By Jean-Jacques Eigeldinger

ISBN-10: 0521241596

ISBN-13: 9780521241595

The debts of Chopin's students, buddies and contemporaries, along with his personal writing, supply useful insights into the musician's pianistic and stylistic perform, his instructing equipment and his aesthetic ideals. This targeted choice of records, edited and annotated through Jean-Jacques Eigeldinger, unearths Chopin as instructor and interpreter of his personal tune. integrated during this learn is vast appendix fabric that provides annotated rankings, and private debts of Chopin's enjoying by way of students, writers, and critics.

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Additional resources for Chopin: Pianist and Teacher: As Seen by his Pupils

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Courty I Aguettant, pp. 195-6 Technique and style 'Legato' and 'cantabile' Under Chopin's hands the piano needed to envy neither the violin for its bow nor wind instruments for their living breath. The tones melted into one another as wonderfully as in the most beautiful singing [... ] The tone he could draw from the instrument, especially in cantabile, was immense [riesengross]; in this regard John Field83 alone could be compared with him. Mikuli, p. 2 Field's84 and his own Nocturnes also figured to some extent as Etudes, for through them the pupil would learn - partly from Chopin's explanations, partly from observing and imitating Chopin, who played them indefatigably to the pupil-to recognize, love and produce the beautiful 'bound' [gebunden] vocal tone and the legato.

I I ~ b~ I r--1 f==- ... -J';"1 .... ~. ~ ==- ===~~ ==-- [ ••• J From these general rules, Chopin arrived at the following conclusion, do not play by too short phrases; that is to say, do not keep continually suspending the movement and lowering the to which he attached much importance: 44 Technique and style tone on too short members of the thought; that is again to say, do not spread the thought out too much, by slackenings of the movement - this fatigues the attention of the listener who is following its development.

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. 341). But dry and inexpressive playing was equally unbearable to him, and in such cases he would implore the student: 'Put all your soul into it! [Mettez-y donc. ]' (Karasowski, II, p. 91) - and what happiness he felt when innate musicality expressed itself spontaneously: 'She [Wanda RadziwiH] has plenty of genuine musical feeling and you don't have to tell her crescendo here, piano there, quicker, slower and so on' (Chopin, SC, p.

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