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Updated: June 15, 2025
I had some lessons with S.B. Mills, and later did considerable valuable work with Paolo Gallico, who opened up to me the great storehouse of musical treasure, and revealed to me among other things the spiritual technic of the pianist's art. Subsequently I investigated the Virgil and Leschetizky methods. Mr.
It is said by Leschetizky that he has no method. That may be understood to mean a book, for he certainly has what others would call a method. There are principles and various sets of exercises to be learned; but it is quite true that none of the Vorbereiters use a book.
She, too, was a pupil of the Leipsic Conservatory, finishing with Leschetizky, and making a successful début with the Leipsic Gewandhaus orchestra in 1878. She has shown ability in the larger forms, her own concerto being produced in a Henschel concert at Edinburgh. She has several orchestral works still in manuscript, as well as a violin sonata.
My subsequent studies with Harold Bauer revealed him to be a deep musical thinker and a remarkable teacher of the meaning of music itself. "In my teaching I follow many of the ideas of Leschetizky, modified and worked out in the manner which I have found most useful to my own technic and to that of my pupils.
Personally, I am rather skeptical when anybody announces that he teaches any particular method. Leschetizky, without any particular method, is a great force by virtue of his tremendously interesting personality and his great qualities as an artist. He is himself a never-ending source of inspiration. At eighty he was still a youth, full of vitality and enthusiasm.
Leschetizky teaches arched hand position, with rounded fingers, and all who have come under his instruction advocate this form. It is the accepted position for passage playing. A few pianists, notably Alfred Cortôt and Tina Lerner, play their passage work with flat fingers, but this, in Miss Lerner's case, is doubtless caused by the small size of the hand.
"The Leschetizky principles seem to me the most perfect and correct in every particular. Yes, there are several books of the method, by different authors, but I teach the principles without a book. The principles themselves are the essential things. I aim to build up the hand, to make it strong and dependable in every part, to fill out the weak places and equalize it.
Thuel Burnham, a pupil of Mason and Leschetizky, has welded the ideas of these two masters into his own experience, and simplifies the matter of piano touch as follows: MELODY AND COLORATURA HANDS "The position and condition of the hand varies according to the character of the music and the quality of tone you wish to produce.
At the age of ten she made a profound impression at a public concert in Chicago. Two years later she had the good fortune to meet Mme. Essipoff, who advised her to go to Vienna to study with Theodore Leschetizky. Accordingly she was taken to the Austrian capital and remained under the instruction of the noted pedagogue for five years.
He was to his day what Leschetizky, the teacher of Paderewski, is now. Very soon after her meeting with Schumann, Clara made her public début, and with great success. Among those who heard and praised her highly during this first year of her public career was Paganini.
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