108:
100:
121:
career of her son in music, although
Stamaty showed considerable musical gifts from an early age on. Stamaty's family wanted him to become a diplomat, a civil engineer or a clerk in the administration. Stamaty did become a civil servant but he did not give up on music altogether. In his spare time he kept practicing and composing and his playing must have been so good that he could perform at soirees in fashionable Parisian homes. This was no mean achievement as Paris was considered to be the city of pianists and Stamaty had ample competition in fashionable salons from
285:
297:
271:
69:
486:(Paris: Imprimerie Centrale des Chemins de Fer A. Chaix et Cie., 1878), pp. 214–225. Marmontel is the best and almost the only good source on Stamaty. Although Marmontel tends to eulogize all the pianists in his famous book, he was personally acquainted with Stamaty and, being a pianist and piano professor himself, he speaks with authority on Stamaty and his school. Moreover he is thoroughly acquainted with Stamaty's works.
318:. Sometimes these illnesses lasted for up to half a year; during this time Stamaty was forced to give up all musical activities. When his mother died in 1846, Stamaty grieved so much that he left Paris to retreat to Rome for a full year. Stamaty married in 1848 and became the father of four children. Marmontel points out that Stamaty was the most devoted of husbands and fathers.
347:"Firmness of the fingers is not the only thing that one learns from Kalkbrenner's method for there is also refinement of the quality of the sound made by the fingers alone, a valuable resource which is unusual in our day. Unfortunately, this school also invented the continuous legato, which is both false and monotonous; the abuse of nuances, and a mania for continuous
661:. Vernon cites no source for his claim and gives a wrong duration (two years) for Stamaty's Rome trip. Thus, new research withstanding we must assume that Stamaty really fell ill after the sudden death of his mother (1848) and simply took some time out in Rome, a place he would have known well from his childhood. See Loggins (1958), p. 60.
505:
will make something really – really out of me. (...) After close examination he told me that I have no school; that I am on an excellent road, but can slip of the track. That after his death, or when he finally stops playing, there will be no representative of the great pianoforte school." (Chopin, 1931), pp. 154–155.
504:
It is clear from Chopin’s letters that
Kalkbrenner was indeed actively searching for a pianist who would both became his pupil and heir. On 12 December 1831, Chopin wrote home to Poland to a friend: "On closer acquaintance he has made me an offer; that I should study with him for three years, and he
168:
Stamaty in many ways was the ideal candidate for
Kalkbrenner. He was talented, ambitious and, in addition to that, he was poor and bored at his job in the Préfecture. And above all he was prepared to suffer Kalkbrenner who had a reputation as a martinet. Marmontel shrewdly points out that, as Stamaty
120:
Stamaty did not have musical training from an early age on. Marmontel mentions that his musical studies had to take second place after classes in literature and history. Stamaty did not have a piano of his own before he was fourteen years of age. His mother, on the advice of her family, was against a
549:
Marmontel (1878), p. 218. Marmontel writes: "Stamaty devint le bras droit, le suppléant toujours choisi. Kalkbrenner donnait peu des leçons en dehors de ses cours, et le professeur qu'il désignait était invariablement
Stamaty." ("Stamaty became the right arm, the substitute teacher. Kalkbrenner
330:
Stamaty's piano technique was firmly rooted in the pre-Steinway era of pianos built with a wooden frame. Marmontel clearly states that
Stamaty was a "pianist of style but was no transcendental virtuoso" and that his playing lacked "warmth, colour and brilliance". Stamaty's method prescribed complete
652:
writes that
Stamaty attempted to take the eleven-year-old Saint-Saëns after his debut in the Salle Pleyel on a concert tour all over Europe, but Saint-Saëns' mother would have none of it. According to Loggins the ensuing quarrel made Stamaty so ill that he went to Rome to seek refuge in a monastery
173:
with variations of his own composition he approached
Stamaty and made him a business proposal: Stamaty would become his pupil and his répètiteur at the same time. A "répètiteur" was an auxiliary teacher to Kalkbrenner who in his later years did little teaching himself. Kalkbrenner gave fashionable
326:
Stamaty's piano technique has its roots in the piano manufacturing craft of the first decades of the 19th century. Most pianos manufactured in France before 1850 had a light action and an easy touch. These pianos were ideal for the execution of rapid scales, facile arpeggios and quickly repeated
243:
For some 35 years (1835–1870) Stamaty must have been the most sought after and the most fashionable piano teacher in Paris. He had numerous students, most of them from wealthy families in the aristocratic
Faubourgs (Saint-Germain and Saint-Honoré). He charged some of the highest fees in Paris.
264:. Although Saint-Saëns in his later life was very critical, even dismissive of Stamaty's teaching, it is a fact that Saint-Saëns under Stamaty's tutelage developed into a first rate pianist who maintained the high level of his playing all his life, well into his eighties.
