excerpt from 'Letters of composers : an anthology, 1603-1945 / compiled and edited by Gertrude Norman and Miriam Lubell Shrifte.' pp. 69 (246 words)

excerpt from 'Letters of composers : an anthology, 1603-1945 / compiled and edited by Gertrude Norman and Miriam Lubell Shrifte.' pp. 69 (246 words)

part of

Letters of composers : an anthology, 1603-1945 / compiled and edited by Gertrude Norman and Miriam Lubell Shrifte.

original language

urn:iso:std:iso:639:ed-3:eng

in pages

69

type

text excerpt

encoded value

When I was at Stein’s house the other day he put before me a sonata by Beecke - I think I have told you that already. That reminds me, now for his little daughter [Maria Anna (Nanette) Stein, child prodigy]. Anyone who sees and hears her play and can keep from laughing must, like her father, be made of stone. For instead of sitting in the middle of the clavier, she sits right opposite the treble, as it gives her more chance of flopping about and making grimaces. She rolls her eyes and smirks. When a passage is repeated, she plays it more slowly the second time. If it has to be played a third time, then she plays it even more slowly. When a passage is being played, the arm must be raised as high as possible, and according as the notes in the passage are stressed, the arm, not the fingers, must do this, and that too with great emphasis in a heavy and clumsy manner. But the best joke of all is that when she comes to a passage which ought to flow like oil and which necessitates a change of finger, she does not bother her head about it, but when the moment arrives, she just leaves out the notes, raises her hand, and starts off again quite comfortable - a method by which she is much more likely to strike a wrong note, which often produces a curious effect.

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excerpt from 'Letters of composers : an anthology, 1603-1945 / compiled and edited by Gertrude Norman and Miriam Lubell Shrifte.' pp. 69 (246 words)

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