Académique Documents
Professionnel Documents
Culture Documents
BY
KAREN M. TAYLOR
In memory of
George
C.
iii
Taylor
TABLE OF CONTENTS
List of Musical Examples
List of Figures
viii
X
xi
Introduction.
Notes to the Introduction
Chapter One.
11
14
Musical Debuts
Geneva
An Unremarkable Entry
Notes
Chapter Two.
26
29
33
42
Practices
Notes
Chapter Three.
53
Decombest Class
Di@merls Class
Cortotts Struggle for Academic Recognition:
Possible Explanations
Notes
Some
61
61
73
87
101
Chapter Four.
Pugno
Risler
Franck's Circle
Wagner
Cortot's Beethovenism
Conductor, Animateur and Chamber Musician
Notes
Chapter Five.
I.
11.
111.
~epertoire
Constants and Shifts in Repertoire
Cortot's Musical and Interpretive Aesthetic
Cortot and the French Tradition
Cortot and the Romantic Tradition
Cortot's View of the Art of Interpretation
and the Interpreter's Role
Cortot's Technique
Instrument, Posture, Stage Demeanor
Technical Resources: Variety of Power
Sources, Coordinations, Touches
Notes
Chapter Six.
Chapter Seven.
Alfred Cortot
Tentative Discography
563
~ibliographies.
I.
11.
Primary Sources
Other Works Cited
vii
2.
3.
Schumann, llFiirchtenmachenll
(No 11 from
Kinderszenen), incipits of themes (A), (B)
and (C).
4.
5.
6.
Debussy, Danseuses
7.
8.
9.
Del~hes,mm. 3-5.
10.
Bach, llAriosolt
[Largo] arr., mm. 13-15.
11.
12.
13.
14.
15.
16.
17.
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xiii
in the
retains a primary concern with Cortotls llteachings,tt
broadest sense of that term, but it incorporates aspects of an
intellectual biography and a critical style analysis.
This
It
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Penguin Books,
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Research
can help us cope with the physical dimension of our art, can
they do likewise in the spiritual, in the interpretive?
The
essence of their understanding and their teaching was nonverbal, embodied in a certain praxis, and transmitted primarily
by demonstration.
offered
Certain well-known vwprofessorsll
Rather, it
It
his views in his own time and present them with maximum clarity
and force.
- his
Itstudyeditionstt(Editions
travail) of the
Romantic piano literature, of which there are seventy-six
volumes in all; these are copiously annotated with
remarks on the workts historical background, aesthetic
character
commentary (discussions of poetic ttcontent,tt
and intent, interpretive suggestions based on structural,
stylistic and expressive considerations) and technical
advice, including exercises constructed on difficult
passages,
Ruth Fermoy
...
Many other
...
...,
At the time of
Cortotls birth, Denis Cortot worked for the Compagnie JuraSimplon as foreman of a railway maintenance crew.
Cortotls
Austerity
Theirs
15
..., an
extreme
To critic
His
Gavoty implies
It is perhaps more
accurate to say that Cortotls whole life was given over to his
work in music:
...
...
. . . . . . . . . . . . . m ~ . . . . ~ . . . . ~ ~ m m . . . . . . ~ . ~ . . . . . . m . m . . .
..
Moreover, his
consideration^,^^ in particular
the desire for upward social mobility, may well have been
correct.
Geneva
Having decided that their youngest son would be a concert
pianist and composer, Cortot's parents spared no effort to
further his chances of success.
...
....
+tex~ressionismet:
it is not clear whether Cortst is
alluding to critics who found his style hyperexpressive by French standards, or to persons who took
leanings (i.e. , his
exception to his ttsymbolisttf
tendency to find a specific poetic or imagistic
meaning in music).
Only a few years after the move to Geneva, it became evident
that Alfred would soon reach the limits of his sisterst
competence.
~~
This was apparently not to be found in ~ e n e v a . In
1886 the whole family moved to Paris Itat the risk of finding
An Unremarkable
-
Entrv
Ten-year old
His repertoire
Jeannette.'
