Besides Liszt, Lamond also took lessons from Clara Schumann and Brahms, met Anton Rubinstein and Scriabin and was asked by Tchaikovsky to play his b-minor concerto.
That Liszt never charged any fee of his pupils seems quite logical for the kind of character he was. He had made his fortune in the days of being a concert pianist in his youth, gained his repuation as a serious musician in his middle-age when he settled down as conductor in Weimar and I'm sure at that time had no need for further income from giving piano lessons. So instead he did what every good musician would do in such a case: Share his knowledge and insights for free.
As a child I had the opportunity in Vienna to have several lessons with Viola Thern (1887-1973) whose father and uncle had studied with Liszt. She spoke about him not as a historical figure but almost as a member of her family. She told so many stories! One that relates to the question of Liszt's personal finances - she insisted that in his very last years he had almost no money, this because he had given it away, as he had any valuable possessions such as jewelry that he had once owned. Frau Thern said that he was always a guest of someone, and therefore had no need to pay for accomodation or meals. How did he finance his extensive travels in the last year of his life? We will probably never really know? PS the most famous student of Viola Thern was Paul Badura-Skoda whom she defended like a mother bear - she was incensed that his career did not develop in the same way that for instance Alfred Brendel's did....
Jjmcoupe bmw :: Lisitsa is only joking when she says she plays very fast and fx. when she plays "La Contrabandista", by Liszt. But in fact people are duped by speed, so it is an important factor at a concert (and Liszt knew and exploited). You may assume that also Liszt had this double-standard regarding speed. There is a memory of a young pianist playing "Hammerclavier" too slow and Liszt throwing him out or dismissing him without kind words. Yet speed is only one factor in performance, and not the most important.
Besides Liszt, Lamond also took lessons from Clara Schumann and Brahms, met Anton Rubinstein and Scriabin and was asked by Tchaikovsky to play his b-minor concerto.
Wow
That Liszt never charged any fee of his pupils seems quite logical for the kind of character he was.
He had made his fortune in the days of being a concert pianist in his youth, gained his repuation as a serious musician in his middle-age when he settled down as conductor in Weimar and I'm sure at that time had no need for further income from giving piano lessons.
So instead he did what every good musician would do in such a case: Share his knowledge and insights for free.
As a child I had the opportunity in Vienna to have several lessons with Viola Thern (1887-1973) whose father and uncle had studied with Liszt. She spoke about him not as a historical figure but almost as a member of her family. She told so many stories! One that relates to the question of Liszt's personal finances - she insisted that in his very last years he had almost no money, this because he had given it away, as he had any valuable possessions such as jewelry that he had once owned. Frau Thern said that he was always a guest of someone, and therefore had no need to pay for accomodation or meals. How did he finance his extensive travels in the last year of his life? We will probably never really know?
PS the most famous student of Viola Thern was Paul Badura-Skoda whom she defended like a mother bear - she was incensed that his career did not develop in the same way that for instance Alfred Brendel's did....
Valentina Lisitsa should listen to this. 0:30 What he said about speed and how Liszt held it in contempt. She should take that to heart.
Jjmcoupe bmw :: Lisitsa is only joking when she says she plays very fast and fx. when she plays "La Contrabandista", by Liszt. But in fact people are duped by speed, so it is an important factor at a concert (and Liszt knew and exploited). You may assume that also Liszt had this double-standard regarding speed. There is a memory of a young pianist playing "Hammerclavier" too slow and Liszt throwing him out or dismissing him without kind words.
Yet speed is only one factor in performance, and not the most important.
Amazing! To hear someone who knew all these people.......
This is another level👀👍👍
Wow his interpretation is literally living and breathing
So interesting. I wish i was born earlier tho live back then
You really don't.
One simple reason why: Antibiotics.
@@Quotenwagnerianer that honestly is a very good point xDDDD
Fascinating.. what do you think the repeated F at the end signifies?
The last note ...repeated?????
How can he play so fast!!!!?!?
Is the roll sped up? cause if not this is unbelievably fast.
And all the rubato!!! I love it!!!
I think this is kind of edited. It is just insane and I don't like it much honestly. I rather prefer Paul Barton's interpretation or David Lampell's.
@@erikrobinson2547 ruclips.net/video/jaOMBr-2ACo/видео.html check this out. It may be the original one. You'll notice the difference!!!
@@juansebastianperezvarelo7476 Oh Paul's is the best.
@@juansebastianperezvarelo7476 ty yes this is better already lol.
this guy met liszt and liszt met beethoven...
And Beethoven meet Mozart
Eduardo Corte Cid and Mozart met Haydn
* Met
And Mozart met Bach’s son
Liszt also met chopin...