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I practise them in various touches, but oftener in legato, as that is more difficult and also more beautiful than the others. I practise technic, when possible, an hour a day, including Bach." Sigismond Stojowski considers that scales and arpeggios must form a part of the daily routine.
What had really happened I could not remember; and the effort to recall whether I had played Mendelssohn or Stojowski nearly brought disaster to that last page. "As soon as my season closes here I shall go to London and bring out my second piano concerto with the London Symphony Orchestra, under Nikisch. I shall also play various recitals."
Stojowski said: "I feel that the ignorance of this music among piano teachers and students is a crying shame. What modern piano sonata have we to-day, to compare with his? I know of none. And the songs are they not wonderful! I love the man and his music so much that I am doing what lies in my power to make these compositions better known.
It was my good fortune to be present at the orchestral concert at Queen's Hall, when Mr. Stojowski was the soloist. It was pleasant to see the enthusiasm aroused by the concerto itself, and the performance of it by the artist. "One of the most necessary things is the conserving of vital energy in piano practise," said the pianist Rudolph Ganz to me one day.
How may the right tempo be established? What did Chopin call the left hand? What is it in playing that sways the audience? How should the fingering of a new piece be studied? Why is a more difficult fingering sometimes preferable? Give a practical plan for memorizing. Sigismund Stojowski was born at Strelce, Poland, May 2, 1870.
Paderewski is known as composer and pianist, only rarely does he find time to give instruction on his instrument. Mme. Antoinette Szumowska, the Polish pianist and lecturer was at one time termed his "only pupil." Mr. Sigismond Stojowski, the Polish composer, pianist and teacher has also studied with him. Both can testify as to his value as an instructor. Mme.
Contrasted with a type of this kind may be mentioned such men as Sauer, Rachmaninov, d'Albert, Paderewski, Godowsky, Bachaus, Rosenthal, Pauer, Joseffy, Stojowski, Scharwenka, Gabrilowitsch, Hofmann, Bauer, Lhévinne, to say nothing of the ladies, Bloomfield-Zeisler, Carreño, Goodson, et al., many of whom are intellectual giants.
Sigismond Stojowski, the eminent Polish pianist and composer, was found one morning in his New York studio, at work with a gifted pupil. He was willing to relax a little, however, and have a chat on such themes as might prove helpful to both teacher and student.
Stojowski's orchestral compositions attracted wide attention in Paris and he met with pronounced success as a virtuoso. Mr. Stojowski came to America in 1906 and he entered immediately into the musical life of the country, taking foremost rank as a composer, pianist and teacher. Aside from his musical talent he is a remarkable linguist and speaks many languages fluently.
He often grows very enthusiastic over his teaching, and quite forgets the lapse of time. In general, however, he does not care to teach, and naturally has little time for it." Mr. Stojowski, when questioned in regard to his work with the Polish pianist, said: "Paderewski is a very remarkable teacher.
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