It was
known that Victor Masse, the composer of the comic opera that
inspired this bit
juries.
the admissions
There was only one flaw in this clever scheme: Masse had
been dead for two years.
He gave
...
...
In this instance
Chapter I: Notes
lThe facts of Cortot Is family background are drawn from
Bernard Gavoty's biography, Alfred Cortot, henceforth
abbreviated as A.C.
2~ccordingto Gavoty (ibid. , p. 22) , "Cortot s Burgundian
origins on his father's side are indisputable, despite the
spelling 'Cortol on old parish registers, [which] suggests a
Catalan origin." Curiously, this family, which boasted no
noted musicians among its forebears, suddenly produced two in
the late 19th century. One of Denis Cortotls brothers was the
grandfather of Edgar Varese (1885-1965), and Varese spent a
good part of his youth in Villars par Tournus.
@
...,
8 ~ e n r i - ~ o u ide
s la Grange, "Le siecle dlAlfred Cortot: un
regard sur Cortot,I1 essay in Alfred Cortot - Chopin, EM1
(France) 2 C 153-03090-6, 1977, p. 11.
9 ~ o r t o t f son
s
Jean observed that his father 'Inearly always
dominated the situation." He ascribed Cortotls ascendancy over
others to his strong personality and "immense self-control and
poise." Cortot, although serious and even intimidating at
times, was "invariably gracious and very charming,
addressing everyone, whether a celebrity or a member of the
house staff, with respect and considerationtflhe recalled.
flMoreover,he had a sense of humor and a sharp wit." Interview
with the author, December 1977.
...
...
...,
....
27~oss,p. 230.
28~ortot/~ntretiens,"La Revelation de la musique.
29~ecombeshad studied with Pierre Zimmerman at the
Conservatoire and had won his premier prix in 1846. After
teaching solfege at the school from 1866-75, he was appointed
professor of a boys1 preparatory class, a post he held until
his retirement in 1899.
30~avoty(B.C. r p. 33) reports that Cortotls playing of the
Dussek concerto "earned him a relatively favorable critique
from the severe Ambroise Thomas [then director of the
Conservatoire]: 'Not bad; plays cleanly; adequate sight
reading.
If he wished to
the last century and into the early decades of the twentieth,
the Conservatoire was vehemently criticized in various quarters
The dominant
technical accomplishment
Pupils who
excelled in the abstract, I1measurablewpianistic qualities-velocity, accuracy, evenness (of notes lengths, of tonal
intensity), agility--could win a prize in short order, at a
very tender age, after which they were set loose to make their
way in the Paris music world if they could (and the vast
majority couldnlt). In Cortotls view, the Conservatoire
afforded young pianists at most I1a high-quality, but hasty
virtuoso training.l16
...
....
Erc
Conservatoire professors.
Paris in
the 1830s was the pianistic capital of the world and home to
Chopin and Liszt.
As a rule, the hand was held close to the keys and the
The
II
Kalkbrenner advocated
The frequent
refined or exaggerated by influential exponents (notably SaintSaens, the celebrated teacher Antoine ~ a r m o n t e l ,and
~~
Marmontells pupils Francis Plante and Louis Diemer), the basic
tradition underwent few modifications prior to 1890.
During
superficial con~ervatism.~~15
In the performance sphere, the Gallic inclination to
admire perfection of craft often degenerated into an obsessive
preoccupation with the wartisanal" aspects of playing and with
brilliant, often gratuitous effects in performance.
Teaching
For
...
...,
The Conservatoire
-
youth.
If the professor's
As
Musical talent
Pupils were
assistant teacher (re~etiteur)who would supervise notelearning and technical study, reiterate basic concepts, instil
...
....
Securing paying
Many
So much
Philipp
...
Saintthe juries
were composed of nine artists....
