Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: May 25, 2025
The latter lady was taught by Chopin from 1842 to 1849, and in the last years of his life assisted him, as we shall see, by taking partial charge of some of his pupils. Madame Dubois, who studied under Kalkbrenner from the age of nine to thirteen, became then a pupil of Chopin, with whom she remained five years.
Some great players, from their point of view of touch, have been downright opposed to repetition actions. I will name Kalkbrenner, Chopin, and, in our own day, Dr. Hans von Buelow. Yet the Erard's repetition, in the form of Hertz's reduction, is at present in greater favor in America and Germany, and is more extensively used, than at any previous period.
Chopin's place among the great pianists of the second quarter of this century has been felicitously characterised by an anonymous contemporary: Thalberg, he said, is a king, Liszt a prophet, Chopin a poet, Herz an advocate, Kalkbrenner a minstrel, Madame Pleyel a sibyl, and Doehler a pianist. But if our investigation is to be profitable, we must proceed analytically.
He was recognized by Liszt, Kalkbrenner, Pie y el, Field, and Meyerbeer, as being the most wonderful of players; yet he seemed to disdain such a reputation as a cheap notoriety, ceasing to appear in public after the first few concerts, which produced much excitement and would have intoxicated most performers.
Born near Vienna in 1811, she made such rapid progress under her mother's tuition that by Beethoven's advice she was placed under Czerny in her fifth year. She pursued composition as well as piano, and when twelve years old was able to appear in Vienna and play a set of variations with her own orchestral accompaniment. Among her later teachers were Moscheles, Kalkbrenner, and Sechter.
The Hiller story of how Mendelssohn, Chopin, Liszt and Heller teased this grouty old gentleman on the Boulevard des Italiens is capital reading, if not absolutely true. Yet Chopin admired Kalkbrenner's finished technique despite his platitudinous manner. Heine said or rather quoted Koreff that Kalkbrenner looked like a bonbon that had been in the mud.
Was it not Heine who called "Thalberg a king, Liszt a prophet, Chopin a poet, Herz an advocate, Kalkbrenner a minstrel, Madame Pleyel a sibyl, and Doehler a pianist"? The limpidity, the smoothness and ease of Chopin's playing were, after all, on the physical plane. It was the poetic melancholy, the grandeur, above all the imaginative lift, that were more in evidence than mere sensuous sweetness.
Word Of The Day
Others Looking