331:
immobility of body and arms, elbows tucked into the body and all action of the muscles limited to finger and forearms. Saint-Saëns who during his long life had witnessed the development from the old purely digital technique to the transcendental virtuosity of
29:(13 March 1811 – 19 April 1870) was a French pianist, piano teacher and composer predominantly of piano music and studies (études). Today largely forgotten, he was one of the preeminent piano teachers in 19th-century Paris. His most famous pupils were
17:
360:
His works include a great quantity of studies, shorter piano works (waltzes, fantasies, quadrilles, variations), several sonatas, some chamber music and a piano concerto. The only work of his still in print are the "Finger Rhythm
Studies"
453:, not without reason, characterizes the Kalkbrenner-Stamaty school with these words: "French pianists were schooled in the light, fluent virtuoso technique stemming from Kalkbrenner, Herz and Stamaty. It was elegant but superficial."
568:
It is clear from letters from the
Mendelssohn family that Stamaty studied with Felix Mendelssohn. It is sometimes asserted that Stamaty also received lessons from Robert Schumann but so far this could not be
622:
In his old age Saint-Saëns wrote somewhat mischievously: "The greatest benefit I got from my experience with Stamaty was my acquaintance with Maleden, whom he gave me as my teacher in composition."; see:
248:"Let's add that he combined all the proper qualities that would inspire confidence and trust in mothers of families: distinction, reserve, correct and pure talent. He talked little and achieved a lot.
44:
and heir to Kalkbrenner's teaching method. He taught a crisp, fine, even filigree piano playing that concentrated on evenness of scales, independence of fingers and minimum movement of body and arms.
169:
was no artist on the scale of Chopin and thus lacked the strong personality of the great genius, he was ideally suited for Kalkbrenner's strict regime. So when Kalkbrenner heard Stamaty play a
872:
206:"Stamaty is staying here, and I have got to teach him counterpoint – I declare I really don't know much about it myself. He says, however, that that is only my modesty."
165:. Hallé, too, had at first sought out Kalkbrenner to become his pupil, but Kalkbrenner's stiff, old-fashioned playing deterred Hallé so much that he decided otherwise.
653:
for a year or two. This strains credulity. Stamaty was by no means the impresario type, and it is hard to picture him as a travelling mentor of a child prodigy Ă la
260:. Saint-Saëns started with Stamaty when he was seven years old (1842) and he stayed with him until he was fourteen (1849), whence he went on to the Paris
92:, who probably knew her, a fine singer of Italian operatic arias. Stamaty's father died in 1818, which forced the family to move back to France, first to
182:
Even as teacher, Stamaty (one guesses supervised by Kalkbrenner) did not neglect his studies in music theory. He received lessons in organ playing from
867:
831:
708:, unabridged and slightly corrected Dover Reprint (1988) of the original Knopf edition, edited by E. L. Voynich (New York: Alfred A. Knopf, 1931),
892:
882:
174:
and very expensive piano courses for selected pupils, while Stamaty would prepare students for these courses and do all the preparatory teaching.
244:
According to Marmontel, he was a born teacher and also had the useful talent of inspiring trust not so much in his pupils but in their mothers:
877:
107:
47:
Stamaty composed a great number of piano studies, various other shorter piano works (waltzes, fantasies, quadrilles, and variations), a
99:
234:, and popular music master, is here in Germany learning music from Felix, and refuses to play until he has learned something better".
153:
that decided Stamaty's fate. Kalkbrenner had been looking for a pupil who would continue his school for some time. He had considered
815:
800:
771:
728:
713:
314:
Stamaty, from the age of 19 on, suffered from nervous exhaustion, overwork and frequent and severe bouts from what was then called
284:
84:, was the son of a naturalized Greek father and a French mother. His father was for a time French consul in the Italian town of
897:
89:
73:
887:
296:
518:(London: William Reeves, without date (probably 1880)), pp. 231–235 and pp. 241–245, especially p. 241.
270:
214:"Stamaty will be at Frankfort in a few days, on his way back to Paris. I maintain that he has got de l'Allemagne and
550:
himself gave few lessons outside of his courses, and the teacher whom he chose to give them was invariably Stamaty."
842:
327:
notes. This resulted in an elegant and glittering bravura playing ideally suited for salons and smaller venues.
369:. There are many similarities between Stamaty's best output and Czerny's more demanding studies such as his
302:
253:
30:
624:
276:
257:
34:
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41:
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862:
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649:
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658:
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68:
340:
336:
199:
162:
138:
158:
654:
130:
48:
343:
sums up the advantages and the drawbacks of the Kalkbrenner-Stamaty school like this:
851:
604:, second revised edition, vol. 2 (New York: Harper & Brothers, 1881), p. 20.
