329:
training of the fingers, but without the exaggerated pulling up of the fingers, which often leads to playing damage and is usually accompanied by cramping of the muscles. He emphasises the importance of relaxation (he uses the term free stretching to characterise the feeling of comfort and freedom) and avoiding unnecessary movements. Great care is also advised in tensioning and stretching exercises. With his new ideas, Pozniak thus became a pioneer of today's views on the problem of playing damage and its prevention. The types of touch necessary for playing the piano are systematised and discussed using examples. In addition to active finger playing, weight playing is used especially in the shaping of cantilenas. Pozniak rejects the outdated, inaccurate pedal signs, some of which are still in use today. He favours (see his edition of the
Beethoven Sonatas) the exact pedal signs of Theodor Wiehmeyer, which, however, have not become established and are not used in his own edition of Chopin's piano works.
22:
66:. Her mother came from a humble background. Her father was a customs official. The young Bronislaw's early interest in music met with little approval from his parents at first, as a civil service career had been planned for him. However, as his talent for music, especially for playing the piano, became more and more apparent, his parents gradually gave up their resistance. After the family moved to Krakow, he received lessons from renowned teachers at the conservatoire such as
361:. Pozniak's sparing pedalling, which not infrequently contradicts Chopin's own indications, has as its guideline clarity in harmony and line, which should not be blurred. Here one can reproach Pozniak for not having taken into account that Chopin, for all the differences in the effect of the damping of the pianos of the time, very well sometimes intended sound mixtures and therefore resorted to pedal indications that seem bold to us today. This is also pointed out by
286:. The number of students in Leipzig and Halle grew, making it difficult to cope with the work. Pozniak decided, partly because of the political situation which did not allow performances abroad, to give up concertizing and devote himself to publishing work in addition to his pedagogical activities. In addition to the improved new edition of the "ABC des Klavierspielers", which was published by Robert Forberg in 1948, Pozniak prepared a new edition of the
233:. In his memoirs Pozniak, now homeless, unemployed and almost penniless, describes the difficulties the unwelcome and ill-treated refugees had to contend with and how he, the once celebrated and popular pianist and teacher, had to stand his ground against the united front of hostile colleagues. Efforts to revive the Pozniak Trio initially failed due to administrative harassment. Targeted negative concert reviews by the press added to the problem.
1082:
306:, the home of his youngest son Andreas (d. 2013). A commemorative plaque in the entrance hall of Villa Lehman in Halle, the former seat of the State University for Theatre and Music, commemorates the great pianist and pedagogue, who explicitly understood his work as a contribution to the reparation of past atrocities and to understanding between the Polish and German people.
1070:
108:. There in Berlin, the foundations were laid for the most important components of Pozniak's later work. In addition to solo concertizing, these were above all his great interest in pedagogical activity (he began teaching at the Ochs-Eichelberger Conservatory in Berlin while still a student) and his passion for
248:, and his students stuck by him, whose family had to live on the small earnings of the younger son. But despite all resistance, he succeeded in regaining a foothold in the pedagogical as well as the artistic field. Wilhelm Weismann, then editor at Edition Peters, succeeded in entrusting Pozniak with the
301:
The enormous workload, the sometimes adverse living conditions, the unresolved fate of his eldest son Jan, who had been missing during the war, exhausted the strength of the musician, who was also admired by young people in his new homeland. Pozniak died of heart disease in Halle on 20 April 1953 at
348:
is the fingering, which in its deliberate simplicity leads to some facilitation of playing. It reflects
Pozniak's pedagogical experience and he also wants to make piano playing easier in this sector, in contrast to other editors who lead the player into blind alleys through some quibbles. Thus, the
332:
In his Chopin book, reference is made again and again to the elementary descriptions of the "ABC of the Piano Player". Just as simplicity and naturalness are methodological principles in the technical field, the same basic principles apply to the interpretation of Chopin's piano works. Pozniak sees
173:
In addition to this pedagogical work, there was intensive solo activity, performances in piano duos and, above all, concert tours with his trio to the most important cities in Europe. The
Pozniak Trio, founded in 1923, played in changing line-ups was one of the leading chamber music associations in
369:
