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French Pianism: A Historical Perspective
The undisputed preeminence of Paris as a centre of the piano world dates from the early 19th century, and the rigorous professors of the Paris Conservatoire transmitted the characteristic French piano style faithfully to each new generation for some 150 years.
368 pages, Hardcover
First published November 27, 2006
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September 30, 2023
Standing out from the Russian, French, and German schools of piano, the French school developed into a formidable and distinctive practice thanks to the influence and talents of various performers, teachers, and composers. Centered around the Paris Conservatoire curriculum and core principles such as Jeu Perlé, French pianists developed their reputation for clear, transparent passage work and strong finger independence. In French Pianism: A Historical Perspective, Charles Timbrell establishes the foundation of the distinguishing aspects of the French piano method and displays thorough knowledge of the figures responsible for creating it, resulting in a versatile reference guide for pianists hoping to enhance their understanding of the French piano literature.
The book is organized into five very large chapters. The first chapter establishes the basic foundations of the French method, including early french pianos and early treatises on technique such as Couperin’s L’art de Toucher le Clavecin and Rameau’s Code de musique pratique. 1795 saw the establishment of the Conservatoire with its curriculum and prize system, and the 19th century gave way to the early notable teachers in Paris such as Chopin, Herz, Farrenc, and Diemer. In the second and third chapter, the author delves deep into the lives and careers of specific performers and teachers either before or after World War II, with a biographical section detailing their training, notable performances and achievements, and a list of their notable students. For most of the teachers, the author interviewed several of their living students, asking questions about technique or teaching style. This format was especially useful as the students’ responses showed vast differences between the teachers; for example, Marguerite Long’s students noted her disregard for pedal technique, with her going as far as saying “the pedal is for hiding mistakes”, but in the following interview of Alfred Cortot’s students, they all spoke on his emphasis on pedal technique, specifically the una corda, in order to bring out certain passages. Despite the majority of the teachers disagreeing in the minute details, Timbrell does a good job of showing the core beliefs of the French pianists that are nearly universally agreed upon, such as the importance of clarity, Jeu Perle, and highly developed finger technique. In the fourth chapter, Timbrell interviews several living French piano teachers, following the same format, and in the final chapter summarizes the evolution of the French school up to the point of the paper’s publishing. He highlights the various ways in which the school has developed and changed, embracing or abandoning certain ideas. For example, much of the first chapter noted French teachers’ emphasis on hand independence, with some teachers such as Kalkbrenner going as far as to invent devices such as the Guide-mains to ensure that the tone development starts only at the wrist. However, with the “old” French school going out, the author talks with and about many new teachers employing more of the arm, shoulder, and even the muscle as part of good technique.
Overall, Timbrell’s French Pianism provides an extensive overview and examples of the French technique in a way that even inexperienced pianists can grasp. The book also includes an extensive bibliography which contains information on notable recordings, etudes, and more in case the reader wants to explore anything that was introduced but not fully explained. It would make a welcome addition to any aspiring performer or teacher’s library, especially those interested in the French school of technique.
The book is organized into five very large chapters. The first chapter establishes the basic foundations of the French method, including early french pianos and early treatises on technique such as Couperin’s L’art de Toucher le Clavecin and Rameau’s Code de musique pratique. 1795 saw the establishment of the Conservatoire with its curriculum and prize system, and the 19th century gave way to the early notable teachers in Paris such as Chopin, Herz, Farrenc, and Diemer. In the second and third chapter, the author delves deep into the lives and careers of specific performers and teachers either before or after World War II, with a biographical section detailing their training, notable performances and achievements, and a list of their notable students. For most of the teachers, the author interviewed several of their living students, asking questions about technique or teaching style. This format was especially useful as the students’ responses showed vast differences between the teachers; for example, Marguerite Long’s students noted her disregard for pedal technique, with her going as far as saying “the pedal is for hiding mistakes”, but in the following interview of Alfred Cortot’s students, they all spoke on his emphasis on pedal technique, specifically the una corda, in order to bring out certain passages. Despite the majority of the teachers disagreeing in the minute details, Timbrell does a good job of showing the core beliefs of the French pianists that are nearly universally agreed upon, such as the importance of clarity, Jeu Perle, and highly developed finger technique. In the fourth chapter, Timbrell interviews several living French piano teachers, following the same format, and in the final chapter summarizes the evolution of the French school up to the point of the paper’s publishing. He highlights the various ways in which the school has developed and changed, embracing or abandoning certain ideas. For example, much of the first chapter noted French teachers’ emphasis on hand independence, with some teachers such as Kalkbrenner going as far as to invent devices such as the Guide-mains to ensure that the tone development starts only at the wrist. However, with the “old” French school going out, the author talks with and about many new teachers employing more of the arm, shoulder, and even the muscle as part of good technique.
Overall, Timbrell’s French Pianism provides an extensive overview and examples of the French technique in a way that even inexperienced pianists can grasp. The book also includes an extensive bibliography which contains information on notable recordings, etudes, and more in case the reader wants to explore anything that was introduced but not fully explained. It would make a welcome addition to any aspiring performer or teacher’s library, especially those interested in the French school of technique.
Displaying 1 of 1 review