Saens, Gounod, Stephen Heller, Massenet, Delibes... did
not consider it beneath their dignity to adjudicate. Let
me add that despite this august assembly, injustices were
perpetrated quite frequently.
Students had to compete in full dress attire, [and]
their teachers, dressed likewise in tails, sat beside
them on stage. I remember my maltre Mathias, who
ordinarily didn't seem too concerned with whether his
class won any honors, elegant, smoothing his sideburns
with a little comb... and taking opera glasses from his
pocket to follow the reactions of the jury members. I
recall the little cries of satisfaction uttered by the
audience when a pupil brought off a phrase ending
an
tteffetbt
as it was then called
or a b r i l l i a n t p i e c e of
passage work with a flourish.
M. [Antoine] Marmontel spoke to his students, touched
their shoulders, made them speed up or slow down and
a
encouraged them audibly. [Felix] Le Couppey,
consummate actor, mimed the piece, stood up, sat down,
sang, and I remember one competition where his
gesticulating was so amusing that he was given an ovation
and his student, who was quite mediocre, received a first
prize!
Alphonse Duvernoy deserves credit for putting
an end to this ridiculous cust0m.2~
...
....
Two decades later when Cortot came before the juries, the
professors were no longer on stage with the pupils, but little
of
I know of
Seeing
...
...
...
....
....
The
examination pieces of January and May and the required work for
the final competition were three of manv pieces learned in the
course of a year s study. vv25 Nonetheless, Carraudls opinion of
the detrimental effect of the competition system on the quality
... was
rare badge of quality which opened the doors of the major music
societies and powerfully aided young artists in making their
debuts.1'27 Moreover, the individual and class rivalries
fostered by the competitions were highly motivating: "the
peculiar atmosphere of the Conservatoire, the sort of feverish
excitement maintained by the very preparation for the
contours,..; generated a pride that inspired intensive work.l12*
As
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Only gradually, if
Nevertheless,
From a
or
In actuality, he was likely to be an flamchairvl
The
in his Conservatoire
Rather, he
He
He was not
(behaviorists
His was rather a vmtacitvv
...
...
...
lw'l'a~~rentissage
de la virtuosite' was equated with a
collection of formulas (catalogued in innumerable Methodes) for
attaining a precise position of the hand, the fingers, the
forearm, etcOw4l Often a professorws ideas on technique were
little more than truisms taken over uncritically from the time
of Czerny and before:
mecanisme. m'43
One resolved
[and]
He was
"Philipp wanted us to
....
There
It is well to keep in
By 1900,
To put it
alumni.
French composers
With few
Deep down,
trace the path that led him from a schooling which put
technique above all to a performance style and teaching "whose
whole objective was to make one forset the technical aspects
when hearing the music. w61
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52
...
..
Monde Musical,
. .,
'I
p. 21.
..., p . 212.
...,
I
i
ItDe 1 enseignement
...,
p. 211.
..., p.
30.
'I.
..Paul Loyonnet,
pp. 118-19.
and arm), and the reason is that their music demands it;
composers engender the education of interpreters. For the
French, there can be grandeur without heaviness and passion
without v i ~ l e n c e . ~
....
...
%ee
Riggins, ltInstitutionalChange in Nineteenth-century
French Musicr1'especially Chapter VIII, pp. 261-80.
GoRoger Shattuck points out in The Banauet Years (New York:
Vintage Books, 1968) p. 42, that it is precisely Ifthe great
reservoir of conservatism and indifference in the French which
has sustained a dynamic culture11that produces both radical
innovators and zealous reformers.
61~eineGianoli, interview with the author, May 1978.
...
"I had
....
I worked so hard...
that eventually I
classmates
overcame certain of these d e f i c i e n c i e ~ . ~Former
~~
agree that what impressed them most in the young Cortot were
not his pianistic gifts but rather his intense nature and the
zeal with which he applied himself to his studies.
"When I
According
...
..,
method.
I1It
"He was
...
[a] saint
His positive
...
....
