Progress, Interrupted: American Students of Theodor Leschetizky in Vienna

Musical training, for the amount of time and the diligence it takes, has often been metaphorized as a long and arduous journey, with Johann Joseph Fux’s 1725 instructional book for piano players, Gradus ad Parnassum, being a case in point. For young US American pianists at the turn of the century, the idea of instrumental training as a gradual progress toward a goal blended in with the actual experience of crossing the ocean to study with European teachers. The Vienna-based pianist Theodor Leschetizky (1830–1915) counted among the most popular teachers for American students. While no musical expedition, whether figurative or real, comes without obstacles, Leschetizky introduced a particular barrier for those interested in making a career in music. He employed assistant teachers that prepared students before they were allowed to proceed and work with him directly. This strategy turned out to be rather rewarding financially, and it also catered to fundamental concepts about artistic achievement and transatlantic relations held by the classical music scene. In this article, I will address the special appeal that Leschetizky’s gatekeeping regimen had for pianists from the United States. I will describe organizational, financial, and aesthetic implications as well as the consequences that accepting or refusing this system had for American students. In doing this, I will draw on unpublished documents from the archive of the New York Leschetizky Association and on reports from Leschetizky students and assistants.