Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Ferruccio Busoni and the New England Conservatory: Piano Pedagogue in the Making

Ferruccio Busoni and the New England Conservatory: Piano Pedagogue in the Making ERINN E. KNYT Ferruccio Busoni and the New England Conservatory: Piano Pedagogue in the Making Student memoirs provide a vivid portrait of what it must have been like to study with Ferruccio Busoni (1866–1924) in private lessons or in master class in Weimar (1900/1901), Vienna (1907–8), Basel (1910), and Berlin (1921–24). In private lessons, Busoni never liked to hear a work more than two times during piano lessons, and expected the piece to be polished and ready for performance at the second hearing. Months sometimes separated lessons, which could then last for hours. He rarely talked directly about technical matters, instead expecting students to come up with their own solution so that the focus of the lesson could be on interpretation, history, culture, or form. He often used colorful metaphors to make interpretive or musical suggestions. Augusta Cot- tlow (1878–1954) remembers that once while playing the second trio of Robert Schumann’s Novelette, op. 21 no. 8, Busoni suddenly interjected, with humor: “Doesn’t that sound as if it were written for a German Männer- chor (Male chorus)? One can actually hear the words.” With that he began to sing the following words, adjusting his voice to a falsetto in the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Ferruccio Busoni and the New England Conservatory: Piano Pedagogue in the Making

Knyt, Erinn E.
American Music , Volume 31 (3) – Mar 14, 2014
Download PDF
37 pages

Loading next page...
 
/lp/university-of-illinois-press/ferruccio-busoni-and-the-new-england-conservatory-piano-pedagogue-in-aIK0bp0qJN

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

ERINN E. KNYT Ferruccio Busoni and the New England Conservatory: Piano Pedagogue in the Making Student memoirs provide a vivid portrait of what it must have been like to study with Ferruccio Busoni (1866–1924) in private lessons or in master class in Weimar (1900/1901), Vienna (1907–8), Basel (1910), and Berlin (1921–24). In private lessons, Busoni never liked to hear a work more than two times during piano lessons, and expected the piece to be polished and ready for performance at the second hearing. Months sometimes separated lessons, which could then last for hours. He rarely talked directly about technical matters, instead expecting students to come up with their own solution so that the focus of the lesson could be on interpretation, history, culture, or form. He often used colorful metaphors to make interpretive or musical suggestions. Augusta Cot- tlow (1878–1954) remembers that once while playing the second trio of Robert Schumann’s Novelette, op. 21 no. 8, Busoni suddenly interjected, with humor: “Doesn’t that sound as if it were written for a German Männer- chor (Male chorus)? One can actually hear the words.” With that he began to sing the following words, adjusting his voice to a falsetto in the

Journal

American Music – University of Illinois Press

Published: Mar 14, 2014

There are no references for this article.