...
...
...,"
....
According to Cortot,
... which
fostered in us the
proud and naive illusion that under this double aegis [of
Decombes and Mathias] we were carrying on the tradition of an
incomparable pianistic style!1w14 In those years Decombesl
class had no dearth of promising talents, as can be seen from a
program for a student recital held the second of June, 1889:15
Moscheles
Humme1
Ries
Weber
Hummel
Herz
Chopin
Chopin
Herz
Lavignac
Maurice Ravel
Concerto NO. 3 [Op. 581
Jean Gallon
Sonata in ~b major
Raoul
~a~arral~
Concerto NO. 3 [Op. 553
Georges
~aasl~
Sonata in ~b major
Lucien
wurmser18
Concerto in Ab major [Op. 1131
Camille ~ e c r e u s l ~
Concerto NO. 5, Op. 180
Joseph Morpain
Concerto NO. 2 [Op. 213
Reynaldo Hahn
Concerto NO. 1 [Op. 111
Alfred Cortot
Concerto NO. 3 [Op. 371
Galop-marche [I piano, 8 hands]
MM. Decreus,
Wurmser , Haas and Cortot
0
...
-
taught [us]
the qualities of this bel-canto style [of
writing] which, though making ample use of conventional
arpeggios, trills, brilliant scales and
figuration
similar outmoded artifices (called back then "tours
d'adres~e~~~
~)
retained
nonetheless the basic principles
Decombes, for his
of a sensitive lyrical declamation
part, showered us with musical examples of these
[principles], played with a delightfully graceful and
elegant touch....
He often recounted his impressions of [Chopin's]
playing, stressing its amazing rhythmic equilibrium quite the opposite of the erroneous notion of an
effeminate rubato which [partisans of] a maudlin
sentimentality (I refuse to dignify it with the word
"sensitivitytt)today assume to be the genuine one.
[Chopin] gave the left hand the role, in the Polish
....
...
Exam.
Exam.
Exam.
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... I in no way
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views:
took this humble post in the hope that it would give them an
inside track for an eventual full appointment to the faculty.
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the recent graduates or senior members of Louis Diemervs class,
to the great good fortune of Cortot, who was sent to Edouard
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well, we'll let you know right away; if not, I don't know
if 1'11 have the nerve to break the news to you.
See you soon, and once again, a thousand times thanks
my dear Risler, for the affectionate concern you never
cease to show us.
L. ~ortot40
Diemerls Class
In November of 1892 Cortot was admitted, along with only
seven other boys, to the advanced piano division.
Louis Diemer
A pupil of
...
74
...
...................
At fourteen, ~ a z a r e - ~ e v yhad
~1
. . . . m . . . . . . . m . . . a . . . m m . . . . . . . m m . . . . m
...
Diemer was a virtuoso in the old Hummel-MoschelesThalberg tradition, with an unaffected delivery and exceptional
pianistic finish but also a rather brittle tone and a
restricted dynamic range.
To them
77
received ideas.
llexactingand m e t i c u l ~ u sand
~ ~ stressed that he Ifnever permitted
faking for the sake of the effect.w59
Diemer did not have to harangue or bully his students to
exact discipline and hard work from them.
His celebrity,
Cortot observed,
[Diemer] personified the successful virtuoso type. He
by virtue of his rare
fully merited his reputation
qualities of musical integrity alone. In reality, his
chief claim to fame was his stunning performance
technique, the perfection and transparency of which were
equalled only by Plante.
Although * [disconcerted] at times by our interpretive
liberties, which he held in check only with a response I
might describe as good-natured astonishment, [Diemer]
instilled in us the habit of realizing the notated score
honestly and correctly at the keyboard, a virtue he
exemplified in the highest degree.
