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The story of the grand tours to Germany and Austria that many American pianists undertook during the Golden Age of the Piano and the anti-American sentiments they encountered.
The Golden Age of the Piano was a time during which thousands of Americans made grand tours to German-speaking Europe to study piano. According to their descriptions, anti-Americanism - in essence the notion that America and its inhabitants were somehow culturally, intellectually, or even biologically inert - played a significant role in this transatlantic cultural exchange. Focussing on Berlin, Weimar and Vienna, this book explores both the roles that anti-Americanism played in this transatlantic exchange and how it influenced the careers of these migrant pianists. It shows that anti-American sentiments were not a uniquely European phenomenon, but actually played a significant role in the cultural life of America at the time, and were accordingly a motivating factor for American musicians to travel to Europe in order to be seen as legitimate. Anti-Americanism also affected the later careers of these migrants after their return, when they had to appeal to the American market in order to capitalise on their European experiences. This book furthermore provides extensive information about the people and institutions involved in this exchange, how the different major piano teaching studios worked, and which American students passed through them, including full lists of Leschetizky's and Liszt's American students.
The Golden Age of the Piano was a time during which thousands of Americans made grand tours to German-speaking Europe to study piano. According to their descriptions, anti-Americanism - in essence the notion that America and its inhabitants were somehow culturally, intellectually, or even biologically inert - played a significant role in this transatlantic cultural exchange. Focussing on Berlin, Weimar and Vienna, this book explores both the roles that anti-Americanism played in this transatlantic exchange and how it influenced the careers of these migrant pianists. It shows that anti-American sentiments were not a uniquely European phenomenon, but actually played a significant role in the cultural life of America at the time, and were accordingly a motivating factor for American musicians to travel to Europe in order to be seen as legitimate. Anti-Americanism also affected the later careers of these migrants after their return, when they had to appeal to the American market in order to capitalise on their European experiences. This book furthermore provides extensive information about the people and institutions involved in this exchange, how the different major piano teaching studios worked, and which American students passed through them, including full lists of Leschetizky's and Liszt's American students.
Price: $120.00
Pages: 256
Publisher: Boydell & Brewer Inc.
Imprint: Boydell Press
Publication Date:
15 September 2026
Trim Size: 9.21 X 6.14 in
ISBN: 9781837653416
Format: Hardcover
BISACs:
MUSIC / History & Criticism, History of music, MUSIC / Musical Instruments / Piano & Keyboard, HISTORY / Europe / Germany, HISTORY / Europe / Austria & Hungary, Musicians, singers, bands and groups, Piano, European history
A fascinating, nuanced and fresh look at the experiences of Americans who studied the piano in Europe around the turn of the twentieth century, exploring both how they were viewed and how they viewed themselves in relation to European models.
This well-researched book takes the history of transatlantic relations in the modern era in new directions. By exploring the musical ties that bound the United States with Germany in the late 19th century, it provides fine-grained coverage of the personal contacts, gender relations, and cultural prejudices that shaped this field of exchange. A work of great subtlety and finesse.
A deeply researched and intellectually compelling study, Noorduin's work redefines the cultural dynamics of transatlantic piano study and offers a subtle, much-needed rethinking of anti-Americanism in musical life around 1900.
This well-researched book takes the history of transatlantic relations in the modern era in new directions. By exploring the musical ties that bound the United States with Germany in the late 19th century, it provides fine-grained coverage of the personal contacts, gender relations, and cultural prejudices that shaped this field of exchange. A work of great subtlety and finesse.
A deeply researched and intellectually compelling study, Noorduin's work redefines the cultural dynamics of transatlantic piano study and offers a subtle, much-needed rethinking of anti-Americanism in musical life around 1900.
Table of Contents
List of Illustrations
Preface
Acknowledgements
1: Anti-Americanism, American Pianists, and Stereotypes on both sides of the Atlantic around 1900
2: 'Why, Fräulein, you play exactly as if you came from America': Americans studying piano in Berlin around the turn of the nineteenth century
3: 'America, you can embarrass yourself further tomorrow': The American Lisztianer in Weimar
4: 'They must have paved a considerable stretch of the side-walks in hell by now': Americans studying piano in Vienna with Theodor Leschetizky between 1879 and 1913
5: 'The Leschetizky Method': Leschetizky's legacy in America
Conclusion
Appendix 1: Berlin
Map of Berlin
Addresses of Conservatoires in Berlin around 1900
The Conservatories of Berlin around 1900
Appendix 2: Weimar
Map of Weimar
Liszt's American Students
Appendix 3: Vienna
Map of Vienna
Leschetizky's Assistants
Leschetizky's American Students
Bibliography
List of Illustrations
Preface
Acknowledgements
1: Anti-Americanism, American Pianists, and Stereotypes on both sides of the Atlantic around 1900
2: 'Why, Fräulein, you play exactly as if you came from America': Americans studying piano in Berlin around the turn of the nineteenth century
3: 'America, you can embarrass yourself further tomorrow': The American Lisztianer in Weimar
4: 'They must have paved a considerable stretch of the side-walks in hell by now': Americans studying piano in Vienna with Theodor Leschetizky between 1879 and 1913
5: 'The Leschetizky Method': Leschetizky's legacy in America
Conclusion
Appendix 1: Berlin
Map of Berlin
Addresses of Conservatoires in Berlin around 1900
The Conservatories of Berlin around 1900
Appendix 2: Weimar
Map of Weimar
Liszt's American Students
Appendix 3: Vienna
Map of Vienna
Leschetizky's Assistants
Leschetizky's American Students
Bibliography