Download Chopin: Pianist and Teacher: As Seen by his Pupils by Jean-Jacques Eigeldinger PDF
By Jean-Jacques Eigeldinger
The debts of Chopin's students, associates and contemporaries, along with his personal writing, offer invaluable insights into the musician's pianistic and stylistic perform, his instructing equipment and his aesthetic ideals. This distinctive selection of files, edited and annotated via Jean-Jacques Eigeldinger, finds Chopin as instructor and interpreter of his personal tune. integrated during this research is large appendix fabric that provides annotated ratings, and private money owed of Chopin's enjoying by way of scholars, writers, and critics.
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Additional info for Chopin: Pianist and Teacher: As Seen by his Pupils
48/r). 34 35 36 examples; the small groups of added grace notes, falling like tiny drops of speckled dew over the melodic figure. To this kind of ornamentation, previously modelled solely upon the fioritura of the great old Italian school of singing, he gave an unexpectedness and a variety beyond the reach of the human voice, which had hitherto been slavishly copied by the piano in embellishments that eventually became stereotyped and monotonous. He invented those wonderful harmonic progressions which would enhance with a serious aspect even those pages which, considering the lightness of their subject, did not seem to aspire to such importance' (Liszt, pp.
4 Technique and style MUSICAL STYLE We use sounds to make music just as we use words to make a language. Chopin, PM Musical prosody and declamation; phrasing Here are the chief practical directions as to expression which Chopin often repeated to his pupils: A long note is stronger, as is also a high note. A dissonant is likewise stronger, and equally so a syncopated note. The ending of a phrase, before a comma, or a stop, is always weak. If the melody ascends, one plays crescendo, if it descends, decrescendo.
37 below, and p. ro6, note 59. This idea emerges from comments by Liszt on the innovations brought about by Chopin: 'It is to him that we owe the extension of chords, whether struck together, arpeggiated or in whole successions; the chromatic and enharmonic meanderings of which his music offers such striking r8 Introduction 'Everything is a matter of knowing good fingering [... J Just as we need to use the conformation of the fingers, we need no less to use the rest of the hand, the wrist, the forearm and the upper arm.