Later he was only too happy to be able to use his
influence to help launch his pupils on a performance
career after they graduated
and I speak as one who
benefited especially from his solicitude
by arranging
for them to establish contact with his whole entourage of
friends from the Faubourg Saint-German, at concerts given
in his lovely private hotel on the rue BlancheO6O If
* [favorably] disposed, these people could make one famous
overnight. In short, he was a great pianist and the
nicest person imaginableO6l
...
observed :
...
...
His judgment,
While
...
...
....
....
..
...
...
........m............m........m.~.......~~~~~~~m~m~m~~o~
.......................................................
.......................................................
We must not forget the part taken in the education of
...
....
No doubt
In doing so,
"S~rprisihgly,~~
AB
AB
Sightreading:
AB
AB
AB
examination^^^
was a work with which his name would one day be closely
associated:
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some time before he began assisting Diemer.
"1 was
...
...
in ~b major, and
The
the jury
Cortot,
Second,
extensions (IV) and wrist technique (V) are also concerned with
This
92
to what
While it is
liabilities:
the old notions and practices by which he had learned, nor any
first-hand experience of the problems facing pupils who had to
"sweat bloodIv to develop a serviceable technique.
Moreover, Diemer's methods appear to have been highly
formalistic.
If a
performance was inadequate, the fault must lie with the visible
small playing levers, the fingers.
The remedy:
hours a day of
"A
....
To such a
Whether he
Almost certainly
one less
Nonetheless, he arrived
but the wav they are practiced that makes them valuable,1196
Cortot emphasized.
evenly,
In considering Diemerls
Lazare-Levy
...
....
I1Risler was my
...
"1 owe
to the
All that
...
...
...
...,
those qualities which Cortot coveted for his own art but which
most French pianists of the day willingly renounced:
a big,
In that case
...
flots and Bach's Fugue in g minor for organ (arr. Liszt) at the
spring examinations and was easily admitted to the final
concours.
lvBien8f
noted the new Conservatoire director, Dubois,
in his register:
Lazare-Levv alone
...,........
...........*.,..........*.....*..............
I was pleased and touched to receive your kind
Alfred
such an artist I suspect that he's ringing rather halfheartedly in order to allow the bravos to continue a
little longer. Me Cortot sightreads like an angel and
runs away like a rabbit!lo5
"For once the judgment of the jury was approved by the public,If
noted Fernand Le Borne in the Monde Artiste.
is that this competition
talent.
M. Cortot, so remarkable two years ago..., is one of the
most beautiful and complete pianistic temperaments that I
have had occasion to hear in a long time.
This young man has it all, even the most apparently
antithetical qualities: grace as well as vigor, charm as
well as power, calm as well as warmth, solidity as well
as fire, fantasy as well as a strong sense of rhythm,
impeccable virtuosity as well as the deepest feeling
In short, he's a natural (cvestune nature) in the most
elevated sense of this word, and he interpreted
Chopin's
Ballade like a master, not a competitor.lo6
....
...
Happy.
Going
Alfred Cortot
loin Revnaldo Hahn (Paris: Buchet/Chastel, [1976]), pp. 4041, Gavoty reports that Hahn (1874-1947), who studied with
Decombes around 1888-90, had less esteem for Decombes at that
time than for his other two professors, Massenet and Grandjany,
but he objected indignantly "when others condemned [Decombes]
as 'spineless, false, a bad tea~her."~ In a letter of 1890,
Hahn drew this picture of a class piano lesson: "Mothers,
students, stools, friends of mothers, friends of students,
relatives of one, proteges of another - all were piled in upon
each other as in a pot of molasses. And it swarmed!I1
1lwsouvenirs d 'un f1Qtiste.
.. :
Les Pianistes,
p. 44.
12"Emile Decombes,
1912), p. 194.
29~ntretiens,"La Revelation de la m u s i q ~ e . ~ ~
3 0 ~ squoted in Feschotte, Joseph Morpain, n. pag.
3 1 ~ o rdetails of Risler's life and artistic accomplishments,
see Karen Taylor, '@A Bridge Across the Rhine: In Memoriam,
Edouard Risler (1873-1929),n Journal of the American Liszt
Society 8 (Dec. 1980), pp. 25-43.
