Born in Munich in 1846 Sophie Menterwas Liszt's favorite schoolgirl. Menter, known as the “reincarnation of Liszt” by the music authorities of Paris with his powerful technique, came to Liszt in 1869 after working with Tausig and von Bülow. Liszt said of his student, “No woman can touch him” In Copenhagen, his students would unmount their horses and pull Sophie for a ride. The critic Walter Niemann writes of Menter:A Liszt-like tone, a masculine intensity on the keys, technique and spirit all come together…”. George Bernard Shaw goes further and says that he created an effect that “outstrips Paderewski”. Excerpt from the letter written by Amy Fay, the American pianist who watched Menter live, to her family on December 11, 1870:I listened to a female pianist the other day, she plays superbly and her fame is spreading rapidly. Her name is Ms. Menter, from Munich. He was a student of Liszt, Tausig and Bülow. Think about it! What teachers! I envied him terribly. He steals everything from the heart and with a beautiful understanding. He gave the whole concert alone, and at the end they played a duet with Tausig on two pianos. When you think that he is at a level to sing a duet with a legendary pianist like Tausig… At the end of the performance, Tausig invited him to the front to greet the audience. After giving him a questioning look, he took a step down from her. Like all the audience, Tausig applauded this gesture of respect with a smile. He's said to have great technique for Mehlig, but it's too advanced for him and Topp.”. Edward Baxter Perry's anecdote of 1890 for Menter, who does not hesitate to show himself on stage, is as follows:Although she was in her 50s, she was dressed like a 16-year-old girl; it was full of jewels!”. Married to the famous cellist David Popper in 1872, Menter divorced in 1886.
He met Liszt when he was only 12 years old. Adele aus der OheHe worked as his student in 1877-1884. The impressions of the famous pianist Amy Fay, who listened to the performance of Adele, who had previously worked with Kullak, are written as follows:a little wise fairy. He is only 10 years old… I listened to him while he was playing the Beethoven concerto yesterday, it was a perfect performance with Moscheles' cadence.” Adele lands in the United States in 1886 and gains attention as a very popular artist. The American tour lasted for 17 seasons. In 1891, aus der Ohe played Tchaikovsky's B flat minor concerto at Carnegie Hall under the direction of Tchaikovsky, and in 1899 he performed Brahms' B flat concerto presentation in Boston. To better understand Adele's power, I would like to share her recital program dated March 9, 1891: Beethoven – Waldstein, Chopin – Sonata in B flat minor, Schumann – Fantasy, Liszt – Don Juan Fantasy-
Russian-born minor Vera Timanoff He studied piano with Tausig at the age of 15. The performance of the winter wind study must have also influenced his teacher, as Tausig said in his class “I couldn't play better” he said. Contrary to popular belief, Timanoff, who also impressed his second teacher, Liszt, started his career as a concert pianist, not in St. He preferred teaching in St. Petersburg. –
Julie Rive King He is the first American 'great' pianist. Born in 1857, Julie has had a very successful career. Julie, who started giving her first concerts at the age of 8, was brought to New York to work with William Mason and Sebastian Bach Mills. When the calendars showed the year 1872, Julie, who went to Europe in fashion, worked with Liszt here and returned to America in 1875. The artist, who gave approximately 4000 recitals throughout his career, took the stage with the orchestra 500 times. Born in 1844 in Louisiana, USA Amy Fay's career arose from the notes he kept about the ongoing musical life in Germany rather than as a pianist. He went to Europe in 1869 and worked with famous names such as Tausig, Kullak, Liszt and Deppe. The letters he wrote while he was away from his homeland were published under the title of “Music Study in Germany”. Fay, who settled in Chicago, gave master class lessons here, and called these lecture-recital performances "piano talks". The artist's "Music Study" book, who died in 1928, has seen more than twenty editions.