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Type of bind: Hardcover
Dewey Decimal Number: 786.2092
EAN num: 9780253332233
ISBN number: 0253332230
Label: Indiana University Press
Manufacturer: Indiana University Press
Quantity: 1
Page Count: 209
Printing Date: 1996-12
Publishing house: Indiana University Press
Sale Popularity Level: 720307
Studio: Indiana University Press
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Product Description:
The diaries of August G'llerich, secretary and student of Franz Liszt, perpetuate 'the Liszt tradition' in this first-hand account of the Master's approach to piano teaching, his likes and prejudices both musical and social, and his way of encouraging and befriending his students. Liszt made specific comments about a wide repertoire, including pieces by his close friend Chopin. His insights on other composers and references to little-known or out-of-print works are particularly valuable. Pianists interested in the history of performance practice and the Romantic era will learn from and take delight in this volume.
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Rated by buyers -
I cannot imagine why any pianist would not want this book. Here, Goellerich provides a sort of window in time, allowing the reader to listen in on a master class of Franz Liszt. Liszt provides invaluable suggestions in interpretation, and suggests how the composer may have wanted his piece performed. Since he heard many pieces performed by the composers themselves (Chopin, Schumann, etc), his advice should be respected.
Further, this book provides a great way for the pianist to boost his or her repertoire. There is much music here that has fallen into disuse, and Liszt discusses these works and provides performance suggestions. For example, many of his students played music by Rubinstein, a composer who has, sadly, fallen out of fashion.
Also, since Liszt was taught by Czerny, who was taught by Beethoven, his suggestions for the performance of Beethoven's works are absolute gold.
There is very little technical advice in this book. If you were a student of Liszt, you had a good technique as a matter of course. He seems to focus more on expression, tempo, and clean playing. Technique is not the purpose of this book. Goellerich records Liszt's performance suggestions, and for that, this book should be read by all serious pianists.
Rated by buyers -
Grab this one! If you play classical piano and have an interest in Franz Liszt and his methodology with the students at Weimar, this is the one! I'll add for the record that the diary notes of August Göllerich which is the basis of this book also has the blessing of Lisztian authority and scholar Dr. Alan Walker who commented, " ... as much a record of the life of Liszt's mind as of the life of his fingers [...] an extraordinary bond of friendship and collegiality that existed between Liszt and his pupils ... they were members of an extended family ... Liszt was not a mere piano teacher, but rather a Guru who treated his acolytes like equals."
So too, the quips of Liszt himself are recorded in abundance and unlike the Amy Fay letters home tome when she herself was taught by Liszt [and others] , Göllerich names the student names who were on the 'hot seat' including those times that the "master" was not pleased. One learns quickly that Liszt references to the 'conservatory' or 'doing wash' or those Liszt termed 'uninvited guests' [read: clinkers] made the rounds with some frequency where the clear 'message' for much more practice was quite evident! Or worse!
Score examples abound in the book while Liszt's input on the various pieces is virtually on every page. So too, just as Liszt could be lavish with his "Bravo!" praise, he could likewise pull no punches whatsoever in his criticisms! Ohh yes! While it is quite true that Liszt never charged anything for these group master-classes, which I'll add at once was a distinct privilege, well, it's also true that this was the original, shall we say, 'many are called but few are chosen' kind of thing so students sent packing, urged or self-assessed therein, did happen! Frequently.
It was a given that 'before' the student sought out Liszt, they knew what they were doing on the piano and, if not, they were duly informed forthwith not to mention recorded cases of those who showed up, heard 'others' playing and beat a hasty retreat at the get-go to save themselves any further embarrassment. It was said that if one could not pass muster with the pupils of Liszt, the chance of ever 'impressing' [!] Liszt himself was a virtual impossibility.
What's that? In other words, if I could make with the magic wand thing and we could go back in time, what, are you quite confident to play for Liszt and be 'automatically' welcomed to the fold with open arms? Ahhh! Of course ... the Cage piece ... 4'33" ! Be prepared tho' for the famous Liszt 'stare' when you pull 'that' one on him in between those [alleged] "movements" ! You could always try the "prepared piano" gambit! ;-)
Switching: Get the book, it's a keeper! It's as if you were there simply observing but getting a good dose of the Liszt methodology in the process and the literal awe in which his students held him ... and for good reason therein! Franz Liszt! That says it all.
Doc Tony
[and then ... ]
Voice A: "What's all this business about John Cage and 4'33" ?"
Voice B: [--mute--]
Voice A: "Well, answer me! Tell me what it's all about!"
Voice B: "I just did!" [!]
Voice C: [a 'believer']: "There it is!"
;-)
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