josef hofmann

1.Has piano playing progressed since the time of Hummel?
2.How have the changes in the structure of the instrument affected pianistic progress?
3.Why should students avoid becoming "piano-playing machines"?
4.What must be the sole aim in employing a technical exercise?
5.Will the technic of Liszt ever be excelled?
6.Why are stencil-like methods bad?
7.Is scale study indispensable?
8.Must the student know the characteristics of the instrument for which the composer wrote?
9.What part did fashion play in the introduction of embellishments?
10.Why should the student determine problems for himself?

JOSEF LHÉVINNE

Biographical

Josef Lhévinne is one of the last noted Russian pianists to attain celebrity in America. At his first appearance in New York he amazed the critics and music lovers by the virility of his style, the comprehensiveness of his technic and by his finely trained artistic judgment. Lhévinne was born at Moscow, in 1874. His father was a professional musician, playing "all instruments except the piano." It is not surprising that his four sons became professional musicians. Three are pianists and one is a flutist. When Josef was four his father discovered that he had absolute pitch, and encouraged by this sign of musical capacity placed the child under the instruction of some students from the conservatory. At six Lhévinne became the pupil of a Scandinavian teacher named Grisander. When eight he appeared at a concert and aroused much enthusiasm by his playing. At twelve he became the pupil of the famous Russian teacher, Wassili Safonoff, at the conservatory at Moscow, remaining under his instruction for six years. At the same time his teachers in theory and composition were Taneieff and Arensky. In 1891 Rubinstein selected him from all the students at the conservatory to play at a concert given under the famous master's direction. After that Lhévinne had frequent conferences with the great pianist, and attributes much of his success to his advice. In 1895 he won the famous Rubinstein Prize in Berlin. From 1902 to 1906 he was Professor of Piano at the conservatory at Moscow. One year spent in military service in Russia proved a compulsory setback in his work, and was a serious delay in his musical progress. Lhévinne came to America in 1907 and has been here five times since then. His wife is also an exceptionally fine concert pianist.