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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "https://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: Piano Mastery</p> +<p> Talks with Master Pianists and Teachers</p> +<p>Author: Harriette Brower</p> +<p>Release Date: April 11, 2005 [eBook #15604]</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK PIANO MASTERY***</p> +<p> </p> +<h3>E-text prepared by Chuck Greif<br /> + and the Project Gutenberg Online Distributed Proofreading Team<br /> + from page images generously provided by<br /> + the Internet Archive Million Book Project</h3> +<p> </p> +<hr class="full" /> +<p> </p> + <a name="IgnacePaderewski" + id="IgnacePaderewski"></a> + + <div class="center"> + <img src="images/002.png" + alt="Paderewski" + title="IGNACE JAN PADEREWSKI" /> + + <h5>IGNACE JAN PADEREWSKI</h5> + </div> + <hr style="width: 65%;" /> + + <h1>PIANO MASTERY</h1> + + <h4><i>TALKS WITH MASTER PIANISTS AND TEACHERS</i></h4> + + <h5>AND</h5> + + <h4>AN ACCOUNT OF A VON BÜLOW CLASS, HINTS ON<br /> + INTERPRETATION, BY TWO AMERICAN TEACHERS<br /> + (DR. WILLIAM MASON AND WILLIAM H.<br /> + SHERWOOD) AND A SUMMARY BY<br /> + THE AUTHOR</h4> + + <p> </p> + + <h3>BY</h3> + + <h2>HARRIETTE BROWER</h2> + + <h4><i>Author of "The Art of the Pianist"</i></h4> + + <p> </p> + + <h4>WITH SIXTEEN PORTRAITS</h4> + + <p> </p> + + <div class="center"> + <img src="images/medalion.png" + width="150" + alt="medalion" /> + </div> + + <p> </p> + + <h4>NEW YORK<br /> + FREDERICK A. STOKES COMPANY<br /> + PUBLISHERS</h4> + <h4>1915</h4> + <p> </p> + + <hr style="width: 65%;" /> + + <h2>CONTENTS</h2> + + <div class="toc"> + <p><a href="#ILLUSTRATIONS"><b>LIST OF + ILLUSTRATIONS</b></a></p> + + <p><a href="#PRELUDE"><b>PRELUDE</b></a></p> + + <p><a href="#I_IGNACE_JAN_PADEREWSKI"><b>IGNACE JAN + PADEREWSKI</b></a></p> + + <p><a href="#II_ERNEST_SCHELLING"><b>ERNEST + SCHELLING.....The Hand of a Pianist</b></a></p> + + <p><a href="#III_ERNESTO_CONSOLO"><b>ERNESTO + CONSOLO.....Making the Piano a Musical + Instrument</b></a></p> + + <p><a href="#IV_SIGISMOND_STOJOWSKI"><b>SIGISMOND + STOJOWSKI.....Mind in Piano Study</b></a></p> + + <p><a href="#V_RUDOLPH_GANZ"><b>RUDOLPH GANZ.....Conserving + Energy in Piano Practise</b></a></p> + + <p><a href="#VI_TINA_LERNER"><b>TINA LERNER.....An Audience + the Best Teacher</b></a></p> + + <p><a href="#VII_ETHEL_LEGINSKA"><b>ETHEL + LEGINSKA.....Relaxation the Keynote of Modern Piano + Playing</b></a></p> + + <p><a href="#VIII_BERTHA_FIERING_TAPPER"><b>BERTHA FIERING + TAPPER.....Mastering Piano Problems</b></a></p> + + <p><a href="#IX_CARL_M_ROEDER"><b>CARL M. + ROEDER.....Problems of Piano Teachers</b></a></p> + + <p><a href="#X_KATHARINE_GOODSON"><b>KATHARINE + GOODSON.....An Artist at Home</b></a></p> + + <p><a href="#XI_MARK_HAMBOURG"><b>MARK HAMBOURG.....Form, + Technic, and Expression</b></a></p> + + <p><a href="#XII_TOBIAS_MATTHAY"><b>TOBIAS + MATTHAY.....Watching the Artist Teacher at Work</b></a></p> + + <p><a href="#XIII_HAROLD_BAUER"><b>HAROLD BAUER.....The + Question of Piano Tone</b></a></p> + + <p><a href="#XIV_A_VISIT_TO_RAOUL_PUGNO"><b>A VISIT TO + RAOUL PUGNO.....Training the Child</b></a></p> + + <p><a href="#XV_THUEL_BURNHAM"><b>THUEL BURNHAM.....The + "Melody" and "Coloratura" Hand</b></a></p> + + <p><a href="#XVI_EDWIN_HUGHES"><b>EDWIN HUGHES.....Some + Essentials of Piano Playing</b></a></p> + + <p><a href="#XVII_FERRUCCIO_BUSONI"><b>FERRUCCIO + BUSONI.....An Artist at Home</b></a></p> + + <p><a href="#XVIII_ADELE_AUS_DER_OHE"><b>ADELE AUS DER + OHE</b></a></p> + + <p><a href="#XIX_ELEANOR_SPENCER"><b>ELEANOR + SPENCER.....More Light on Leschetizky's Ideas</b></a></p> + + <p><a href="#XX_ARTHUR_HOCHMAN"><b>ARTHUR HOCHMAN.....How + the Pianist Can Color Tone with Action and + Emotion</b></a></p> + + <p><a href="#XXI_TERESA_CARRENO"><b>TERESA + CARREÑO.....Early Technical Training</b></a></p> + + <p><a href="#XXII_WILHELM_BACHAUS"><b>WILHELM + BACHAUS.....Technical Problems Discussed</b></a></p> + + <p><a href="#XXIII_ALEXANDER_LAMBERT"><b>ALEXANDER + LAMBERT.....American and European Teachers</b></a></p> + + <p><a href="#XXIV_FANNIE_BLOOMFIELD_ZEISLER"><b>FANNIE + BLOOMFIELD ZEISLER.....The Scope of Piano + Technic</b></a></p> + + <p><a href="#XXV_AGNES_MORGAN"><b>AGNES + MORGAN.....Simplicity in Piano Teaching</b></a></p> + + <p><a href="#XXVI_EUGENE_HEFFLEY"><b>EUGENE + HEFFLEY.....Modern Tendencies</b></a></p> + + <p><a href="#XXVII_GERMAINE_SCHNITZER"><b>GERMAINE + SCHNITZER.....Modern Methods in Piano Study</b></a></p> + + <p><a href="#XXVIII_OSSIP_GABRILOWITSCH"><b>OSSIP + GABRILOWITSCH.....Characteristic Touch on the + Piano</b></a></p> + + <p> + <a href="#HANS_VON_BULOW_AS_TEACHER_AND_INTERPRETER"><b>HANS + VON BÜLOW AS TEACHER AND INTERPRETER.....Teacher and + Interpreter</b></a></p> + + <p> + <a href="#HINTS_ON_INTERPRETATION_FROM_TWO_AMERICAN_TEACHERS"> + <b>HINTS ON INTERPRETATION FROM TWO AMERICAN + TEACHERS</b></a></p> + + <p><a href="#VITAL_POINTS_IN_PIANO_PLAYING"><b>VITAL POINTS + IN PIANO PLAYING.....</b></a></p> + + <p class="i4"><a href="#SECTION_II"><b>SECTION II.....Hand + Position, Finger Action, and Artistic Touch</b></a></p> + + <p class="i4"><a href="#SECTION_III"><b>SECTION III.....The + Art of Practise</b></a></p> + + <p class="i4"><a href="#SECTION_IV"><b>SECTION IV.....How + to Memorize</b></a></p> + + <p class="i4"><a href="#SECTION_V"><b>SECTION V.....Rhythm + and Tone Color in Piano Playing</b></a></p> + </div> + <hr style="width: 65%;" /> + + <h2><a name="ILLUSTRATIONS" + id="ILLUSTRATIONS"></a>ILLUSTRATIONS</h2> + + <div class="illustrations"> + <p><a href="#IgnacePaderewski"><b>Ignace Jan + Paderewski</b></a></p> + + <p><a href="#Sigismond_Stojowski"><b>Sigismond + Stojowski</b></a></p> + + <p><a href="#Rudolph_Ganz"><b>Rudolph Ganz</b></a></p> + + <p><a href="#Katharine_Goodson"><b>Katharine + Goodson</b></a></p> + + <p><a href="#Mark_Hambourg"><b>Mark Hambourg</b></a></p> + + <p><a href="#Tobias_Matthay"><b>Tobias Matthay</b></a></p> + + <p><a href="#Harold_Bauer"><b>Harold Bauer</b></a></p> + + <p><a href="#Raoul_Pugno"><b>Raoul Pugno</b></a></p> + + <p><a href="#Ferruccio_Busoni"><b>Ferruccio + Busoni</b></a></p> + + <p><a href="#Eleanor_Spencer"><b>Eleanor + Spencer</b></a></p> + + <p><a href="#Teresa_Carreno"><b>Teresa + Carreño</b></a></p> + + <p><a href="#Wilhelm_Bachaus"><b>Wilhelm + Bachaus</b></a></p> + + <p><a href="#FannieZeisler"><b>Fannie Bloomfield + Zeisler</b></a></p> + + <p><a href="#Ossip_Gabrilowitsch"><b>Ossip + Gabrilowitsch</b></a></p> + + <p><a href="#Hansvon"><b>Hans von Bülow</b></a></p> + + <p><a href="#Dr._William_Mason"><b>Dr. William + Mason</b></a></p> + </div> + <hr style="width: 65%;" /> + + <h2><a name="PRELUDE" + id="PRELUDE"></a>PRELUDE</h2> + + <h4>TO AMERICAN PIANO TEACHERS AND STUDENTS</h4> + + <p>The following "Talks" were obtained at the suggestion of the + Editor of <i>Musical America</i>, and have all, with one or two + exceptions, appeared in that paper. They were secured with the + hope and intention of benefiting the American teacher and + student.</p> + + <p>Requests have come from all over the country, asking that + the interviews be issued in book form. In this event it was the + author's intention to ask each artist to enlarge and add to his + own talk. This, however, has been practicable only in certain + cases; in others the articles remain very nearly as they at + first appeared.</p> + + <p>The summer of 1913 in Europe proved to be a veritable + musical pilgrimage, the milestones of which were the homes of + the famous artists, who generously gave of their time and were + willing to discuss their methods of playing and teaching.</p> + + <p>The securing of the interviews has given the author + satisfaction and delight. She wishes to share both with the + fellow workers of her own land.</p> + + <p>The Talks are arranged in the order in which they were + secured.</p> + <hr style="width: 65%;" /> + <a name="page1" + id="page1"></a> + + <h1>PIANO MASTERY</h1> + <hr style="width: 65%;" /> + + <h2><a name="I_IGNACE_JAN_PADEREWSKI" + id="I_IGNACE_JAN_PADEREWSKI"></a>I.