32~onservatoireregulations forbade professors to charge fees
for private lessons to class members. A few, Delaborde for
105
..:
Les Pianistes, l1
p. 247.
Clementi
...,
...,
83~attalino,p~Clementi..
I1Cortot, p. 267.
., p.
115.
...
'\
96~rincipesrationnels
..., p.
4.
l o 4 ~ squoted in
&c.,
p a 52.
pa 52.
lo8~ntretiens,"La Revelation.
Chapter IV
Forging a Style:
Making
Within a few
They
They
nineties.
A few of the
nonetheless.
The French
Though only
the "non-virtuosog1musician-pianist
Nor did
He was
His interpretations
In
In
In the fall of
Cortotls graduation.
Maison Pleyel.
dynamic range. l3
shift of values that was broad in scope but not very marked in
any area.
Risler
There were no
He
vagaries.
In his
Rislerts tone is
There was an
"He
Moreover, he gave us
cost "19
Risler served as Cortot's mentor during the most crucial
years of his musical and intellectual development.
No doubt
are.
His style
respectful of the meaning of the music and the notated text (in
this sense he was clearly a modern pianist),21 and there were
very few mannerisms or excesses in his playing to imitate.
ll[Risler]disclosed all the essential principles of
interpretation at the piano to me,I1 remarked Cortot, "and
[showed me] what a transformation one can effect, in realizing
Differences of personality
Rislerls
...
....
Around the
These projects
....
Franck s Circle
gravitated toward the figure and style of Cesar Franck (18221890) or aligned themselves with Franckls self-appointed
wlspiritualheir1' Vincent dlIndy (1851-1931), as well as
several independent pro-Wagner composers.
Elliott Zuckermann
...
undeniable.^^^
They were
.
Cortot and Risler were in the thick of the campaign being
waged in Paris for Wagner's music in the 1890s and across the
turn of the century.
literary Wagnerites:
Wotan held the secret of the world and Hans Sachs were the
spokesman for a free, natural and spontaneous art,lv3*wrote
Leon Daudet.
Reminiscing about the intoxicating atmosphere and musical
emotions of those years, Cortot said:
....
..........................................................
-
..........................................................
[What I gained from this immersion in Wagner] was an
There
One
...
....
...
Cortot, though
He
A few
January 7 1902
At dinner this evening Faure,
[Maurice] Bages, Cortot... - Cortot played Cre~usculedes
dieux! It was an artistic experience that far surpassed
many quite respectable orchestral performances...
incredible....
He knows the entire thing by heart, he
can prompt the words to all the roles, down to the last
he's doing the stage directing all
sixteenth note
alone, 46 supervising the smallest details, even the
aestures of the wondinesvl(remarkable trio), all the
movements of the chorus members (2nd act). Today 1st act
but Litvinne
with Litvinne and Dalmores (who was lousy)
very good, and the orchestra very good too....
These
really
days we are living ''in another world, 'I.
anything that is unrelated to this artistic enterprise
doesn't interest us. We live apart from all the rest that will come to an end eventually, and it distresses me
to think about it....
..
...
...
....
....
- ...
Returning from
Friday eve June 13 3:00 in the morning
the last Cre~uscule! Unforgettable evening: Brema,
Burgsthaler (Hans Richter conducting)
We went to 'see
Brema in her dressing room after the 2nd act (at her
What a weird... impression, finding
request)
Brunhilde in this brightly-lit, perfumed room;... Risler
was there. Cortot didn't come, which shows that all's
not well between him and Brema
right now he has eyes
only for Litvinne!!
....
...
Once
- ...
Everything has
Wednesday morning [January] 28 [I9031
changed as of this morning! We are doing the Mass [in D
....
...
