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

By Jean-Jacques Eigeldinger

The debts of Chopin's scholars, associates and contemporaries, with his personal writing, supply beneficial insights into the musician's pianistic and stylistic perform, his instructing tools and his aesthetic ideals. This exact selection of files, edited and annotated by way of Jean-Jacques Eigeldinger, unearths Chopin as instructor and interpreter of his personal song. incorporated during this examine is wide appendix fabric that offers annotated rankings, and private bills of Chopin's enjoying via scholars, writers, and critics.

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70 Practice of trills Trill with three fingers at least, and four when practising. 66 Chopin, PM/Jc::drzejewicz copy Octaves, double notes and chords Octaves were to be played from the wrist, it is true,67 but without thereby losing any of their fullness of tone. Mikuli, p. 4 In simple repeated notes and octaves don't leave the key, but simply let the finger be softly pushed back up by the key itself. , p. 38 For playing double notes and cords, Chopin demanded that the notes be struck strictly simultaneously; breaking was allowed only where the composer himself had specified it.

Many ofthese definitions appear already from Rameau: 'In a word [sic], the expression ofthought, of feeling, of passion, must be the real object of Music' (Code de musique pratique, Paris, 1760, p. 170). ' (Schumann, GS, I, p. 30) - this despite Chopin's musical aesthetic being in other ways diametrically opposed to Schumann's. The expression 'dire un morceau de musique' (to 'tell' a piece of music) was current in French musical circles of the last century and even at the beginning of this one.

38-40 below plus the relevantnotes-8s, pp. II6-17; 91, p. 117-18), and also Appendix III. 20 Introduction Crossing over these same fingers in passages of chromatic thirds (Etude op. 25/6, Berceuse op. 57, Prelude op. 28124). - Passing the 5th finger over the thumb (Etude op. 25/II, Impromptu op. 29, and elsewhere). - Using the same finger on successive notes in a melodic line, diatonic as well as chromatic (Nocturne op. 37/1 and elsewhere). 'o Chopin also expanded piano technique by developing a new dependence on pedal, a factor that decisively influenced his piano writing, of which it acts as an integrating element (unlike with Hummel).

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