calls "one of our most wonderful Chopin players". The surviving sound documents with his piano trio show, despite the age-related acoustic-technical deficiencies, a sensitive musician, responsive to his fellow players, whose slender and transparent tone, also according to his partners and critics,
319:
When
Pozniak edited his writings, the sometimes bitter disputes, especially in the first quarter of the 20th century, between the advocates of the older piano methodology (emphasis on finger technique) and the various reformers (emphasis on weight technique in piano) were still going on. The focus
217:
When the Second World War broke out, Pozniak was harassed by the
National Socialists as a 'Pole' and 'foreigner', although he had in the meantime obtained German citizenship. Because he played music with Jewish artists, he was blacklisted by the National Socialist rulers, suspended from service at
145:
and the great success of his pupils at regularly organised recitals and concerts made him a sought-after piano teacher to whom pupils flocked from all parts of the country and especially from the eastern countries. Of the many students, the most successful was the pianist Josef Wagner (1900–1947),
328:
in favour of the use of the back muscles and the lowering of the shoulder blades. Pozniak dispenses with theoretical discussions and approaches the problems of piano playing from the practical side. He takes a more mediating position, balancing the extremes. The starting point for him is also the
127:, Upper Silesia, and from 1929 to 1931, he was in charge of the master class at the "Polish Music Association Conservatory" in Lviv, which he supplied once a month from Wroclaw. The appointment to this post was a special honour, as it was the class once supervised by Chopin's pupil
337:, Chopin's pupil, in Lemberg. He opposes the excessive emphasis on the technical side of Chopin's piano works, as expressed above all in the exaggerated tempi of some Chopin players. This display of technical skills, as is observed especially in the interpretation of the
85:(1837–1921). After graduating from high school, he attended a newly founded commercial college in Krakow, where it was possible to take the state examination after studying for only two semesters. Only on this condition did his father agree to the artist's career.
138:(1893–1980), Pozniak advocated the creation of the "University Institute for Music Education and Church Music", an extension of the Institute for Church Music, headed by Schmitz and affiliated to the university, and also became head of the piano department there.
119:, which was in a rather desolate state. The Silesian capital remained Pozniak's main place of activity for the next 30 years until his flight on 3 February 1945. From 1918 to 1936, Pozniak worked at the Silesian Conservatory and he also took over the
341:, is a distortion of the spirit of Chopin's music, which, according to Pozniak, is characterised by nobility, poetry, naturalness, absence of any sentimentality and deeply felt love and attachment to the Polish homeland and the Polish people.
218:
the university institute for a year, but then reinstated. His solo activities and performances with the
Pozniak Trio were also boycotted in Silesia for the same reason, and he had to answer to two Gestapo trials after being denounced.
483:
Ludwig van
Beethoven: Trüb', trüb' ist mein Auge; Die holde Maid von Inverness; Oh, grausam war mein Vater; Der treue Johnie; Der Abend aus "Twenty-five Scottish songs", op. 108. POLYDOR 73021/71023
186:(1911–2012) as well as the cellists Hugo Dechert (1860–1923), Hans Kindler (1892–1949), Heinz Beyer, Joseph Schuster (1903–1969), Jascha Bernstein, Bernhard Günther, Sigrid Succo and
1137:
282:, known as a Liszt player, with whom he was on friendly terms. At the same time, Pozniak taught at the Institute for Music Education at the Faculty of Education of the
349:
finger changes for repeated notes and ornaments are consistently dispensed with, as is practised by most pianists today and as was already presented by, for example,
1038:. In Wilibald Gurlitt (ed.): Riemann- Musiklexikon. 12th edition. Personal Part L–Z. Schott, Mainz 1961. (Incorrect indication of the pronunciation of the name!).
273:
123:
for pianists when this institution was transformed into the "Landesmusikschule" in 1936. From 1919 to 1925, Pozniak also taught at the
Cieplik Conservatory in
283:
1127:
1132:
190:(1903–1976). In addition to the (pre)classical-romantic repertoire, the Pozniak Trio also devoted itself intensively to contemporary composers, such as
82:
112:, which then led to the formation of a piano trio. Material hardship accompanied the artistic activities of the now independent musician in Berlin.
815:. Mitteldeutscher Verlag, Halle (Saale) 1949. p. 160 (Afterword). (In later reprints this page is no longer included), also in the chapter
88:
After initial artistic successes in Lviv and later in Krakow, Pozniak continued his studies in Berlin at the financial sacrifice of his father.
652:. Mitteldeutscher Verlag, Halle (Saale). In die Edition Peters Collection Litolff Nr. 5605 übernommen. Leipzig 1953. (Einzelheiten s. Weblinks)
147:
1018:
638:
Transcribed from the manuscript and edited by
Cristina v. Pozniak-Bierschenk. Unveröffentlichter Privatdruck. Osnabrück 1985. Nachdruck 2006.
