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Arrau seemed to confirm this, stating, “The way that I 16 “Man ist geneigt, in der reinen Technik das Geheimnis seiner Lehre zu suchen. Oder rein klanglich: im Schwingen, im Klingen, im Singen des Klaviertones als Endergebnis eines besonderen Anschlages. Den Anschlag mit relaxierten Muskeln der Arme und Hände verkünden auch andere als Dogma, und dennoch bleibt er in seinen unendlich feinen Abstufungen das Problem aller Klaviertechnik. Krause meisterte das Problem mit unnachahmlichem Erfindungsgeist und löste es wie niemand zuvor bei allen Schülern.

56 William Mason, Memories of a Musical Life (New York: Century, 1901): 99–100. 54 s e c t i o n o n e a r r au ’s p r e d e c e s s o r s 36 of rhythm, dynamics, or tone quality. Mason also noted Liszt’s “elastic movement” and “elasticity of touch,” indications of some visible physical act, but Mason, swept up in the experience, the sound and pacing of the passage, did not document what he saw. Are there any sources with more specific insights into Liszt’s later technical practices? More crucial for Arrau’s claim to a Lisztian legacy and for the notion that Krause could have guided the development Arrau’s technique along Lisztian lines, is there any reason to think that Liszt’s pianism may have involved arm techniques similar to those used by Arrau?

1 Arrau’s consciousness of Liszt as a model to be emulated and upon which to construct an identity came from his study with Martin Krause. Although Krause’s musical connections were by no means limited to Liszt and his circle, it was Liszt who fired Arrau’s imagination and whose circumstances resonated with Arrau’s own experience. 2 For Liszt it was his father, and for Arrau, his teacher. Arrau alluded to this coincidence: “It is a miracle that after being a prodigy and finding himself at the center of the musical world, he [Liszt] somehow managed to become what we would call a reasonably normal man.

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500 Piano Intros for the Great Standards (The Steinway Library of Piano Music) by Ed Shanapy

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