Chopin: Pianist and Teacher: As Seen by his Pupils by Jean-Jacques Eigeldinger

By Jean-Jacques Eigeldinger

The money owed of Chopin's scholars, associates and contemporaries, with his personal writing, offer precious insights into the musician's pianistic and stylistic perform, his educating tools and his aesthetic ideals. This targeted number of files, edited and annotated by means of Jean-Jacques Eigeldinger, finds Chopin as instructor and interpreter of his personal song. incorporated during this learn is vast appendix fabric that offers annotated rankings, and private debts of Chopin's taking part in through students, writers, and critics.

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It is hard to answer that without giving an outline of his musical aesthetic. His piano teaching is as closely bound up with stylistic views as it is with his contribution to the technique of the instrument. 20 Denis (under the date 20 April 18+3), p. 125. 21 Dated 20 May 1844; Grewingk, p. 13. r6 Introduction For Chopin, as for most of the Romantics - but even more so the Baroque and Classical composers - music is a language. Through the specific medium of organized sounds it seeks to express a world of thoughts, feelings and sensations.

69/r); the musical thought is divided into periods of two measures, and thus the concluding note of each second measure should be shorter and weaker than the preceding notes. ~ I : I -3 con espressione P I~J I IJ J t etc. h"1 :=0- IJ~ simile -.... - A -........ ==I I ~ b~ I r--1 f==- ... -J';"1 .... ~. ~ ==- ===~~ ==-- [ ••• J From these general rules, Chopin arrived at the following conclusion, do not play by too short phrases; that is to say, do not keep continually suspending the movement and lowering the to which he attached much importance: 44 Technique and style tone on too short members of the thought; that is again to say, do not spread the thought out too much, by slackenings of the movement - this fatigues the attention of the listener who is following its development.

69/r); the musical thought is divided into periods of two measures, and thus the concluding note of each second measure should be shorter and weaker than the preceding notes. ~ I : I -3 con espressione P I~J I IJ J t etc. h"1 :=0- IJ~ simile -.... - A -........ ==I I ~ b~ I r--1 f==- ... -J';"1 .... ~. ~ ==- ===~~ ==-- [ ••• J From these general rules, Chopin arrived at the following conclusion, do not play by too short phrases; that is to say, do not keep continually suspending the movement and lowering the to which he attached much importance: 44 Technique and style tone on too short members of the thought; that is again to say, do not spread the thought out too much, by slackenings of the movement - this fatigues the attention of the listener who is following its development.

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