862:
Hans
Bastiaan (1911 in Nuremberg – 11 October 2012) became known more recently for his participation as a contemporary witness in the film
268:
1102:
1004:
Wunderlich, Tübingen 1968. (Piatigorsky beschreibt hier sein Verhältnis zu Pozniak und dem Pozniak-Trio, dem er zeitweise angehörte).
30:
1022:: allgemeine Enzyklopädie der Musik). Sachteil, vol. 2. Bärenreiter/Metzler. Kassel/Stuttgart. (Incorrect year of birth Pozniak's!).
1107:
365:
in the notes on interpretation in his Chopin edition (Edition Peters). There are no solo recordings of the pianist Pozniak, whom
1048:
1032:: Kurzgefasstes Tonkünstler-Lexikon. 15. Aufl. vol. 2. Heinrichshofen, Wilhelmshaven 1978. (Incorrect year of birth Pozniak's!).
624:
Przekład: Bogdan Zieliński, Izabella Zielińska. Ars Nova, Poznań 1992. (Polish translation of the 1st German edition from 1936).
174:
Europe. Pozniak's trio partners in the string section included violinists Hugo Birkigt (1885–1944), Hugo Kortschak (1884–1957),
509:
Antonín Dvorák: Klaviertrio Nr. 4 e-Moll, op. 90 "Dumky-Trio" (6 Seiten). ELECTROLA EH 647/649; HMV C.2384/2386; HMV AN.715/717
358:
46:, ), (26 August 1887 – 20 April 1953) was an Austro-German pianist of Polish descent, piano teacher, music writer and editor.
290:
for the Mitteldeutsche Verlag in Halle, of which only the first volume could be completed and which was then taken over by
97:
1122:
1060:
983:
In Zeszyt Naukowy Akademii Muzycznej im. Karola Lipińskiego we Wrocławiu 65. Wrocław 1995. pp. 105–129.
973:
928:
Picture of Klaus Suckel opposite in Klaus Suckel (1999). (The photo has since been removed for copyright reasons).
384:
366:
241:
631:
Published in cooperation with the German Chopin Committee Berlin. Mitteldeutscher Verlag, Halle (Saale) 1949.
1052:
321:
1074:
466:
Paul Juon: Rêverie, Humoresque, Elegie from the Trio-Miniaturen, op. 18 (3 Seiten). GRAMMOPHON 62548/62549
167:
487:Überspielung auf CD: "The Art of Emmi Leisner". Lebendige Vergangenheit / Preiser Records 89210 (P) 1994
392:
Trio Pozniak-Deman-Beyer: Bronislaw von Pozniak (piano), Rudolf Deman (violin), Hans Beyer (violoncello)
132:
21:
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59:
71:
954:
431:
Bedrich Smetana: 2. Satz / Allegro ma non agitato aus: Klaviertrio g-Moll, op. 15. GRAMMOPHON 66196
412:
179:
93:
475:
403:
Franz Schubert: 3. Satz / Allegro moderato aus: Klaviertrio Es-Dur, op. 100, D 929. ODEON AA 57863
564:
Joseph Haydn: Es weiden meine Schafe aus „Schottische Volkslieder“ (Hob. XXXIb). GRAMMOPHON 47541
504:
Pozniak-Trio: Bronislaw von Pozniak (piano); Carl Freund (violin); Jascha Bernstein (violoncello)
187:
159:
428:
Antonín Dvorák: Klaviertrio Nr. 4 e-Moll, op. 90 "Dumky-Trio" (5 Seiten). GRAMMOPHON 66194/66196
338:
519:
Pozniak-Trio: Bronislaw von Pozniak (piano); Eugen Forster (violin); Sigrid Succo (violoncello)
221:
Fleeing the Russian army from Breslau on 3 February 1945, Pozniak and his family first went to
969:
768:
681:
567:
Joseph Haydn: Rose weiß, Rose rot aus „Schottische Volkslieder“ (Hob. XXXIb). GRAMMOPHON 47541
362:
183:
89:
1002:
Mein Cello und ich und unsere Begegnungen mit Béla Bartók, Sir Thomas Beecham, Pablo Casals…
529:
Recording stored in the Narodowe Archivum cyfrowe, Warsaw under the shelf mark 3/33/0/1/2957
397:
Peter I. Tschaikowsky: Thema und Variationen aus: Klaviertrio a-Moll, op. 50. ODEON AA 57861
354:
325:
245:
237:
163:
105:
591:
1029:
448:
Pozniak-Trio: Bronislaw von Pozniak (piano); Carl Freund (violin); Joseph Schuster (cello)
423:
Pozniak-Trio: Bronislaw von Pozniak (piano); Carl Freund (violin); Joseph Schuster (cello)
222:
141:
Pozniak's extensive pedagogical work, especially in Breslau, but also in other parts of
1086:
684:
on the occasion of his 65th birthday. Verlag Hans Schneider, Tutzing 1992. p. 339.
