Piano Mastery: Talks with Master Pianists and Teachers
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Piano Mastery: Talks with Master Pianists and Teachers

By Harriette Brower
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  • The Project Gutenberg eBook, Piano Mastery, by Harriette Brower
    • E-text prepared by Chuck Greif and the Project Gutenberg Online Distributed Proofreading Team from page images generously provided by the Internet Archive Million Book Project
  • PIANO MASTERY
    • TALKS WITH MASTER PIANISTS AND TEACHERS
      • AN ACCOUNT OF A VON BÜLOW CLASS, HINTS ON INTERPRETATION, BY TWO AMERICAN TEACHERS (DR. WILLIAM MASON AND WILLIAM H. SHERWOOD) AND A SUMMARY BY THE AUTHOR
      • BY
    • AN ACCOUNT OF A VON BÜLOW CLASS, HINTS ON INTERPRETATION, BY TWO AMERICAN TEACHERS (DR. WILLIAM MASON AND WILLIAM H. SHERWOOD) AND A SUMMARY BY THE AUTHOR
    • BY
    • HARRIETTE BROWER
      • Author of "The Art of the Pianist"
        • WITH SIXTEEN PORTRAITS
        • NEW YORK FREDERICK A. STOKES COMPANY PUBLISHERS
        • 1915
      • WITH SIXTEEN PORTRAITS
      • NEW YORK FREDERICK A. STOKES COMPANY PUBLISHERS
      • 1915
    • Author of "The Art of the Pianist"
      • WITH SIXTEEN PORTRAITS
      • NEW YORK FREDERICK A. STOKES COMPANY PUBLISHERS
      • 1915
    • WITH SIXTEEN PORTRAITS
    • NEW YORK FREDERICK A. STOKES COMPANY PUBLISHERS
    • 1915
    • CONTENTS
    • ILLUSTRATIONS
    • PRELUDE
      • TO AMERICAN PIANO TEACHERS AND STUDENTS
    • TO AMERICAN PIANO TEACHERS AND STUDENTS
  • PIANO MASTERY
    • I.
    • IGNACE JAN PADEREWSKI
      • CLEARNESS A MUST PRINCIPLE
      • FINGERING
      • CORRECT MOTION
      • STUDYING EFFECTS
      • INTERPRETATION
    • CLEARNESS A MUST PRINCIPLE
    • FINGERING
    • CORRECT MOTION
    • STUDYING EFFECTS
    • INTERPRETATION
    • II.
    • ERNEST SCHELLING
      • THE HAND OF A PIANIST
    • THE HAND OF A PIANIST
    • III.
    • ERNESTO CONSOLO
      • MAKING THE PIANO A MUSICAL INSTRUMENT
    • MAKING THE PIANO A MUSICAL INSTRUMENT
    • IV.
    • SIGISMOND STOJOWSKI
      • MIND IN PIANO STUDY
      • NATURAL TECHNIC
      • KEEPING UP A REPERTOIRE
      • FILLING IN A PASSAGE
    • MIND IN PIANO STUDY
    • NATURAL TECHNIC
    • KEEPING UP A REPERTOIRE
    • FILLING IN A PASSAGE
    • V.
    • RUDOLPH GANZ
      • CONSERVING ENERGY IN PIANO PRACTISE
    • CONSERVING ENERGY IN PIANO PRACTISE
    • VI.
    • TINA LERNER
      • AN AUDIENCE IS THE BEST TEACHER
    • AN AUDIENCE IS THE BEST TEACHER
    • VII.
    • ETHEL LEGINSKA
      • RELAXATION THE KEYNOTE OF MODERN PIANO PLAYING
    • RELAXATION THE KEYNOTE OF MODERN PIANO PLAYING
    • VIII.
    • BERTHA FIERING TAPPER
      • MASTERING PIANISTIC PROBLEMS
    • MASTERING PIANISTIC PROBLEMS
    • IX.
    • CARL M. ROEDER
      • PROBLEMS OF PIANO TEACHERS
      • FOUNDATIONAL EXERCISES
      • USE OF STUDIES
      • BOOKS THAT ARE HELPFUL
      • IN REGARD TO INTERPRETATION
      • QUESTION OF PERSONALITY
    • PROBLEMS OF PIANO TEACHERS
    • FOUNDATIONAL EXERCISES
    • USE OF STUDIES
    • BOOKS THAT ARE HELPFUL
    • IN REGARD TO INTERPRETATION
    • QUESTION OF PERSONALITY
    • X.
    • KATHARINE GOODSON
      • AN ARTIST AT HOME
      • MEMORIZING BY ANALYSIS
      • A PIANO HAND
    • AN ARTIST AT HOME
    • MEMORIZING BY ANALYSIS
    • A PIANO HAND
    • XI.
    • MARK HAMBOURG
      • FORM, TECHNIC, AND EXPRESSION
      • LOW HAND POSITION
      • AMOUNT OF PRACTISE
    • FORM, TECHNIC, AND EXPRESSION
    • LOW HAND POSITION
    • AMOUNT OF PRACTISE
    • XII.
