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Updated: June 3, 2025
Quit your fooling and get down to business. I'm going to have that paper." "Do you know, Mr. Tausig," I said impulsively, "if I were you, and anybody had stolen a valuable paper from me, I'd have him arrested. I would. I should not care a rap what the public exposure did to his reputation, so long so long," I grinned right up at him, "so long as it didn't hurt me, myself, in the eyes of the law."
Tausig, who at first had taken refuge chiefly with me, fell back later into his natural dependence upon his master, so that in the end he quite vanished from my sight, when he went with Liszt to visit Mme. Street in Brussels. I was now longing to leave Paris.
Follow Kleczynski's advice and do not sacrifice the Polonaise to the octaves. Karl Tausig, so Joseffy and de Lenz assert, played this Polonaise in an unapproachable manner. Powerful battle tableau as it is, it may still be presented so as not to shock one's sense of the euphonious, of the limitations of the instrument. This work becomes vapid and unheroic when transferred to the orchestra.
Of some of those who are familiar figures in our musical centres it has been said that Teresa Carreño learned from Rubinstein the art of piano necromancy; that Rosenthal is an amazing technician whose interpretations lack tenderness; that De Pachmann is on terms of intimacy with Chopin, and that Rafael Joseffy, the disciple of Tausig, combines all that is best in the others with striking methods of his own.
Tausig also mentioned Brahms to me, recommending him as a 'very good fellow, who, although he was so famous himself, would willingly take over a part of their work, and a selection from the Meistersinger was accordingly allotted to him. And, indeed, Brahms's behaviour proved unassuming and good-natured, but he showed little vivacity and was often hardly noticed at our gatherings.
When Rubinstein, Tausig and Liszt played Chopin in passional phrases, the public and critics were aghast. This was a transformed Chopin indeed, a Chopin transposed to the key of manliness. Yet it is the true Chopin. The young man's manners were a trifle feminine but his brain was masculine, electric, and his soul courageous.
The bronze fingers of a Tausig are needed. Now are arching the triplets to the great, thrilling song, beginning in C minor, and then the octaves, in contrary motion, split wide asunder the very earth.
But he found that he had made a mistake, and, after hearing it played by Tausig, confessed that the virtuoso had infused into the 'nine pages of enervating music, of one and the same long-breathed rhythm, so much interest, so much motion, so much action, that he regretted the long piece was not longer."
His choice was three manuscripts of Chopin's, one of them being this nocturne. A letter from Mr. Polinski on the subject of this nocturne is in the possession of Miss Janotha. Is this the nocturne of which Tausig spoke to his pupil Joseffy as belonging to the Master's "best period," or did he refer to the one in E minor? The Berceuse, op. 57, published June, 1845, and dedicated to Mlle.
Now where is the "tradition" when confronted by the mighty crashing of Rosenthal in this particular part of the Polonaise? Of Karl Tausig, Weitzmann said that "he relieved the romantically sentimental Chopin of his Weltschmerz and showed him in his pristine creative vigor and wealth of imagination."
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