345:
291:
135:
101:
1096:
406:
Anton Arensky: 3. Satz / Elegie aus: Klaviertrio Nr. 1 d-Moll, op. 32. ODEON AA 57864
371:
230:
207:
191:
155:
109:
76:
344:
One of the special features of Pozniak's new edition of Chopin's piano works in the
959:
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This college (based in the Villa Lehmann, Burgstraße 46) existed from 1947 to 1955.
540:
334:
264:
203:
175:
128:
120:
1010:. In Hans-Joachim Moser: Musiklexikon. Verlag Max Hesse, Berlin 1935, 1943, 1951.
995:
Meister des Klaviers. Die Pianisten der Gegenwart und der letzten Vergangenheit.
650:
Sonaten für Klavier Bd. 1 (Sonaten 1–14). Instruktive Neuausgabe nach dem Urtext
469:
Paul Juon: Danse phantastique from the Trio-Miniaturen, op. 24. GRAMMOPHON 62549
303:
195:
578:
453:
Paul Kletzki: 3. Satz / Adagio from the Trio d-Moll, op. 16. GRAMMOPHON 66415
333:
himself as a preserver of the tradition of Polish Chopin playing as taught by
780:
Secretariat of the V. International Fryderik Chopin Piano Competition (ed.):
400:
Peter I. Tschaikowsky: Walzer aus: Klaviertrio a-Moll, op. 50. ODEON AA 57862
990:
In: Musikgeschichte in hundert Lebensbildern. Reclam-Verlag, Stuttgart 1952.
907:. 7. jg. 1999/4. Martin Luther University Halle-Wittenberg 1999. p. 26.
496:
199:
151:
29:
543:, Alto. Triobegleitung: Prof. Br. v. Pozniak, Hans Bastian, Siegrid Succo
63:
555:
Johann Abraham Peter Schulz: Der Mond ist aufgegangen. Unveröffentlicht
260:, which was then published by Mitteldeutscher Verlag in Halle in 1949.
226:
142:
116:
717:. HdK-Archiv, vol. 3. Hochschule der Künste, Berlin 1999. p. 51.
534:
Recordings for the Deutsche Grammophon GmbH. Berlin, 14 February 1941
463:
Egon Kornauth: Fragment from the Klaviertrio op. 27. GRAMMOPHON 66415
252:, organised on the occasion of the 100th anniversary of the death of
917:
715:
Pianists in Berlin. Piano and Piano Education since the 19th Century
864:
Das Reichsorchester. The Berlin Philharmonic and National Socialism
62:, the seventh child of an engineer and Austrian civil servant from
263:
In the meantime, Pozniak had been appointed professor in Halle by
124:
28:
581:
with works by Frédéric Chopin, which Pozniak says he made in his
561:
Friedrich Silcher: Drauß' ist alles so prächtig. GRAMMOPHON 47539
178:(1880–1960), Géza de Kresz (1882–1959), Karl Freund (1904–1955),
901:
Musikalische Wurzeln. State College for Theatre and Music Halle.
629:
Chopin. Praktische Anweisungen für das Studium der Chopin-Werke.
115:
In 1915, Pozniak took over a piano class at the conservatory in
55:
457:
The Pozniak Trio premiered this work on 13 April 1926 in Berlin
258:
Chopin. Praktische Anweisungen für das Studium der Chopin-Werke
100:
who was feared by many, who had such distinguished students as
850:
617:
2. extended edition. Robert Forberg Musikverlag, Leipzig 1948.
256:
in 1949, and also supported him in the completion of the book
524:
Antonín Dvorák: Klaviertrio Nr. 4 e-Moll, op. 90 "Dumky-Trio"
698:
294:
in Leipzig. Also for Edition Peters, he published an album
229:, where he stayed for three and a half years, and later to
170:
and many other notable musicians were students of Pozniak.
610:
L. Oemigkes's Verlagsbuchhandlung, Berlin u. Breslau 1936.
558:
Volksweise: Die Blümelein, sie schlafen. GRAMMOPHON 47539
182:(1907–1999), Eugen Forster, Hans Bassermann (1888–1967),
738:. In MGG (2005). Personal part, vol. 14. p. 1479 b.