    • TOBIAS MATTHAY
      • WATCHING THE ARTIST TEACHER AT WORK
    • WATCHING THE ARTIST TEACHER AT WORK
    • XIII.
    • HAROLD BAUER
      • THE QUESTION OF PIANO TONE
      • VARIETY OF TONE
      • AVOID RESTRICTING RULES
      • THE QUESTION OF VELOCITY
      • OBTAINING POWER
    • THE QUESTION OF PIANO TONE
    • VARIETY OF TONE
    • AVOID RESTRICTING RULES
    • THE QUESTION OF VELOCITY
    • OBTAINING POWER
    • XIV.
    • A VISIT TO RAOUL PUGNO
      • TRAINING THE CHILD
      • TRAINING THE CHILD
    • TRAINING THE CHILD
    • TRAINING THE CHILD
    • XV.
    • THUEL BURNHAM
      • THE "MELODY" AND "COLORATURA" HAND
      • PRINCIPLES OF TOUCH
      • MELODY HAND
      • THE TECHNICAL HAND
      • ASSIMILATION OF PRINCIPLES
      • MEMORIZING
      • OCTAVE STUDIES
      • KEEPING UP REPERTOIRE
      • DETAILS OF PRACTISE
    • THE "MELODY" AND "COLORATURA" HAND
    • PRINCIPLES OF TOUCH
    • MELODY HAND
    • THE TECHNICAL HAND
    • ASSIMILATION OF PRINCIPLES
    • MEMORIZING
    • OCTAVE STUDIES
    • KEEPING UP REPERTOIRE
    • DETAILS OF PRACTISE
    • XVI.
    • EDWIN HUGHES
      • SOME ESSENTIALS OF PIANO PLAYING
      • TONE PRODUCTION
      • RHYTHM IN PIANO PLAYING
      • ABOUT MEMORIZING
      • KEEPING TECHNIC IN REPAIR
      • AMERICAN VERSUS EUROPEAN CONDITIONS
    • SOME ESSENTIALS OF PIANO PLAYING
    • TONE PRODUCTION
    • RHYTHM IN PIANO PLAYING
    • ABOUT MEMORIZING
    • KEEPING TECHNIC IN REPAIR
    • AMERICAN VERSUS EUROPEAN CONDITIONS
    • XVII.
    • FERRUCCIO BUSONI
      • AN ARTIST AT HOME
    • AN ARTIST AT HOME
    • XVIII.
    • ADELE AUS DER OHE
      • ANOTHER ARTIST AT HOME
      • LETTING THE HAND FIND ITSELF
    • ANOTHER ARTIST AT HOME
    • LETTING THE HAND FIND ITSELF
    • XIX.
    • ELEANOR SPENCER
      • MORE LIGHT ON LESCHETIZKY'S IDEAS
      • MEMORIZING
      • POWER AND VELOCITY
    • MORE LIGHT ON LESCHETIZKY'S IDEAS
    • MEMORIZING
    • POWER AND VELOCITY
    • XX.
    • ARTHUR HOCHMAN
      • HOW THE PIANIST CAN COLOR TONE WITH ACTION AND EMOTION
      • FOUR REQUISITES FOR PIANISTS
      • MAKING CLIMAXES PIANISSIMO
      • WE DO NOT WANT CUT-AND-DRIED PERFORMANCES
      • DISSECTION OF DETAILS
    • HOW THE PIANIST CAN COLOR TONE WITH ACTION AND EMOTION
    • FOUR REQUISITES FOR PIANISTS
    • MAKING CLIMAXES PIANISSIMO
    • WE DO NOT WANT CUT-AND-DRIED PERFORMANCES
    • DISSECTION OF DETAILS
    • XXI.
    • TERESA CARREÑO
      • EARLY TECHNICAL TRAINING
      • 580 TECHNICAL EXERCISES
      • VALUE OF TRANSPOSING
    • EARLY TECHNICAL TRAINING
    • 580 TECHNICAL EXERCISES
    • VALUE OF TRANSPOSING
    • XXII.
    • WILHELM BACHAUS
      • TECHNICAL PROBLEMS DISCUSSED
      • OVERHAULING ONE'S TECHNIC
      • MODERN PIANO MUSIC
      • A BRAHMS CONCERTO
    • TECHNICAL PROBLEMS DISCUSSED
    • OVERHAULING ONE'S TECHNIC
    • MODERN PIANO MUSIC
    • A BRAHMS CONCERTO
    • XXIII.
    • ALEXANDER LAMBERT
      • AMERICAN AND EUROPEAN TEACHERS
      • POWER WITHOUT EFFORT
    • AMERICAN AND EUROPEAN TEACHERS
    • POWER WITHOUT EFFORT
    • XXIV.
