"Claude Debussy as I Knew Him" and Other Writings of Arthur Hartmann

Author: Arthur Hartmann

Publisher: University Rochester Press

Published: 2003

Total Pages: 384

ISBN-13: 9781580461047

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Arthur Hartmann (1881-1956), a celebrated violinist who performed over a thousand recitals throughout Europe and the United States, met Claude Debussy in 1908, after he had transcribed "Il pleure dans mon coeur" for violin and piano. Their relationship developed into friendship, and in February 1914 Debussy accompanied Hartmann in a performance of three of Hartmann's transcriptions of Debussy's works. The two friends saw each other for the last time on the composer's birthday, 22 August 1914, shortly before Hartmann and his family fled Europe to escape the Great War. With the publication of Hartmann's memoir "Claude Debussy as I Knew Him", along with the twenty-two known letters from Claude Debussy and the thirty-nine letters from Emma Debussy to Hartmann and his wife, the richness and importance of their relationship can be appreciated for the first time. The memoir covers the years 1908-1918. Debussy's letters to Hartmann span the years 1908-1916, and Emma (Mme) Debussy's letters span the years 1910-1932. Also included are the facsimile of Debussy's Minstrels manuscript transcription for violin and piano, three previously unpublished letters from Debussy to Pierre Lou�s, and correspondence between Hartmann and B�la Bart�k, Nina Grieg, Alexandre Guilmant, Charles Martin Loeffler, Marian MacDowell, Hans Richter, and Anton Webern, along with Hartmann's memoirs on Loeffler, Ysa�e, Joachim and Grieg. Samuel Hsu is a pianist and Professor of Music at Philadelphia Biblical University. He completed his Ph.D. in Historical Musicology at the University of California at Santa Barbara in 1972 with a dissertation on Debussy. Sidney Grolnic has been a librarian in the Music Department of the Free Library of Philadelphia for over twenty years and serves as curator of the library's Hartmann Collection. Mark Peters has recently received his Ph.D. in Historical Musicology at the University of Pittsburgh; his dissertation was on J. S. Bach's sacred cantatas to texts by Mariana von Ziegler.

Ignaz Jan Paderewski

Ignaz Jan Paderewski PDF

Author: Edward Algernon Baughan

Publisher: DigiCat

Published: 2022-07-20

Total Pages: 62

ISBN-13:

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An incredible biography of Polish pianist and composer Ignaz Jan Paderewski (1860 – 1941). He became a spokesman for Polish independence, and in 1919, he was the new nation's Prime Minister and foreign minister. He signed the Treaty of Versailles during this period, which ended World War I. This work was an essential addition to the literature on music and focused mainly on Paderewski's musical career. Contents include: Early Life From Warsaw to Paris His Début in London In America Later Tours Personal Traits His Views on Music and Teaching As Pianist As Composer

Ignaz Jan Paderewski

Ignaz Jan Paderewski PDF

Author: Edward Algernon Baughan

Publisher: Theclassics.Us

Published: 2013-09

Total Pages: 18

ISBN-13: 9781230264738

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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1908 edition. Excerpt: ... VIII AS PIANIST The critic who would give a true appreciation of Paderewski as artist must at once admit that he has the power of moving an audience as no pianist since Rubinstein has been able to move it. In the opening chapter I touched on some generalities with regard to Paderewski's position in the world of piano-playing, and I referred to the modifications in the verdict of the general which the critic must make. In the difference between his outlook and the public's will be found his divergence from the critical and popular estimation in which the great pianist is held. I will at once confess that a professional critic is apt to be too theoretical in his judgments: it is, if viewed aright, the defect of his merits. We are compelled to give reasons for our likes and dislikes, and these in turn are apt to proceed too much from the intellect and not sufficiently from the emotions. The public, on the other hand, has no hard-and-fast theories concerning piano playing, singing or conducting. Provided an instrumentalist or a conductor creates a "sensation" no close inquiry is made into a sacrifice of artistic virtue. In the following appreciation of Paderewski as pianist I have been at pains to collate my own opinions with those of men who have, it seems to me, some authority to write on the subject. I may say in passing that it is extraordinary how little of the criticisms penned on the different recitals give the reader any clear and general idea of Paderewski. His interpretations and playing are praised or blamed, but a writer in a daily paper has to take it for granted that the pianist's gifts and limitations are known and understood. Indeed, a journalist who should sit down to pen a general criticism of a celebrated artist would be...

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