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The works which live are his piano concertos, of which about sixty were written for the piano alone, and the remainder as duets or trios; and, par excellence, his "Gradus ad Parnassum," a superb series of one hundred studies, upon which even to-day the solid art of piano-forte playing rests.
And following his idea of stimulating the pupil's self-development, the Professor encouraged us to find what we needed ourselves. I remember that once we were standing in a corridor of the Conservatory when I asked him, 'What should I practice in the way of studies? he answered: 'Take the difficult passages from the great concertos.
In previous chapters, Beethoven's pianoforte compositions-sonatas, trios, the quintett, etc., up to Op. 54, exclusive of the concertos for that instrument and orchestra-have been treated. In this we have a very pleasing account of the gradual progress of the composer from the concerto to the full splendor of the grand symphony.
I have many a time, as well as my master, Zimmermann, caused Chopin's sonatas, concertos, ballades, and allegros to be played as examination pieces; but restricted as I was to a fragment of the work, I was pained by the thought of hurting the composer, who considered these alterations a veritable sacrilege. This, however, is a digression.
"Her Majesty was the great patroness of the celebrated Viotti, who was also attached to her private musical parties. Before Viotti began to perform his concertos, Her Majesty, with the most amiable condescension, would go round the music saloon, and say, 'Ladies and gentlemen, I request you will be silent, and very attentive, and not enter into conversation, while Mr.
I never played exercises or technical works of any kind for the Professor, but outside of the big things the concertos and sonatas, and the shorter pieces which he would let me prepare I often chose what I wanted. "Professor Auer was a very active and energetic teacher. He was never satisfied with a mere explanation, unless certain it was understood.
In considering his Sinfonietta, the Serenade, the Hiller Variations, the Prologue to a Tragedy, the Lustspiel Overture, the two concertos respectively for pianoforte and violin, we are struck not as much by the easy handling of old forms, as by the stark emotional content of these compositions.
After dinner I played two concertos, something out of my head, and then a trio of Hafeneder's on the violin. I would gladly have played more, but I was so badly accompanied that it gave me the colic. He said to me, good- naturedly, "Don't let us part company to-day; go to the play with us, and return here to supper." We were all very merry.
There are seven concertos, eleven "airs variées," several books of studies, four trios and a number of duets for piano and violin. His "Violin School" has been published in many languages and used a great deal by students. Delphin Jean Alard was at one time a favourite violinist in France. In 1842 he succeeded Baillot as professor of violin at the Conservatoire in Paris.
It is not her father's intention to make any very great composer of her. 'I do not wish her, he says, 'to write any operas, airs, concertos, or symphonies, but merely grand sonatas for her instrument, as I do for mine.
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