Chopin Pianist And Teacher As Seen By His Pupils – Jean – Jacques Eigeldinger

La derniere pensee de Weber. Variations br[illantes op. 51] en la♭ m[ajeur]. csse juža’; on the verso in the hand of J.Thun: ‘Chopin Paris November 1834’. A second note, previously unpublished, specifies the following programme for the two sisters: Hummel. Nocturne à 4 mains [op. 99] Csse ju a, ____. Sonata en mi ♭ à 4 mains [op. 51] Csse Anna. Pixis. Robert le diable à 4 mains Csse ju a, Moscheles. Rondo brillant en la majeur [piano duet, op.

30 ] Csse Anna. (This document was kindly made available by the antiquarian H. Schneider of Tutzing/ Munich.) Another note – not in SC or CFC – addressed by Chopin to an assistant of the publisher Schlesinger reads: ‘Kindly send me the Variations by Hunten on II Pirata (piano duet)’ (Nicolas Rauch Catalogue, no. 13 of the new series Autographes. Vente aux enchères à Genève (23 November 1955), p. 31, No. 118 and Plate 9). To sum up, if Mikuli’s catalogue requires to be treated with some caution, Mme Dubois’s list gains in reliability, if one remembers that it is not complete.

While it is certain that Chopin made all his regular pupils study a certain number of key works, like all teachers he would flexibly adapt a variable repertoire to the needs and capabilities of each pupil, a repertoire whose broad outlines we now know. 143 Another pupil, Emilie von Gretsch, who played much Beethoven for Chopin, studied, notably, the Sonata op. 31/2 (Grewingk, p. 10); Lenz (B, pp. 306;) heard Chopin playing the Sonata op. 14/2, which Lenz may then have been studying with Chopin.

Early in 1844, that is, while he was probably still Chopin’s pupil, Georges Mathias performed in public the first movement of the ‘Emperor’ Concerto (RGMP, 1844/8, 25 February, p. 68). He may therefore have studied it with Chopin. Delacroix also wrote from Nohant: ‘Chopin played me some Beethoven divinely’ (CFC, III, p. 237; 19 August 1846), and, eight years later in his Journal, again referring to Beethoven: ‘Why not play these beautiful concertos, like the one to which Chopin introduced me?’

(II, p. 161, 9 April 1854). These statements add, even if only a little, to our knowledge on the subject, since Lenz (GPV 1872, p. 40) maintains that Chopin was not familiar with Beethoven’s last works, and Liszt recalls Chopin’s unfavourable reaction to op. 106 one day when he played it for him in Paris (Stradal, p. 108).

University Printing House, Cambridge CB2 8BS, United Kingdom Published in the United States of America by Cambridge University Press, New York Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9780521241595 © Cambridge University Press 1986 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

Originally published in French as Chopin vu par ses élèves by Editions de la Baconnière, Neuchâtel (Switzerland), 1970 and © 1970 and 1979 Editions de la Baconnière First published in English by Cambridge University Press 1986 as Chopin: pianist and teacher – as seen by his pupils Third, English edition © Cambridge University Press 1986 First paperback edition 1988 11th printing 2013 Printed by CPI Group (UK) Ltd, Croydon CR0 4YY British Library Cataloguing in Publication data Eigeldinger, Jean-Jacques Chopin: pianist and teacher as seen by his pupils.

1. Chopin, Frédéric 2. Composers – Poland – Biography I.Title II. Howat, Roy III. Chopin vu par ses élèves. English 786.1′092′4 ML410.C54 Library of Congress Cataloguing in Publication data Chopin vu par ses élèves. English. Chopin: pianist and teacher as seen by his pupils. Translation of: Chopin, vu par ses élèves.

Bibliography. Includes indexes. 1. Chopin, Frédéric, 1810–1849. 2. Chopin, Frédéric, 1810–1849. Piano music. 3. Piano music – Interpretation (Phrasing, dynamics, etc.) I. Eigeldinger, Jean-Jacques. II.Title. ML410.C54.C4913 1986 786.1′092′4 85–15141 ISBN 978-0-521-36709-7 Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

1kitap1.com/en Contents List of illustrations Acknowledgements Explanation of references Editor’s note Abbreviations Introduction Part I: Technique and style BASIC TECHNIQUE: Definition of pianistic technique. Mistakes in customary approaches to ‘pure’ technique. Categories of technical study. Qualities required of a piano; makes of piano. Daily practice: how to work and for how long. Position at the piano and hand position. General suppleness. Flexibility of the wrist and hand; freedom of the fingers.

Passivity of the arm and elbow.

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.

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