Identifier: pianomasteryseco00brow (find matches)
Title: Piano mastery, second series; talks with master pianists and teachers.
Year: 1917 (1910s)
Authors: Brower, Harriette, 1869-1928
Subjects: Piano
Publisher: New York : Frederick A. Stokes
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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the receivershould feel gratitude; it is also grateful for thegiver to give. XXMISCHA LEVITZKI THE DEVELOPMENT OF A NATURAL TECHNIC One of the pianistic sensations of the seasonof nineteen sixteen has been the playing ofMischa Levitski, as the inspired performancesof the young Brazilian, Guiomar Novaes, hadbeen the year before. Levitzki suddenly ap-peared in our midst, and had given his thirdrecital before the season was half over. Hisfirst recital won an instant success; each suc-ceeding one increased his hold on the public.The listener realized here was an unusual tal-ent, already highly developed. A well-equipped technic, subtle feeling for tone color,clear grasp of the composers meaning, abilityto set all these forth with conviction and au-thority, made his performances full of satisfac-tion and delight. Mischa Levitski is very young to haveachieved so much. He has the boyish manner,the frank open expression and ready smile be-fitting his youth; but at the piano one feels the 224
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Mischa Levitzki 225 maturity of thought which tempers the youngardor of his nature. In conversation he isclear-thoughted and fluent, ready to share hisexperiences with the questioner, though he sayssometimes, with winning modesty,—it seemsso to me, but perhaps I am rather young tojudge. A recent chat with Levitski elicited interest-ing facts about himself and his work. You ask for a brief account of my shortcareer, he began. I was born in Russia, though I am anAmerican citizen, as my father was naturalizedhere thirty years ago. Eight years of my child-hood were spent in Russia and then we came toNew York. About a year and a half before weleft the other side I had begun to study music. Not long after we arrived in America, Iwas taken to the Institute of Musical Art,and placed under the tuition of Stojowski. Ialso had to attend the public school as well, sothat I was never able to practise more thantwo hours daily—often not more than an hourand a half. I merely mention this because

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