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Great Pianists on Piano Playing

by James Francis Cooke

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  1. 1By — James Francis Cooke
  2. 2The Artist's Life — The Virtuoso's Career as It Really Is
  3. 3Golden Bait
  4. 4Freak Pianists
  5. 5A Pathetic Example
  6. 6The Pianist of To-day
  7. 7The Magic of Magnetism
  8. 8A Notable Example
  9. 9The Greatest Thing of All
  10. 10Are Pianists Born or Made?
  11. 11The American Virtuoso of To-day
  12. 12Biographical
  13. 13The Story of a Wonder Child · pepito arriola — My Earliest Recollec…
  14. 14My Friendship With Arthur Nikisch
  15. 15My First Regular Instruction
  16. 16Early Repertory
  17. 17My Daily Practice
  18. 18General Education
  19. 19Theoretical Studies
  20. 20Reading and Study
  21. 21At the Concert
  22. 22Series I — pepito arriola
  23. 23Biographical
  24. 24The Pianist of To-Morrow · wilhelm bachaus — To-day, Yesterday and…
  25. 25The Wonderful Efficacy of Scales
  26. 26Bach Musically Omnipotent
  27. 27The Old That Is Ever New
  28. 28Difficulties in New Pianoforte Compositions
  29. 29Mere Difficulty No Longer Astounds
  30. 30Modern Compositions
  31. 31The Most Difficult Compositions
  32. 32Praise That Irritates
  33. 33Why Not Seek the Beautiful?
  34. 34Exercises That Give Immediate Help
  35. 35Avoid Too Complicated Exercises
  36. 36Series II — wilhelm bachaus
  37. 37Biographical
  38. 38Artistic Aspects of Piano Study · harold bauer — The Immediate Rela…
  39. 39The Aim of Technic
  40. 40Seeking Individual Expression
  41. 41The Resistance of the Medium
  42. 42The Perversion of Studies
  43. 43The Unit of Musical Expression
  44. 44Music First, the Instrument Afterwards
  45. 45Variety the Spice of Art
  46. 46Muscular and Nervous Energy
  47. 47Phrasing and Breathing
  48. 48The Natural Effect of Emotions
  49. 49Series III — harold bauer
  50. 50Biographical
  51. 51Appearing in Public — fanny bloomfield-zeisler
  52. 52Thorough Preparation Necessary
  53. 53Leschetizky and 'Method'
  54. 54Well-selected Programs
  55. 55Personality
  56. 56Do Not Attempt the Impossible
  57. 57Foreign Débuts
  58. 58Practical Suggestions
  59. 59Series IV — fanny bloomfield-zeisler
  60. 60Biographical
  61. 61Important Details in Piano Study · ferruccio benvenuto busoni — The…
  62. 62Learning To Listen
  63. 63Self Development
  64. 64Finding Individual Faults
  65. 65Details of Phrasing and Accentuation
  66. 66Bach, Bach, Bach
  67. 67Series V — ferruccio benvenuto busoni
  68. 68Biographical
  69. 69Distinctive Piano Playing · teresa carreño — Early Evidences of Ind…
  70. 70New Problems at Every Step
  71. 71The Teacher's Responsibility
  72. 72Edward MacDowell's Individuality
  73. 73Developing Individuality Through Poetry
  74. 74Cultivating Vivacity and Brilliancy
  75. 75The Importance of Studying Musical History
  76. 76Series VI — teresa carreño
  77. 77Biographical
  78. 78Essentials of Touch — ossip gabrilowitsch
  79. 79A Rigid Arm Undesirable
  80. 80Touch a Distinguishing Characteristic
  81. 81Combining Different Touches
  82. 82Mechanical Methods Dangerous
  83. 83Students Should Hear Virtuosos
  84. 84Methods, and Still More Methods
  85. 85Don't Neglect Ear Training
  86. 86Artistic Interpretation Paramount
  87. 87Series VII — ossip gabrilowitsch
  88. 88Biographical
  89. 89The Real Significance of Technic · leopold godowsky — Ideas Upon Te…
  90. 90The Brain Side of Piano Study
  91. 91The Emotions in Piano Playing
  92. 92Inspiring the Student
  93. 93Changes in the Mechanism of the Instrument
  94. 94The Significance of Weight Playing
  95. 95Moulding the Fingers To the Keys
  96. 96Individuality, Character and Temperament
  97. 97Genius and Work
  98. 98Series VIII — leopold godowsky
  99. 99Biographical
  100. 100Analyzing Masterpieces · katharine goodson — The Natural Tendency T…
  101. 101The First Step in Analyzing a New Piece
  102. 102The Poetic Idea of the Piece
  103. 103Studying the Rhythm
  104. 104The Analysis of Phrases
  105. 105Studying the Harmony
  106. 106A Careful Analysis of Touch Effects