Tomorrow we're
Wednesday eve February 11 11:OO
dining at Mme. Le Bret's. What a bore! Perhaps Cortot
Cortot is not going
will be there. What will I sing?
that Is
to put on [Faure's] Promethee at his concerts5*
not very kind to Faure, who's been working on the
orchestration for three months. What a misfortune! I
didn't know soon enough, otherwise I would have told
she's in
[Faure] to go make waves with Mme. Greffuhle
charge of all that. 51
..
...
...
....
....
- ...
....
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....
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The
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..
..
..........................................................
..........................................................
-
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Cortot's ~eethovenism.
If Cortot's involvement with Wagner's music has often
been noted in discussions of his interpretive style, his
attachment to Beethoven's music in the early part of his career
(ca. 1895-1910) has very nearly escaped notice.
Only Italian
Curiously,
It is
surely revealing that the three major French pianists who moved
away from the traditional French school--Risler, Cortot and
Yves Nat--were likewise deeply involved with Beethoven's music.
Roland Barthes has remarked on the tradition-shattering
implications of both the piano works and the Romantic era's
image of Beethoven the artist.68
and so
It is
... and
...
...
.. .
music.72
and Casals, and the following year he played all five piano
concerti and the Choral Fantasia, Op. 80 in two concerts. 73
The fact of playing six concerti in two evenings, right in the
Cortot's audacity
played the two Trios Op. 70, the "Archdukew'Trio (Op. 97) and
the Variations, Op. 44 (on an Original Theme) and Op. 121a (on
"Ich bin der Schneider Kakadu").
Cortot s interpretive
The
tempi are on the fast side, and there are a good many arbitrary
tempo changes in the small dimension, i.e., within musical
periods.
The
In
Here
full
Stylistically and
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Many
Societe Nationale de Musique, which he conducted from 19041908, were almost exclusively devoted to new or unfamiliar
works.
When Cortotls own concert society folded for lack of
funds after a little more than a year's existence, he accepted
the principal conductorship of the Association Swn~honiaueof
Lille, a post he held from 1905 to 1 9 1 0 . ~ At
~ Lille he gave
first local performances of a number of important works,
including Franck's Syr~honiein d minor and excerpts from
Berlioz' Armide, Felicien David's Desert and Monteverdils
Orfeo.
Maggie
As Jean Loubier
music
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After Risler, the individual from whom I learned the
most musically ... was the man who in my opinion was the
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Chapter IV:
Notes
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I
I
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14pugno was one of the few French pianists who could have
inspired Cortot to experiment with subtle pedaling effects.
Rislerls recordings reveal a simpler, more sparing use of pedal
with one striking exception--Lisztms Hungarian Rhapsody No. 11
--which shows a refined and highly imaginative use of both
pedals.
15'11 was reminded of [Anton] Rubinstein, wrote Pierre Lalo
in "Edouard Risler, le quatuor Capet," a tribute in g Figaro,
Oct. 29, 1943 (reprinted in & Rameau 4 Ravel [Paris: Albin
but
Michel, 1947]), "not because Risler imitated him,
because they both... combined physical gifts and an
extraordinarily powerful technique with admirable musical
Like Rubinstein, Risler was never
feeling and intelligence
.He had power and breadth,
as well as
harsh or dry
delicacy and lightness
One was no longer aware of the
instrument: only the music remained, and the spirit which
interpreted it.
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l6~isler1s
recordings are few and very rare. They include
performances of Chopinfs Valse Op. 64, No. 2 and Nocturne in F#
major, Op. 15, No. 2 (1917, paired on Pathe Saphir 9539), Etude
Op. 10, No. 5 and Mazurka Op. 17, No. 4; Lisztfs Hungarian
Rhapsody No. 11 (ca. 1910) ; the Scherzo (11) from Beethoven's
Sonata Op. 31, No. 3 in Eb major, and the Andante con mot0 (11)
from his Concerto No. 4 (Risler plays both the solo and
orchestra parts) ; and short works by Weber, Saint-Saens,
Granados and Chabrier. Pugno is known to have recorded
eighteen sides for the Paris Gramophone and Typewriter Co. in
u Ab, Op. 29, Valse in Ab,
1903, including Chopin's I m ~ r o m ~ tin
Op. 34, No. 1, Nocturne in F# Major, Op. 15, No. 2, Berceuse,
and the I1Funeral March" from the Sonata No. 2 in Bb minor (all
reissued on Rococo 2009); and pieces by Handel, Scarlatti,
Weber, Chabrier, Liszt and Pugno. There are also pre-1912
performances of the Chopin Ballade No. 1 in g minor and
Nocturne in g minor, Op. 37, No. 1 (Hupfeld 13731) on piano
rolls.
