By Josef Hofmann

While procuring a french cookbook, you possibly can make a choice from extraordinary by-product resources (for instance, an American popularist of french cooking equivalent to Julia Childs, or a Betty Crocker clone) or stopover at with a textual content written through a grasp native-born French chef should you desire to cook dinner genuine French food from one of many most sensible cooks in France. curiously, an identical phenenomena exists with books on piano-playing. There are definitely Betty Crocker-style books written by means of marginally proficient pianists who tailor their texts to aficionados who do not desire to imagine an excessive amount of approximately piano-playing theories and strategies. Then there are the books written through the genuine "chefs" or "chiefs" of piano-playing, like Josef Hofmann, who in addition to Rachmaninoff and some others, ranked because the superlative pianists of the twentieth Century. What Liszt was once to the nineteenth Century, Hofmann used to be within the twentieth Century. In Piano enjoying the reader is handled to high-level recommendation on the various most crucial elements of piano enjoying. to be certain, until the reader has had a excessive point instructor who has supplied him/her a legitimately sturdy beginning in piano-playing and piano wisdom, the ebook may possibly suppose much less beneficial. yet that is real provided that the reader reads too rapidly, and with an eye fixed at being entertained rather than proficient. critical, that's "real" pianists, wouldn't are looking to pass over possessing and analyzing this glorious booklet.

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Another obser- vation in connection with memorising a place here. When we may find study a piece we unmind a multitude associate in our consciously of things with relation upon it it. which bear not the slightest By these " " things I mean not only the action of the piano, light or heavy, as it may be, but also the colour of its wood, the colour of the wall paper, discoloration of the ivory on some key of the piano, the pictures on the walls, the angle at which the piano stands 24 GENERAL RULES to the architectural lines of the room, in short, of things.

Founded, for the pianist that plays everything " " is an artist in name with so much feeling only, but in reality a sentimentalist, if not a vulgar sensationalist or a ranter upon the keyboard. What sane pianist would, for instance, attempt to play a cantilena with the same appealing sensuousness as the most mediocre 'cellist can do with the greatest ease? Yet many pianists attempt it; but since they are fully aware that they can never attain such ends by legitimate, artistic means, they 10 make either the THE PIANO AND ITS PLAYER accompaniment or the rhythm, if not the phrasing, bear the brunt of their palpable dilettanteism.

True, every great composer has his style, his habitual mode own of thought develop- ment, his personality revealing lines. But it is equally true that the imagination of all great composers was strong enough to absorb them own as completely in their Pygmalion was absorbed creation as the late in his Galatea, and to lure them, for the time being, completely away from their habits of thought and expression; they new become the willing servants of the creature of their own fancy. Thus we find some of Beethoven's works as romantic and fanciful as any of Schumann's or Chopin's could be, while some of the latter's works show at times a It is, good deal of Beethovenish therefore, utterly 15 wrong classicity.

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