in the world of music.