    • FANNIE BLOOMFIELD ZEISLER
      • THE SCOPE OF PIANO TECHNIC
      • WHAT TECHNIC INCLUDES
      • EACH PUPIL A DIFFERENT PROBLEM
      • HARMONY STUDY
      • ACCORDING TO RULE
      • ON INTERPRETATION
      • MUSICAL CONDITIONS IN AMERICA
      • A GROUP OF QUESTIONS
    • THE SCOPE OF PIANO TECHNIC
    • WHAT TECHNIC INCLUDES
    • EACH PUPIL A DIFFERENT PROBLEM
    • HARMONY STUDY
    • ACCORDING TO RULE
    • ON INTERPRETATION
    • MUSICAL CONDITIONS IN AMERICA
    • A GROUP OF QUESTIONS
    • XXV.
    • AGNES MORGAN
      • SIMPLICITY IN PIANO TEACHING
      • INSPIRATION FROM AN AMERICAN TEACHER
      • SIMPLICITY
      • FINGER ACTION
      • QUESTIONS OF PEDALING
    • SIMPLICITY IN PIANO TEACHING
    • INSPIRATION FROM AN AMERICAN TEACHER
    • SIMPLICITY
    • FINGER ACTION
    • QUESTIONS OF PEDALING
    • XXVI.
    • EUGENE HEFFLEY
      • MODERN TENDENCIES IN PIANO MUSIC
    • MODERN TENDENCIES IN PIANO MUSIC
    • XXVII.
    • GERMAINE SCHNITZER
      • MODERN METHODS IN PIANO STUDY
      • TONE WHICH VIBRATES THROUGH THE WHOLE BODY
      • ON MEMORIZING
      • ABSTRACT TECHNIC
    • MODERN METHODS IN PIANO STUDY
    • TONE WHICH VIBRATES THROUGH THE WHOLE BODY
    • ON MEMORIZING
    • ABSTRACT TECHNIC
    • XXVIII.
    • OSSIP GABRILOWITSCH
      • CHARACTERISTIC TOUCH ON THE PIANO
      • TECHNICAL STUDY
      • VELOCITY
      • POWER
      • MEMORIZING
    • CHARACTERISTIC TOUCH ON THE PIANO
    • TECHNICAL STUDY
    • VELOCITY
    • POWER
    • MEMORIZING
    • HANS VON BÜLOW AS TEACHER AND INTERPRETER
    • HINTS ON INTERPRETATION FROM TWO AMERICAN TEACHERS
      • WILLIAM H. SHERWOOD AND DR. WILLIAM MASON
        • WILLIAM H. SHERWOOD
        • DR. WILLIAM MASON
      • WILLIAM H. SHERWOOD
      • DR. WILLIAM MASON
    • WILLIAM H. SHERWOOD AND DR. WILLIAM MASON
      • WILLIAM H. SHERWOOD
      • DR. WILLIAM MASON
    • WILLIAM H. SHERWOOD
    • DR. WILLIAM MASON
    • VITAL POINTS IN PIANO PLAYING
      • COMPOSITE PRINCIPLES DEDUCED FROM TALKS WITH EMINENT PIANISTS AND TEACHERS
      • SECTION I
      • ESSENTIALS OF PIANISM
      • THE DESIRE FOR REAL KNOWLEDGE
      • SEARCHING FOR TRUTH
    • COMPOSITE PRINCIPLES DEDUCED FROM TALKS WITH EMINENT PIANISTS AND TEACHERS
    • SECTION I
    • ESSENTIALS OF PIANISM
    • THE DESIRE FOR REAL KNOWLEDGE
    • SEARCHING FOR TRUTH
    • SECTION II
      • Hand Position, Finger Action, and Artistic Touch
      • WHAT TECHNIC INCLUDES
      • HAND POSITION
      • FINGER ACTION
      • ARTISTIC TOUCH
      • MELODY AND COLORATURA HANDS
    • Hand Position, Finger Action, and Artistic Touch
    • WHAT TECHNIC INCLUDES
    • HAND POSITION
    • FINGER ACTION
    • ARTISTIC TOUCH
    • MELODY AND COLORATURA HANDS
    • SECTION III
      • The Art of Practise
      • THE PIANIST A MECHANIC
      • INVENTING EXERCISES
      • SLOW PRACTISE
      • A FEW EXCEPTIONS
    • The Art of Practise
    • THE PIANIST A MECHANIC
    • INVENTING EXERCISES
    • SLOW PRACTISE
    • A FEW EXCEPTIONS
    • SECTION IV
      • How to Memorize
      • ONE YEAR'S MEMORIZING
      • PHRASE BY PHRASE
      • CONSTANT REPAIRS NECESSARY
      • SECTION V
    • How to Memorize
    • ONE YEAR'S MEMORIZING
    • PHRASE BY PHRASE
    • CONSTANT REPAIRS NECESSARY
    • SECTION V
    • SECTION V
      • Rhythm and Tone Color in Piano Playing
      • THE METRONOME
      • TONE COLOR
      • TONAL VARIETY
    • Rhythm and Tone Color in Piano Playing
    • THE METRONOME
    • TONE COLOR
    • TONAL VARIETY
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