By Jean-Jacques Eigeldinger
The bills of Chopin's students, associates and contemporaries, with his personal writing, supply beneficial insights into the musician's pianistic and stylistic perform, his instructing tools and his aesthetic ideals. This specific selection of records, edited and annotated through Jean-Jacques Eigeldinger, unearths Chopin as instructor and interpreter of his personal song. incorporated during this learn is large appendix fabric that offers annotated ratings, and private bills of Chopin's enjoying via scholars, writers, and critics.
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Extra resources for Chopin: Pianist and Teacher: As Seen by his Pupils
26 Moscheles writes of Chopin's playing: 'So one does not miss the orchestral effects which the German school requires from a pianist, but allows oneself to be carried away as by a singer who, unpreoccupied by the accompaniment, gives full rein to his feelings' (Moscheles, II, p. 39). This predilection for vocal art may be put beside Chopin's abhorrence of all massive effects, and his insistence on naturalness and simplicity in piano playing. Nothing was more foreign to Chopin's nature than overemphasis, affectation or sentimentality: '''Je vous prie de vous asseoir", he said on such an occasion with gentle mockery' (Niecks, II, p.
40-I) is most telling with regard to Chopin's novelty. The same goes for the Etude no. 77 (IV, pp. 28-9), concerning the extension of the left hand. From all the evidence Chopin avoids writing in scales. Among the rare works featuring scales are the end of the Impromptu op. 36 and the closing bars of the Barcarolle op. 60, both in F sharp and thus including a maximum of black keys. The same applies to the second theme of the finale of the Sonata op. 58, and to some extent to the end of the fourth Scherzo, op.
57--62. Introduction 2I in playing but also the active participation of shoulders and back; and from this the notion of weight, hitherto unimagined to such an extent, and those massive movements of the arm, transporting immense blocks of sound from one end of the keyboard to the other. Pianistically speaking, Liszt's place comes between Beethoven and Ravel, in a line of composers seeking essentially to give the piano a symphonic character. Chopin, rather, is Mozart's heir and Debussy's precursor.