Paderewski has not taught, as a rule, since his great triumphs as a virtuoso, but he has made exceptions. Sigismond Stojowski, born 1870, was a pupil of the Paris Conservatory, where he won first prizes in piano playing and composition. Later he studied with Paderewski, and lived as pianist, teacher and composer in Paris. In 1905, he accepted the position of head of the piano department at the Institute of Musical Art, New York City. Antoinette Szumowska-Adamowska was born in 1868. She studied at Warsaw, and later, for several years, with Paderewski. She has made successful appearances in Europe and America. Later she accepted a position at the New England Conservatory, in Boston, U. S. A.
Another pianist of great ability who has profited by Paderewski’s suggestions is Harold Bauer, born in 1873. A student of the violin, as well as of the piano, he did not consider making a career as a piano virtuoso until encouraged by Paderewski. In 1892, he studied with Paderewski, although he is largely self-taught, for his individuality and musical style show slight effects of Paderewski’s influence. Bauer’s technic is superb, although he is not a virtuoso pure and simple. His interpretations are healthy and vigorous, and especially faithful to the composers’ intentions. His repertory is enormous. He has made several extremely successful tours to the United States. He has traveled also widely in Europe as well as to South America. Bauer is one of the most eminent of living artists.
Among Norwegians, Edvard Grieg, born 1843, is a remarkable interpreter of his own individual works. Christian Sinding and Wilhelm Stenhammar also deserve mention.
The Italians have not produced many remarkable pianists, nevertheless, several are well known. Chief among them is Giovanni Sgambati, born 1843, a pupil of Liszt. Sgambati has composed charming music for the piano, as well as chamber-music, a concerto and symphony. He is director of the Academy of St. Cecilia, at Rome. Giuseppe Buonamici, born 1846, a pupil of the Munich Conservatory and of von Bülow, has done much to promote music in Florence. He has been connected with several musical societies in that city, and has been active as a teacher. His editions of Beethoven’s sonatas, of Bertini’s etudes, and a treatise on scale playing are of great value to the student. The most prominent Italian pianist, who has lived a cosmopolitan life, is Feruccio Busoni, born in 1866. Early in life he became a member, as a pianist, of the Bologna Philharmonic Academy, after a severe test. In 1888, he accepted a position at the Helsingfors Conservatory. In 1890, he won the Rubinstein prize as composer and pianist. Subsequently he taught the piano in the Moscow Conservatory, and later he was connected with the New England Conservatory at Boston. Since then he has lived in Europe as a pianist and conductor of ultra-modern music. Busoni has one of the most formidable technics of any pianist living. He has edited Bach’s “Well-Tempered Clavichord,” with many helpful technical suggestions, also the smaller preludes and inventions; he has made masterly transcriptions of Bach’s organ works for the piano, of a fantasy for organ by Liszt, the same composer’s “Mephisto Waltz,” etc. He re-visited America in 1904.
Stephen Heller, born 1814, died 1888, was much influenced by Chopin. He was a talented pianist, who will be remembered chiefly by his studies, and a few other pieces, which have decided educational value.
Among other living pianists who escape classification for one reason or another are Moritz Moszkowski, born 1854, a pupil of the Dresden, Kullak and Stern Conservatories; while a successful pianist and teacher, he is known chiefly for his fluent and graceful piano music, although he has composed works in larger forms. Franz Rummel, born 1853, died 1901, a pupil of Brassin and the Brussels Conservatory, toured Europe and visited America several times; he taught at the Stern Conservatory in Berlin; Rafael Joseffy, born 1853, went to the Leipzig Conservatory, he then studied with Carl Tausig and later with Liszt; of late years he has taught at the National Conservatory at New York. His concert appearances have invariably been successful, although he has devoted himself largely to teaching. A pianist of especial distinction is Vladimir de Pachmann, born in 1848, a pupil of the Vienna Conservatory; in spite of a brilliant début he retired for many years’ study; on reappearing he gave concerts over all Europe, and has made several visits to America; his chief triumphs have been as the inimitable interpreter of Chopin; Leopold Godowsky, born 1870, appeared as a prodigy at the age of nine; he studied at the Hochschule in Berlin, made European tours, and studied with Saint-Saëns from 1887 to 1890; he taught at conservatories in Philadelphia and Chicago; in 1902, he returned to Europe, where he has given concerts constantly with phenomenal success. A composer of piano pieces, he has devised many extraordinary versions of Chopin’s studies.
Among English pianists, Frederic Lamond, a pupil of the Raff Conservatory, of von Bülow and Liszt, and Leonard Borwick, a pupil of Mme. Schumann, are the best known, although there are many pianists of rising reputation.
Two young pianists deserving of especial recognition are Ernst von Dohnanyi and Josef Hofmann. Dohnanyi, born 1877, is a pupil of Kessler and D’Albert. In 1898, he won a double success as pianist and composer with a piano concerto. In 1900, he made a brilliant tour in America. Since then he has devoted himself largely to composition. Josef Hofmann was a pupil of his father, and later, of Anton Rubinstein. He played the piano when six years old; in public at the age of nine. In the following year he gave fifty-two concerts in the United States. After retiring for study under Rubinstein, he reappeared a mature artist. He has since visited America several times. Hofmann has an unusual technic; his individuality is not striking, but he is an artist of conspicuous merit.
American Pianists.
The rapid progress of music in America renders it impossible to do justice to piano playing in this country. However, the pioneer work of William Mason, a pupil of Moscheles, Dreyschock and Liszt, active as pianist and teacher, the author of “Touch and Technic” and other technical treatises; of B. J. Lang, a pupil of his father, F. C. Hill, Salter and Alfred Jaell, an active pianist, teacher, and conductor, of W. S. B. Mathews, Otto Dresel, Ernst Perabo, and others, was of great importance. Later Carl Baermann, a Liszt pupil, Carl Faelten, William Sherwood, also a Liszt pupil, Carl Stasny, Arthur Whiting, Edward MacDowell and many others have continued the work so ably begun. Edward MacDowell is easily the most noted American composer-pianist. His technical equipment, personality, and interpretative gifts justly entitle him to this distinction. A pupil of Mme. Carreño, Marmontel and Carl Heymann, he has had thorough training. His pianistic career has been limited by his efforts as a composer, and by his work as Professor of Music at Columbia, which position he resigned in 1904, as well as his activity as a teacher. His studies, concertos and smaller pieces show great individuality of technical style, besides being among the most valuable contributions to piano literature since Liszt. MacDowell has appeared with leading orchestras in this country; he has given many recitals, including a tour of the United States in 1904.