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Author : Wilhelm Von Lenz Publisher : BoD – Books on Demand Page : 182 pages File Size : 53,6 Mb Release : 2013-01-06 Category : Music ISBN : 9783955079260
The Great Piano Virtuosos of Our Time by Wilhelm Von Lenz Pdf
Wilhelm von Lenz was a a personal acquaintance of the famous romantic composers of the mid 19th century. His accounts tell us how the author experienced and evaluated the lives and careers of Franz Liszt, Fréderic Chopin, Carl Tausig and Adolf von Henselt.
Great Piano Virtuosos of Our Time by Wilhelm von Lenz Pdf
A classic of piano literature, first published in German in 1872, with the first English edition appearing in New York in 1899. Wilhelm von Lenz, pupil and friend of both Liszt and Chopin and who also knew Tausig, Henselt and Cramer, provides unique, intimate portraits of these legendary musicians, reminding us that they were not only musical geniuses but very human. One is enthralled by his description of his first meeting with Liszt and his attempt to play on Liszt¿s specially prepared practice piano; his experiences with Chopin and his disastrous introduction to George Sand; by his meetings with the aged and almost forgotten Cramer and with the fiery Carl Tausig, Liszt¿s favorite pupil; and his account of Henselt, who gave but 3 concerts in 33 years. Illus.
The Great Piano Virtuosos of Our Time; from Personal Acquaintance by Wilhelm von Lenz Pdf
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1899 edition. Excerpt: ... am I--we are comrades, and I am at your command while you are in Berlin." Chopin did not receive me in this manner; this was Berlin, not Paris! That was German cordiality, no conventional iciness about that--and yet Tausig occupied the same position in Berlin, as did Chopin in Paris." "Shall I send you a piano?" he asked. "I have some very good ones." I was soon able to visit him in the Taubenstrasse, where he lived. The first time I went he was not at home. I told the maid I would await her master, and made my way directly to the bookcase in the first room. On the handsome bindings in the first row I read the names of the great German philosophers. I was less astounded, than pleasantly surprised. I had to wait a long while, so I examined one book after another until I came to Arthur Schopenhauer, when Tausig laid his hand on my shoulder saying: "Good books, are they not? They are my favorites --and they are not for show, I read them often! Down here are my 'naturals'--(he spoke jestingly of the natural histories)--but your book is also here; do you not believe me ?--here it is." "Have you read it ?--truly?" He hesitated a moment, then looked me frankly in the eyes and said: "I have read the French one; it made a fearful row at Liszt's." "That is the poorest one," I replied; "read the German one--but only the last volume is for you--the contemplation of the last works--for instance the A major Sonata, Op. 101; Holz and others in Vienna supplied me with some hitherto unknown particulars concerning it." "The A major is in that? It is my favorite. That shall be 'taken care of.' I will read it to-day." He took down the book, and laid it on the table in the drawing-room. We went into the next room, where the first piano presented itself. On...
The Great Piano Virtuosos of Our Time From Personal Acquaintance by Wilhelm von Lenz Pdf
Excerpt from The Great Piano Virtuosos of Our Time From Personal Acquaintance: Liszt, Chopin, Tausig, Henselt All the great pianists of the first half of the century, were personally known to me: Field, Hummel, Moscheles, Kalkbrenner. From the school which we now already call "old" (excluding Field, who went his own peculiar way), a school which, if not founded by Hummel, was at least essentially influenced by him, I came to the new era of the pianoforte, to Liszt and Chopin. Liszt is a phenomenon of universal musical virtuosity, such as had never before been known: not simply a pianistic wonder. Liszt is a phenomenon spreading over the whole domain of musical production, and creating a universal standard of comparison. Liszt does not merely play piano; he tells, at the piano, the story of his own destiny, which is closely linked to, and reflects, the progress of our time. Liszt is a latent history of the keyboard, himself its crowning glory. To him the piano becomes an approximate expression of his high mental cultivation, of his views, of his faith and being. What does piano-playing matter to him! About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The Great Piano Virtuosos of Our Time From Personal Acquaintance by Wilhelm Von Lenz,Madeleine R Baker Pdf
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The Great Piano Virtuosos of Our Time from Personal Acquaintance by Wilhelm von Lenz,Madeleine R. Baker Pdf
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
The Great Piano Virtuosos of Our Time from Personal Acquaintance by Wilhelm von Lenz,Madeleine R. Baker Pdf
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
GRT PIANO VIRTUOSOS OF OUR TIM by Wilhelm Von 1808-1883 Lenz,Madeleine R. Baker Pdf
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Practicing Music by Design by Christopher Berg Pdf
Practicing Music by Design: Historic Virtuosi on Peak Performance explores pedagogical practices for achieving expert skill in performance. It is an account of the relationship between historic practices and modern research, examining the defining characteristics and applications of eight common components of practice from the perspectives of performing artists, master teachers, and scientists. The author presents research past and present designed to help musicians understand the abstract principles behind the concepts. After studying Practicing Music by Design, students and performers will be able to identify areas in their practice that prevent them from developing. The tenets articulated here are universal, not instrument-specific, borne of modern research and the methods of legendary virtuosi and teachers. Those figures discussed include: Luminaries Franz Liszt and Frederic Chopin Renowned performers Anton Rubinstein, Mark Hambourg, Ignace Paderewski, and Sergei Rachmaninoff Extraordinary teachers Theodor Leschetizky, Rafael Joseffy, Leopold Auer, Carl Flesch, and Ivan Galamian Lesser-known musicians who wrote perceptively on the subject, such as violinists Frank Thistleton, Rowsby Woof, Achille Rivarde, and Sydney Robjohns Practicing Music by Design forges old with new connections between research and practice, outlining the practice practices of some of the most virtuosic concert performers in history while ultimately addressing the question: How does all this work to make for better musicians and artists?
This book offers a novel interpretation of the sudden and steep decline of instrumental virtuosity in its critical reception between c. 1815 and c. 1850, documenting it with a large number of examples from Europe’s leading music periodicals at the time. The increasingly hostile critical reception of instrumental virtuosity during this period is interpreted from the perspective of contemporary aesthetics and philosophical conceptions of human subjectivity; the book’s main thesis is that virtuosity qua irreducibly bodily performance generated so much hostility because it was deemed incompatible with, and even threatening to, the new Romantic philosophical conception of music as a radically disembodied, abstract, autonomous art and, moreover, a symbol or model – if only a utopian one – of a similarly autonomous and free human subject, whose freedom and autonomy seemed increasingly untenable in the economic and political context of post-Napoleonic Europe. That is why music, newly reconceived as radically abstract and autonomous, plays such an important part in the philosophy of early German Romantics such as E. T. A. Hoffmann, Schelling, and Schopenhauer, with their growing misgivings about the very possibility of human freedom, and not so much in the preceding generation of thinkers, such as Kant and Hegel, who still believed in the (transcendentally) free subject of the Enlightenment. For the early German Romantics, music becomes a model of human freedom, if freedom could exist. By contrast, virtuosity, irredeemably moored in the perishable human body, ephemeral, and beholden to such base motives as making money and gaining fame, is not only incompatible with music thus conceived, but also threatens to expose it as an illusion, in other words, as irreducibly corporeal, and, by extension, the human subject it was meant to symbolise as likewise an illusion. Only with that in mind, may we begin to understand the hostility of some early to mid-19th-century critics to instrumental virtuosity, which sometimes reached truly bizarre proportions. In order to accomplish this, the book looks at contemporary aesthetics and philosophy, the contemporary reception of virtuosity in performance and composition, and the impact of 19th-century gender ideology on the reception of some leading virtuosi, male and female alike.