131:. Together with the full professor of musicology at the
443:
Recordings for the Deutsche Grammophon AG. Berlin, 1926
765:
Quellen zur Geschichte emigrierter Musiker (1933–1950)
1058:
782:
The International Chopin Piano Competitions in Poland
695:
Zur Geschichte der Klavierabteilung an der UdK Berlin
596:, could not be determined until now (September 2020).
133:
Schlesische Friedrich-Wilhelms-Universität zu Breslau
357:
in the preface to his later edition of J. S. Bach's
794:
866:. Documentary by Enrique Sánchez Lansch. Broadcast
648:Bronislaw v. Pozniak (ed.): Ludwig van Beethoven,
269:Staatliche Hochschule für Theater und Musik Halle
250:New Edition of the Piano Works of Frédéric Chopin
981:O autobiografii Bronisława Poźniaka (1887–1953).
811:List of other students in Bronislaw v. Pozniak:
657:Klaviermusik russischer und sowjetischer Meister
434:Jean-Philippe Rameau: Cinquième Concert aus den
645:. New edition. Edition Peters, Leipzig 1949 ff.
302:the age of 65. He is buried in the cemetery in
34:Coat of arms of the Polish noble family Poźniak
278:, which was newly founded in 1947, as well as
1049:Literature by and about Bronisław von Poźniak
641:Bronislaw v. Pozniak (ed.): Frédéric Chopin,
8:
572:Recording for the Ludwig Hupfeld AG. Leipzig
284:Martin Luther University of Halle-Wittenberg
713:Wolfgang Rattert and Dietmar Schenk (ed.):
92:had recommended Pozniak to his own teacher
1138:Emigrants from Austria-Hungary to Germany
968:In Karlheinz Schlager (ed.): Festschrift
937:In the preface to the 2nd edition of the
849:. See also the Altenberg Trio Archive at
680:In Karlheinz Schlager (ed.): Festschrift
296:Piano Music of Russian and Soviet Masters
58:in the Austrian part of the then divided
20:
1065:
976:, Tutzing 1992. pp. 339–349.
669:
148:International Chopin Piano Competition
96:, a relentless piano professor at the
1019:Die Musik in Geschichte und Gegenwart
795:"Narodowy Instytut Fryderyka Chopina"
288:Piano Sonatas of Ludwig van Beethoven
7:
324:and its uncompromising rejection by
236:A small group of musicians, such as
941:, Forberg, Leipzig 1948, p. 3.
298:in 1953 (Edition Peters No. 4574).
1128:20th-century German male musicians
997:Schuster und Löffler, Berlin 1919.
14:
1133:Austrian people of Polish descent
918:http://www.musikpaed.uni-halle.de
763:Horst Weber, Stefan Dress (ed.):
726:Maria Zduniak (1992) p. 340.
315:Piano pedagogy and Chopin playing
1080:
1068:
832:Maria Zduniak (1992) p. 342
387:. Berlin, late 1920 / early 1921
853:with not always reliable dates.
659:. Edition Peters, Leipzig 1951.
320:was on the weight technique of
25:Bronisław Poźniak (before 1913)
1036:Pozniak, Bronislaw, Ritter von
1008:Pozniak, Bronislaw, Ritter von
966:Bronisław Poźniak (1887–1953).
678:Bronisław Poźniak (1887–1953).
1:
436:Pièces de clavecin en concert
98:Berlin University of the Arts
868:on 29 November 2007, on ARD.
655:Bronislaw v. Pozniak (ed.):
608:Das ABC des Klavierspielers.
514:RUNDFUNK. live, 3 March 1939
40:Bronislaw Ritter von Pozniak
972:zum 65. Geburtstag. Verlag
851:http://www.altenbergtrio.at
1154:
784:. Warsaw 1954. p. 33.
267:, the first rector of the
214:and Hans-Georg Burghardt.
1103:German classical pianists
499:. Berlin, 23 October 1930
225:, then in August 1945 to
699:http://www.udk-berlin.de
615:ABC des Klavierspielers.
1108:Male classical pianists
1053:German National Library
939:ABC des Klavierspielers
577:The solo recordings on
419:Auslandslabel: POLYDOR
322:Rudolf Maria Breithaupt
1026:Pozniak, Bronislaw von
634:Bronislaw v. Pozniak:
627:Bronislaw v. Pozniak:
613:Bronislaw v. Pozniak:
606:Bronislaw v. Pozniak:
413:Deutsche Grammophon AG
353:in his study book and
36:
26:
736:Schmitz, Franz Arnold
150:1932 in Warsaw. Also
32:
24:
1000:Gregor Piatigorsky:
986:Hans Joachim Moser:
767:. Vol. 2: New York.
