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Emil Sauret is well known in America, for he visited the United States in 1872-73, and made a tour which was so successful, that it was repeated in 1874, when he travelled with Ilma di Murska, the great singer, and his wife, Teresa Careño, the pianist. Sauret began his public career at the age of eight.
Here already you have a sufficient description of the good couple; but it is not every mind that takes kindly to the concise synthetic method, and a certain amount of demonstration is necessary if the credulous are to accept the conclusion. This pianist, like all other pianists, was a German.
Harsanyi paced up and down the long rug in front of her. "My girl, you are very talented. You could be a pianist, a good one. But the early training of a pianist, such a pianist as you would want to be, must be something tremendous. He must have had no other life than music. At your age he must be the master of his instrument. Nothing can ever take the place of that first training.
In his youth de Pachmann was largely self taught and aside from hearing great virtuosos at concerts and modeling his playing to some extent after theirs he had no teachers until 1866 when he went to the Vienna Conservatory to study with the then celebrated teacher, Joseph Dachs. Dachs was a concert pianist of the old school.
Andrews saluted punctiliously. "They tell me you are quite a pianist.... Sorry I didn't know it before," said the colonel in a kindly tone. "You want to go to Paris to study under this new scheme?" "Yes, sir." "What a shame I didn't know before. The list of the men going is all made out.... Of course perhaps at the last minute...if somebody else doesn't go...your name can go in."
The pianist should in reality not think of the muscles and nerves in his arm, nor of the ivory and ebony keys, nor of the hammers and strings in the interior of the instrument. He should think first and always of the kind of tone he is eliciting from the instrument, and determine whether it is the most appropriate tonal quality for the proper interpretation of the piece he is playing.
The poet, the painter, the sculptor and the musician each has his own problem to solve, and the pianist in particular is frequently brought to the verge of despair through the fact that the instrument, in requiring the expenditure of physical and nervous energy, absorbs, so to speak, a large proportion of the intensity which the music demands.
The aim and office of music is to create moods. It does not arrive at definite expression. There is no musical progression which is universally understood as an invitation to one's neighbor to pass the bread. The pianist cannot by any particular tone combination make his audience understand that his left shoe pinches, but he can make them smile or look serious.
He took especial delight in playing Chopin's Nocturnes, no Sunday ever passed without his family hearing him play two or three of them. He studied music in London under Moscheles, and, though not an eminent pianist, was a good teacher. His amiability assured him a warm welcome in society. Eduard Pirkhert died at Vienna, aged 63, on February 28, 1881. To Mr.
Again some become very proficient from the technical standpoint, but are barren, soulless, uninspired and vapid when it comes to the artistic and musicianly interpretation of a piece. There comes a time to every advanced pianist when such exercises as the scales, arpeggios, the studies of Czerny and Cramer are unnecessary.
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