Haydn

One of the most prominent composers of the classical period, and is called by some the "Father of the Symphony"

"Young people can learn from my example that something can come from nothing. What I have become is the result of my hard efforts."-Haydn

taught:

Mozart

One of the most prolific and influential composers of the Classical era, his genius was unsurpassed.

"Neither a lofty degree of intelligence nor imagination nor both together go to the making of genius. Love, love, love, that is the soul of genius." -Mozart

who taught:

Ludwig Van Beethoven

German composer and virtuoso pianist. He was an important figure in the transitional period between the Classical and Romantic eras, remains one of the most famous and influential musicians of all time.

Music is the mediator between the spiritual and the sensual life. -Beethoven

who taught:

Czerny

Austrian pianist, composer and teacher. He is best remembered today for his books of etudes for the piano.

who taught:

Franz Liszt

A Hungarian virtuoso pianist and composer of the Romantic period. Today, he is considered to be one of the greatest pianists in history.

Who taught:

Count Leschetizky

Famous pianist and composer in the nineteenth century,especially well-known as a piano teacher. Taught many world-class pianists including Ignace Paderewski and Artur Schnabel. Authored "The Groundwork of the Leschetizky Method" - a dissertation reflecting the classical techinque of playing the piano.

who taught:

Artur Schnabel

Austrian classical pianist, who also composed and taught. Renowned for his seriousness as a musician, avoiding anything resembling pure technical bravura. Widely considered to be one of the greatest pianists of the 20th century, whose vitality, profundity and spiritual penetration in his playing have seldom if ever been surpassed.

"The notes I handle no better than many pianists. But the pauses between the notes - ah, that is where the art resides."-Schnabel

who taught:

Tung Kwong Kwong (Mrs. Ma) - Cited by Arthur Fiedler of the Boston Pops as his favorite soloist, Tung Kwong Kwong has concertized throughout the world. She is founder of Manhattan's "Si Yo Society".
 
who taught
 
Mary Wendelken, Director of Wendelken Piano Studio of Tampa. Teacher, performer, composer.
 

1. First study your piece, then practice it.
2. Practice technical passages always in time, whether fast or slow. Practicing them out of time is wasted time.
3. When you play a program, play only pieces that are well “seasoned”, pieces you have had in your repertoire at least two years. Don’t serve musical dishes “too fresh from the oven”.  They are not well cooked.
4. Always feel the first beat of a measure “like a sledge hammer,” even if the note on that beat is soft, or even if that beat has a rest.
5. Always use the easiest fingering on any passage. Even the passage is difficult enough.  After you have performed the piece many times successfully, then sometimes practice the passage with a different fingering, for good exercise.
6. If I listen to a performance, I must be either awed, moved, excited, or charmed. If the player has not done one of these four things to me, he has failed.
7. Some players, at the sight of the word vivace or con anima, rush with great speed. They don’t remember that vivace merely means “with life.” The speed itself doesn’t put life into the music.  It is accents, shading and liveliness of spirit which do it. One can play a piece in Moderate tempo and still play it vivace. Con anima does not necessarily mean fast.  It means with soulful animation.
8. To say “It was interesting” is a terrible compliment.
9. When you play Schumann and Chopin, think of the emotion between two lovers.  When you play Beethoven, think of the love for all mankind.
10. On making programs:  The pieces must be contrasted in moods and keys.
11. Encores:  The first encore should be lively. All following ones may be of any mood.
12. If a section comes three times, the last time should be done with different expression.  You can tell a good joke twice, but not three times.
13. Life is a continuous “mending”. We never have a perfect suit of clothes.  It is the same with art.
14. After too much pedal – clear it.  The room is stuffy – open the window.
15. If, in a performance, about 80% of all your “efforts” have been realized, you may be happy. Out of ten performances you will realize only one perfect one.
16. When you rush the last beat of a measure, you are like an awkward person that stumbles into a room.  Walk erect and with perfect poise into a room.
17. Don’t practice a passage twenty times in one sitting.  Do it five times, with real concentration.  There is no virtue in doing a thing well the twentieth time.  Any duffer can do that.
18. When practicing new effects:  For each “try” think ten times and play once.
19. I am a “good sailor” on the ocean, but when I hear some play terribly out of time, I get seasick.
20. You cannot play a rubato phrase with real rubato if you are unable (first) to play it in strict time.  Rubato, “the gentle art of playing artistically out of time.”
21. Any one who plays mezzo forte longer than eight measures should be put in jail.  Vary your shading. “Variety is the spice of life.”
22. In forte passages I prefer the strength of the lion to that of the elephant.
23. Playing every note loud does not make brilliancy. Playing certain notes loud does it.
24. Do not indulge in subtle bringing out of “inner voices” during the first 8 or 12 bars of a piece.  Do this later, as the music progresses. In a court procedure, the lawyer at first simply states his case.