261:
85:
52:
187:
795:
newly annotated edition by Roger Nichols (Oxford: Oxford University Press, 2008),
461:, revised and updated edition (New York: Simon & Schuster, 1987), p. 290.
366:
332:
126:
836:
470:
The Stamaty Family, drawing, Naef 217, 46.3 cm x 37.1 cm, inv. RF4114, Paris,
315:
134:
16:
827:
838:
Unknown Pianist (Osamu N. Kanazawa?) playing Études by Camille-Marie Stamaty
170:
788:, translated by Edward Gile Rich (Boston: Small, Maynard & Co., 1919).
210:
On 26 November 1836, Mendelssohn wrote some more about Stamaty to Hiller:
72:
Stamaty as a seven-year-old boy (in his mother's lap) with his family by
781:(Paris: Imprimerie Centrale des Chemins de Fer, A. Chaix et Cie, 1878).
222:
Stamaty figured also in a letter Mendelssohn's sister Rebecca wrote to
191:
810:, revised and updated edition (New York: Simon & Schuster, 1984).
198:. Mendelssohn writes about the lessons he gave Stamaty in a letter to
674:; revised edition (Oxford: Clarendon Press, 1990), pp. 22–23.
106:
98:
93:
67:
15:
81:
743:
The Mendelssohn Family (1729–1847). From Letters and Journals
602:
The Mendelssohn Family (1729–1847). From Letters and Journals
365:, Op. 36). Stamaty's studies are similar to the studies of
764:
Where the Word Ends. The Life of Louis Moreau Gottschalk
766:(Baton Rouge: Louisiana State University Press, 1958),
531:(London: Smith, Elder & Co., 1896), pp. 30-31.
194:
to receive the finishing touches of his education from
178:
1832–1836: Studies with Benoist, Reicha and Mendelssohn
55:. None of his music is still in the repertoire today.
631:(Boston: Small, Maynard & Co., 1919), p. 28.
723:, revised edition (Oxford: Clarendon Press, 1990),
230:"Moreover, Kalkbrenner's best pupil, Mr. Stamaty,
745:, vol. 2 (New York: Harper & Brothers, 1881).
582:(London: Macmillan & Co., 1874), p. 106.
161:had turned him down. The same had happened with
216:du contrepoint double par dessus les Oreilles
8:
424:12 transcriptions: Souvenir du Conservatoire
190:. Finally, in October 1836, Stamaty went to
873:19th-century French male classical pianists
157:, but Chopin on the advice of his teacher
141:and scores of lesser known piano players.
832:International Music Score Library Project
116:1825–1836: Musical training and education
88:. His mother was French and according to
750:Mendelssohn - Letters and Recollections
738:(London: Smith, Elder & Co., 1896).
443:
266:
580:Mendelssohn. Letters and Recollections
419:Six Études caractéristiques sur Obéron
380:Variations on an Original Theme, Op. 3
757:Frédèric Chopin. His Life and Letters
736:Life and Letters of Sir Charles Hallé
529:Life and Letters of Sir Charles Hallé
516:Frédéric Chopin. His Life and Letters
186:and in harmony and counterpoint from
7:
828:Free scores by Camille-Marie Stamaty
752:(London: Macmillan & Co., 1874).
111:The grave in the cemetery Montmartre
103:The grave in the cemetery Montmartre
692:Saint-Saëns (1919), pp. 9–10.
256:, Stamaty's most famous pupil was
14:
759:(London: William Reeves, n. d. ).
149:Finally it was an encounter with
868:19th-century classical composers
377:Piano Concerto in A minor, Op. 2
295:
283:
269:
310:Personal life and crisis (1848)
232:élève du conservatoire de Paris
80:Camille-Marie Stamaty, born in
893:French people of Greek descent
883:Burials at Montmartre Cemetery
683:Marmontel (1878), p. 221.
640:Marmontel (1878), p. 219.
613:Marmontel (1878), p. 219.
559:Marmontel (1878), p. 218.
540:Marmontel (1878), p. 218.
495:Marmontel (1878), p. 216.
145:1832: Kalkbrenner's star pupil
40:Stamaty was the star pupil of
1:
878:19th-century French composers
777:Marmontel, Antoine Francois,
734:Hallé, C.E. Hallé and Marie,
527:C. E. Hallé and Marie Hallé,
351:used with no discrimination."
64:Descent and family background
239:1835–1870: Celebrity teacher
591:Hiller (1874), p. 107.