1 7 ~ h eterm was used by Donald Grout with reference to the
styles of Saint-Saens, Massenet and Charpentier among others
(see & H i s t o n of Western Music [New York: Norton, 19601, p.
599)
'
...
3 6 ~ t ~ n kept
d y a very tight grip on the Societe Nationale, so
tight in fact that composers who did not subscribe to his
methods and ideals felt compelled to break away in 1909 and
found their own Societe Nationale Independente.
37~uckermann (op. cit., p. 85) notes that between the 1861
Tannhauser performance and 1895 only two Wagner operas,
Lohensrin and Die Walkiire, were given full performances in
Paris. The symphonic societies played only the most popular
excerpts and the piano reductions were beyond the grasp of
amateurs. Hence, the need for private performances with
professional pianists. Debussy himself ttplayedTristan and
Parsifal in society to finance the composition of pel lea^.^^
39~ortot/~ntretiens,
ItAutour de Wagner.
4 0 ~ e e& E m , pp. 53-93 for Gavoty's account of Cortot's
discovery of Wagner and subsequent performance projects. At
the risk of appearing to quibble over minutiae in a biography
with few scholarly pretentions, certain parts of Gavotyts
account of Cortotts first visit to Bayreuth in 1896 (pp. 61-70)
need amending. According to the biography, Risler met Cortot
when Cortot arrived in Bayreuth, and then took him to the
theatre where Act I1 of Sieafried was being rehearsed. There
Cortot experienced some sort of "nirvanattthat left him unable
to make his way to his quarters alone. Later Risler supposedly
allowed Cortot to ttofficiouslytake over some of his
responsibilitiesttas a coach and conducting-assistant to
Richter, Mottl and Siegfried Wagner. An unpublished letter
from Diemer to Risler depicts events differently. The letter,
dated August 20, 1896, establishes that Cortot attended only
the second series of performances and therefore probably never
saw Risler at Bayreuth that summer, Risler having left
unexpectedly for Freiburg on learning of the death of a beloved
aunt. Did Cortot take over some of Rislerts duties? Perhaps,
but under circumstances very different than those related by
Gavoty. For the text of Diemerts letter and a corroborative
letter by Cortot, see Appendix I, pp. 566-71.
41~rogramin the Risler family archives.
42~nvitedto Bayreuth by Gustave Lyon after his prize-winning
performance at the 1896 concours, Cortot charmed his way into
Wahnfried and was asked to play at the last of Cosima Wagner's
6 1 ~ nthe one hand Cortot said that behind all music, pure or
program, is a feeling, a matrix idea which inspired the
composer and which the interpreter llmustrecapture and convey
to the listenermtl On the other hand, he argued that the
interpreter should be guided by the music and his personal
feeling for it in determining its basic meaning or character,
163
and should trust his instincts even over a supposedly
authoritative document establishing the llemotionalcharacter1#
of a work. .
62~hopin,12 Etudes, Op. 10 and 12 Etudes, Op. 25. Edition
de travail par A. Cortot (Paris: Maurice Senart, 1914-[17]) in
one or two volumes. The Senart catalogue was later absorbed by
Salabert, the present publisher of Cortotls editions.
63~hopin,24 Preludes, Op. 28, Edition de travail par A.
Cortot (Paris: Ed. Senart, 1926).
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