168:Hans-Georg Burghardt
146:Prize winner of the
54:Pozniak was born in
16:Autro-German pianist
1123:Musicians from Lviv
636:Lebenserinnerungen.
620:Bronisław Poźniak:
495:Recordings for the
411:Recordings for the
383:Recordings for the
94:Karl Heinrich Barth
703:University History
438:. GRAMMOPHON 66197
370:made him an ideal
188:Gregor Piatigorsky
160:Gerhard Wohlgemuth
83:Władysław Żeleński
37:
27:
970:Hubert Unverricht
905:scientia halensis
769:K. G. Saur Verlag
682:Hubert Unverricht
587:Ludwig Hupfeld AG
547:musical editing:
385:Carl Lindström AG
363:Paul Badura-Skoda
359:2-part inventions
351:Gottfried Galston
184:Johannes Bastiaan
90:Arthur Rubinstein
50:Life and activity
44:Bronisław Poźniak
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747:see the chapter
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693:Linde Großmann:
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685:
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355:Ferruccio Busoni
326:Elisabeth Caland
280:Sigfrid Grundeis
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246:Wilhelm Weismann
164:Edmund von Borck
106:Heinrich Neuhaus
81:(1875–1951) and
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68:Felicjan Szopski
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1075:classical music
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979:Maria Zduniak:
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676:Maria Zduniak:
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549:Gerhard Strecke
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254:Frédéric Chopin
212:Ludomir Różycki
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64:Polish nobility
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1043:External links
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974:Hans Schneider
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899:Klaus Suckel:
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771:, Munich 2005.
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415:. Berlin, 1925
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367:Walter Niemann
346:Edition Peters
316:
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292:Edition Peters
242:Walter Niemann
180:Hans Dünschede
136:Arnold Schmitz
102:Wilhelm Kempff
72:Jerzy Lalewicz
51:
48:
33:
15:
13:
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955:Maria Zduniak
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623:
622:ABC pianisty.
619:
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372:chamber music
368:
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238:Günther Ramin
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208:Egon Kornauth
205:
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197:
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192:Hans Pfitzner
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156:Hans Pischner
153:
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110:chamber music
107:
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86:
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78:
73:
70:(1865–1939),
69:
65:
61:
57:
49:
47:
45:
41:
31:
23:
19:
1035:
1025:
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904:
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886:
880:The Collapse
879:
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643:Klavierwerke
642:
635:
628:
621:
614:
607:
582:
571:
570:
546:
541:Lore Fischer
538:
537:
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528:
527:
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502:
497:Electrola AG
494:
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476:Emmi Leisner
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456:
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409:
391:
390:
382:
381:
343:
335:Karol Mikuli
331:
318:
310:Appreciation
300:
295:
287:
265:Hans Stieber
262:
257:
249:
235:
223:Markranstädt
220:
216:
204:Paul Kletzki
176:Rudolf Deman
172:
140:
129:Karol Mikuli
121:master class
114:
87:
53:
43:
39:
38:
18:
1118:1953 deaths
1113:1887 births
1028:. In Frank/
958: [
841:s. Chapter
590: [
304:Nottensdorf
272: [
75: [
1097:Categories
664:References
579:piano roll
378:Recordings
1055:catalogue
817:My Pupils
749:My Pupils
374:pianist.
200:Paul Juon
152:Hans Otte
878:Chapter
701: :
585:for the
196:Hans Gál
125:Beuthene
42:(Polish
1087:Germany
1061:Portals
1051:in the
1030:Altmann
1014:Breslau
988:Chopin.
847:Memoirs
845:in the
843:My Trio
821:Memoirs
819:of the
799:nifc.pl
753:Memoirs
751:in the
583:memoirs
227:Leipzig
143:Silesia
117:Breslau
813:Chopin
478:, alto
339:Études
60:Poland
1016:. In
962:]
697:. At
594:]
539:with
474:with
276:]
231:Halle
79:]
916:See
104:and
56:Lviv
903:In
1099::
964::
960:pl
797:.
592:de
545:.
274:de
244:,
240:,
210:,
206:,
202:,
198:,
194:,
166:,
162:,
158:,
154:,
77:pl
1063::
823:.
801:.
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