Great Pianists on Piano Playing. James Francis Cooke

Great Pianists on Piano Playing - James Francis Cooke


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Waste in Technical Study

       Waste in Unimportant Subjects

       Brain Technic Versus Finger Technic

       A Case in Point

       Questions in Style, Interpretation, Expression and Technic of Pianoforte Playing

       SERIES XVII

       xaver scharwenka

       ERNEST SCHELLING

       Biographical

       XX

       LEARNING A NEW PIECE

       ernest schelling

       Preliminary Study

       The Technical Demands of the Piece

       Formal Divisions

       The Touch Required

       The Right Tempo

       Rhythmic Peculiarities

       The Composer's Inspiration

       Studying the Phrasing

       Marking the Fingering

       Memorizing

       Questions in Style, Interpretation, Expression and Technic of Pianoforte Playing

       SERIES XVIII

       ernest schelling

       SIGISMUND STOJOWSKI

       BIOGRAPHICAL

       XXI

       WHAT INTERPRETATION REALLY IS

       sigismund stojowski

       The Composer's Limitations in His Means of Expression

       The Interpreter Must Coöperate with the Composer

       Studying the Historical Background

       The Inadequacy of Musical Signs

       Learning the Musical Language

       Mistakes Peculiar to the Pianoforte Player

       Questions in Style, Interpretation, Expression and Technic of Pianoforte Playing

       SERIES XIX

       Sigismund Stojowski

       Table of Contents

       Table of Contents

       Table of Contents

      The father of a young woman who was preparing to become a virtuoso once applied to a famous musical educator for advice regarding the future career of his daughter. "I want her to become one of the greatest pianists America has ever produced," he said. "She has talent, good health, unlimited ambition, a good general education, and she is industrious." The educator thought for awhile, and then said, "It is very likely that your daughter will be successful in her chosen field, but the amount of grinding study she will be obliged to undergo to meet the towering standards of modern pianism is awful to contemplate. In the end she will have the flattery of the multitude, and, let us hope, some of their dollars as well. In return, she may have to sacrifice many of the comforts and pleasures which women covet. The more successful she is, the more of a nomad she must become. She will know but few days for years when she will not be compelled to practice for hours. She becomes a kind of chattel of the musical public. She will be harassed by ignorant critics and perhaps annoyed by unreliable managers. In return she has money and fame, but, in fact, far less of the great joy and purpose of life than if she followed the customary domestic career with some splendid man as her husband. When I was younger I used to preach quite an opposite sermon, but the more I see of the hardships of the artist's life the less I think of the dollars and the fame it brings. It is hard enough for a man, but it is twice as hard for a woman."

       Table of Contents

      Some cynic has contended that the much-despised "Almighty Dollar" has been the greatest incentive to the struggling virtuoso in European music centers. Although this may be true in a number of cases, it is certainly unjust in others. Many of the virtuosos find travel in America so distasteful that notwithstanding the huge golden bait,


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