  107. 107The Responsibilities of the Teacher
  108. 108Series IX — katharine goodson
  109. 109Biographical
  110. 110Progress in Piano Study — josef hofmann
  111. 111What Determines Changes in Playing
  112. 112The New Technic and the Old
  113. 113Technic Since Liszt
  114. 114Definite Methods are Little More than Stencils
  115. 115The Study of Details Imperative
  116. 116Well-meaning Advisers
  117. 117Series X — josef hofmann
  118. 118Biographical
  119. 119Piano Study in Russia · josef lhévinne — Russia's Many Keyboard Mas…
  120. 120With the Musical Child in Russia
  121. 121The Kind of Music the Russian Child Hears
  122. 122Instruction Books
  123. 123Opportunities for Virtuoso-Students in Russia
  124. 124Why Russian Pianists Are Famed for Technic
  125. 125Modern Russian Influence in Musical Art
  126. 126Series XI — josef lhévinne
  127. 127Biographical
  128. 128Seeking Originality · vladimir de pachmann — The Meaning of Origina…
  129. 129Machine Teaching
  130. 130Originality the Road To Permanent Fame
  131. 131The Most Original Composers
  132. 132Self-help the Secret of Many Successes
  133. 133A Surprised Teacher
  134. 134Deep Thought Necessary
  135. 135Take Time To Do Things Well
  136. 136Mastering Artistic Details
  137. 137Something No One Can Teach
  138. 138The Best Teacher
  139. 139The Basis of Greatness
  140. 140Series XII — vladimir de pachmann
  141. 141Biographical
  142. 142Modern Pianistic Problems · max pauer — Acquiring the Requisite Tec…
  143. 143Innovators Should Be Pianists
  144. 144Avoid Machine-like Playing
  145. 145Broad Understanding Necessary
  146. 146Freedom From Convention
  147. 147Series XIII — max pauer
  148. 148Biographical
  149. 149Essentials of Artistic Playing · s. v. rachmaninoff — Forming the P…
  150. 150Technical Proficiency
  151. 151Proper Phrasing
  152. 152Regulating the Tempo
  153. 153Character in Playing
  154. 154The Significance of the Pedal
  155. 155The Danger of Convention
  156. 156Real Musical Understanding
  157. 157Playing To Educate the Public
  158. 158The Vital Spark
  159. 159Series XIV — s. v. rachmaninoff
  160. 160Biographical
  161. 161Systematic Musical Training — alfred reisenauer
  162. 162Köhler's Technical Scheme
  163. 163With Liszt
  164. 164Liszt's Pedagogical Methods
  165. 165A Unique Attitude
  166. 166The Future of Pianoforte Music
  167. 167American Musical Taste
  168. 168Concert Conditions in America
  169. 169Series XV — alfred reisenauer
  170. 170Biographical
  171. 171The Training of the Virtuoso — emil sauer
  172. 172Slow Systematic Practice
  173. 173The Necessity for a Good General Education
  174. 174Clean Playing vs. Slovenly Playing
  175. 175Health a Vital Factor
  176. 176Judicious Use of Technical Exercises
  177. 177Study Abroad
  178. 178Versatility
  179. 179Cultivating Finger Strength
  180. 180Velocity
  181. 181Talent
  182. 182Be Natural
  183. 183Talent Counts
  184. 184Series XVI — emil sauer
  185. 185Biographical
  186. 186Economy in Music Study — xaver scharwenka
  187. 187Time Lost in Early Study
  188. 188Ear-Training
  189. 189Waste in Technical Study
  190. 190Waste in Unimportant Subjects
  191. 191Brain Technic Versus Finger Technic
  192. 192A Case in Point
  193. 193Series XVII — xaver scharwenka
  194. 194Biographical
  195. 195Learning a New Piece · ernest schelling — Preliminary Study
  196. 196The Technical Demands of the Piece
  197. 197Formal Divisions
  198. 198The Touch Required
  199. 199The Right Tempo
  200. 200Rhythmic Peculiarities
  201. 201The Composer's Inspiration
  202. 202Studying the Phrasing
  203. 203Marking the Fingering
  204. 204Memorizing
  205. 205Series XVIII — ernest schelling
  206. 206Biographical
  207. 207What Interpretation Really Is · sigismund stojowski — The Composer'…
  208. 208The Interpreter Must Coöperate with the Composer
  209. 209Studying the Historical Background
  210. 210The Inadequacy of Musical Signs
  211. 211Learning the Musical Language
  212. 212Mistakes Peculiar to the Pianoforte Player
  213. 213Series XIX — Sigismund Stojowski

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