23:French pianist and composer
914:
144:
90:Antoine François Marmontel
290:Camille Saint-Saëns 1916
431:Piano Sonata in C minor
428:Piano Sonata in F minor
303:Louis Moreau Gottschalk
254:Louis Moreau Gottschalk
31:Louis Moreau Gottschalk
898:French piano educators
806:Schonberg, Harold C.,
791:Saint-Saëns, Camille,
784:Saint-Saëns, Camille,
779:Les Pianistes célèbres
484:Les Pianistes Célèbres
112:
104:
77:
20:
151:Friedrich Kalkbrenner
110:
102:
96:, later on to Paris.
71:
42:Friedrich Kalkbrenner
27:Camille-Marie Stamaty
19:
755:Karasowski, Moritz,
721:The Piano, A History
672:The Piano. A History
439:Notes and references
202:on 29 October 1836:
888:Composers for piano
748:Hiller, Ferdinand,
625:Camille Saint-Saëns
514:Moritz Karasowski,
482:Antoine Marmontel,
455:Harold C. Schonberg
451:Harold C. Schonberg
402:Études concertantes
396:Chant et méchanisme
390:Études progressives
384:Études pittoresques
371:Études de mécanisme
277:Camille Saint-Saëns
258:Camille Saint-Saëns
226:on 4 October 1836:
35:Camille Saint-Saëns
808:The Great Pianists
741:Hense, Sebastian,
704:Chopin, Frédéric,
600:Sebastian Hensel,
578:Ferdinand Hiller,
459:The Great Pianists
123:Sigismond Thalberg
113:
105:
78:
21:
762:Loggins, Vernon,
659:Maurice Strakosch
363:Études des doigts
196:Felix Mendelssohn
905:
839:
719:Ehrlich, Cyril,
706:Chopin's Letters
693:
690:
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468:
462:
448:
413:Rythme des doigt
341:Leopold Godowsky
337:Anton Rubinstein
299:
287:
273:
200:Ferdinand Hiller
184:François Benoist
913:
912:
908:
907:
906:
904:
903:
902:
848:
847:
837:
824:
793:Musical Memoirs
786:Musical Memoirs
701:
696:
691:
687:
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678:
670:Cyril Ehrlich,
669:
665:
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635:
629:Musical Memoirs
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469:
465:
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445:
441:
358:
324:
322:Piano technique
312:
305:
300:
291:
288:
279:
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241:
224:Karl Klingemann
180:
155:Frédéric Chopin
147:
118:
66:
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24:
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5:
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865:
860:
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834:
823:
822:External links
820:
819:
818:
804:
789:
782:
775:
760:
753:
746:
739:
732:
717:
700:
697:
695:
694:
685:
676:
663:
655:Leopold Mozart
650:Vernon Loggins
642:
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584:
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356:Selected works
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179:
176:
146:
143:
131:Stephen Heller
117:
114:
65:
62:
60:
57:
49:piano concerto
22:
13:
10:
9:
6:
4:
3:
2:
910:
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835:
833:
829:
826:
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816:0-671-63837-8
813:
809:
805:
802:
801:0-19-532016-6
798:
794:
790:
787:
783:
780:
776:
773:
772:0-8071-0373-X
769:
765:
761:
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747:
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737:
733:
730:
729:0-19-816171-9
726:
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714:0-486-25564-6
711:
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438:
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430:
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408:Les Farfadets
406:
404:, Opp. 46, 47
403:
400:
397:
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391:
388:
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375:
374:
372:
368:
364:
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328:
321:
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267:
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262:Conservatoire
259:
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163:Charles Hallé
160:
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140:
139:Émile Prudent
136:
132:
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115:
109:
101:
97:
95:
91:
87:
86:Civitavecchia
83:
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63:
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54:
53:chamber music
50:
45:
43:
38:
36:
32:
28:
18:
807:
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778:
763:
756:
749:
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688:
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510:
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491:
483:
478:
466:
458:
446:
423:
418:
412:
407:
401:
395:
392:, Opp. 37–39
389:
383:
370:
362:
359:
348:
329:
325:
313:
251:
242:
231:
221:
215:
209:
188:Anton Reicha
181:
167:
159:JĂłzef Elsner
148:
119:
79:
76:. Rome 1818.
46:
39:
26:
25:
863:1870 deaths
858:1811 births
373:, Op. 499.
367:Carl Czerny
333:Franz Liszt
252:Apart from
127:Franz Liszt
852:Categories
434:Piano Trio
349:expressivo
316:rheumatism
135:Henri Herz
339:and even
171:quadrille
59:Biography
51:and some
398:, Op. 38
386:, Op. 21
843:YouTube
830:in the
699:Sources
569:proved.
192:Leipzig
814:
799:
770:
727:
712:
74:Ingres
94:Dijon
812:ISBN
797:ISBN
768:ISBN
725:ISBN
710:ISBN
82:Rome
33:and
841:on
657:or
854::
627:,
457:,
335:,
218:."
137:,
133:,
129:,
125:,
37:.
803:.
774:.
731:.
716:.
415:s
361:(
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