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Updated: June 21, 2025
Above all I loved the memories of my education in music which I obtained in that ridiculous and venerable palace, long since too small for the pupils who thronged there from all parts of the world. I was fourteen when Stamaty, my piano teacher, introduced me to Benoist, the teacher of the organ, an excellent and charming man, familiarly known as "Father Benoist."
He was surprised at the way my education in music had been directed and he expressed this in a small work in which he discussed the necessity of making a correct start. In my case, he said, there was nothing to do but to perfect. Stamaty was Kalkbrenner's best pupil and the propagator of the method he had invented. This method was based on the guide main, so I was put to work on it.
But Seghers, who afterwards founded the Société St. Cécile, was a power in the affairs of the orchestra. He detested Stamaty and told him that the Société was not organized to play children's accompaniments. My mother felt hurt and wanted to hear nothing more of it.
On reaching Paris he was first put under the teaching of Charles Halle, but, as the latter master was a little careless, he was replaced by M. Camille Stamaty, who had the reputation of being the ablest professor in the city.
We know that Gottschalk studied in Paris with Camille Stamaty, and made his first appearance there in 1847. This was shortly before Chopin's death when his interest in music had abated greatly. No doubt Gottschalk played for Chopin for he was the first to introduce the Pole's music in America. Chopin was very particular about the formation of the touch, giving dementi's Preludes at first.
At that time my mother made a remark which was worthy of Cornelia. One day some one remonstrated with her for letting me play Beethoven's sonatas. "What music will he play when he is twenty?" she was asked. "He will play his own," was her reply. The greatest benefit I got from my experience with Stamaty was my acquaintance with Maleden, whom he gave me as my teacher in composition.
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