Something I forgot to mention in the previous chapters: Dussek writes on the importance of phrase endings at the end of the 18th century as one of the fundamentals of teaching piano. It is perhaps one of the most common aspects in music that, even professional pianists to this day often neglect. I know I do! I found it interesting that in the autobiography by Tomaschek he states that Dussek was the first to place the piano sideways. I thought it was Liszt. I am also curious why the reason for this is merely suggested be lay emphasis on his profile. I would think the main reason would be for acoustic purposes.
I find Chopin’s sister’s letter regarding Elsner’s thoughts on Kalkbrenner’s proposition most curious. Firstly, it seems that Chopin’s family must have been very protective over him. I could, however, understand that such a genius like Chopin could easily be a “victim” to be owned as a student. Especially after his first impression at the instrument was the performance of his own e minor concertos which is to this day one of the most beautiful, technically challenging , and most performed concertos. Secondly it caught my attention that one of the reasons included in this letter, that Chopin should not take lessons with Kalkbrenner, was that he should not focus on piano playing and composition but strive to write operas. I am aware that operas were considered a most profound art but what does make me curious is the possibility and nature of any past relationships between Kalkbrenner and Elsner.
It is hard imagining Beethoven was ever seen as dull and that List did not put his name in programs. I was not aware that Liszt was the first to give public concerts from memory. Well I guess hit is harder playing La Campanella from the score. It is interesting that Liszt is compared with sunshine and dazzling splendor but also that he never thumped! Who plays Liszt without thumping? Liszt seems to be the first super star like Liberace with his white cravat and so forth. The only difference is probable he’s fans, that included females under the age of 85.
Schumann mentioned that a great part of Liszt’s greatness was his stage personality. He mentioned that he must be seen to be fully appreciated. I am not sure if this is an insult but to me it does emphasize Liszt to be less of a “poet” than Chopin.