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Updated: May 6, 2025
Eques ipso melior Bellerophonte, Neque pugno neque segni pede victus, Simul unctos Tiberinis humeros lavit in undis. "What ho! my noble Paullus," exclaimed a loud and cheerful voice, "whither afoot so early, and with so grave a face?"
He gave me one technical principle, expressed in a few simple exercises, which I have never heard of from any one else. The use of this principle has helped me amazingly to conquer many knotty passages. I have never given these exercises to any one; I am willing however, to jot them down for you." "Pugno wished the thirty-seconds and sixty-fourths to be played with the utmost quickness.
This cannot be said of his most inelegant "Valse Élégante," or of his numerous dances, except, perhaps, his "Valse Caprice." He won in July, 1899, the prize offered to American composers by Henri Marteau, for a sonata for violin and piano. The jury was composed of such men as Dubois, Pierné, Diemer, and Pugno.
It was announced that Edward Grieg, the noted Norwegian, was coming to Paris. Pugno was one day looking over his piano Concerto which had recently appeared. 'Why don't you play the work for the composer when he comes? asked a friend. 'I am no pianist, objected Pugno.
At the start I had some lessons with quite a simple woman teacher. We lived near Paris, and my elder sister was then studying with Raoul Pugno; she was a good student and practised industriously. She said she would take me to the master, and one day she did so. I was a tiny child of about seven, very small and thin not much bigger than a fly. The great man pretended he could hardly see me.
"An audience has been arranged for you to-day, with M. Raoul Pugno; he will await you at four o'clock, in his Paris studio." Thus wrote the courteous representative of Musical America in Paris. It had been very difficult to make appointments with any of the famous French musicians, owing to their being otherwise engaged, or out of the city.
When he toured in America and other countries, he wrote me frequently; I could show you many letters, for I have preserved a large number letters filled with beautiful and exalted thoughts, expressed in noble and poetic language. They show that Pugno possessed a most refined, superior mind, and was truly a great artist. "I studied with Pugno ten years.
He was a wonderful teacher for those who had the insight to read between the lines, and were able to follow and absorb his artistic enthusiasms. "I have said that Pugno did not concern himself about teaching the technical side of piano playing. Even with me, his best pupil, he rarely touched upon technical points. I must mention a notable exception.
This appearance was the beginning; other engagements and successes followed, and thus he developed into one of the great pianists of France. "Pugno was a born pianist; he had a natural gift for technic, and therefore never troubled himself much about teaching technical exercises nor practising them.
"I regret that I am unable to converse with you in English, as I speak no language but my own," began M. Pugno, with a courteous wave of the hand for us to be seated. "You wish to know some of my ideas on piano playing or rather on teaching.
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