</h2> + + <h2>IGNACE JAN PADEREWSKI</h2> + + <p>One of the most consummate masters of the piano at the + present time is Ignace Jan Paderewski. Those who were + privileged to hear him during his first season in this country + will never forget the experience. The Polish artist conquered + the new world as he had conquered the old; his name became a + household word, known from coast to coast; he traveled over our + land, a Prince of Tones, everywhere welcomed and honored. Each + succeeding visit deepened the admiration in which his wonderful + art was held.</p> + + <p>The question has often been raised as to the reason of + Paderewski's remarkable hold on an audience; wherein lay his + power over the musical and unmusical alike. Whenever he played + there was always the same intense hush over the listeners, the + same absorbed attention, the same spell. The superficial + attributed <a name="page2" + id="page2"></a>these largely to his appearance and manner; + the more thoughtful looked deeper. Here was a player who was + a thoroughly trained master in technic and interpretation; + one who knew his Bach, Beethoven, Chopin, Schumann and + Liszt. These things of themselves would not hold an audience + spellbound, for there were other artists equally well + equipped. In a final analysis it was doubtless Paderewski's + wonderful <i>piano tone</i>, so full of variety and color, + so vital with numberless gradations of light and shade, that + charmed and enthralled his listeners. It mattered to no + one—save the critics—that he frequently repeated + the same works. What if we heard the Chromatic Fantaisie a + score of times? In his hands It became a veritable Soliloquy + on Life and Destiny, which each repetition invested with new + meaning and beauty. What player has ever surpassed his + poetic conception of Schumann's <i>Papillons</i>, or the + Chopin Nocturnes, which he made veritable dream poems of + love and ecstasy. What listener has ever forgotten the + tremendous power and titanic effect of the Liszt Rhapsodies, + especially No. 2? When Paderewski first came to us, in the + flush of his young manhood, he taught us what a noble + instrument the piano really is in the hands of + <a name="page3" + id="page3"></a>a consummate master. He showed us that he + could make the piano speak with the delicacy and power of a + Rubinstein, but with more technical correctness; he proved + that he could pierce our very soul with the intensity of his + emotion, the poignant, heart-searching quality of his tones, + the poetry and beauty of his interpretation.</p> + + <p>Paderewski is known as composer and pianist, only rarely + does he find time to give instruction on his instrument. Mme. + Antoinette Szumowska, the Polish pianist and lecturer was at + one time termed his "only pupil." Mr. Sigismond Stojowski, the + Polish composer, pianist and teacher has also studied with him. + Both can testify as to his value as an instructor.</p> + + <p>Mme. Szumowska says:</p> + + <p>"Paderewski lays great stress on legato playing, and desires + everything to be studied slowly, with deep touch and with full, + clear tone. For developing strength he uses an exercise for + which the hand is pressed against the keyboard while the wrist + remains very low and motionless and each finger presses on a + key, bringing, or drawing out as much tone as possible.</p> + + <p>"Paderewski advises studying scales and arpeggios with + accents, for instance, accenting <a name="page4" + id="page4"></a>every third note, thus enabling each finger + in turn to make the accent impulse: this will secure + evenness of touch. Double passages, such as double thirds + and sixths, should be divided and each half practised + separately, with legato touch. Octaves should be practised + with loose wrists and staccato touch. As a preparatory study + practise with thumb alone. The thumb must always be kept + curved, with joints well rounded out; it should touch the + keys with its tip, so as to keep it on a level with the + other fingers. Paderewski is very particular about this + point.</p> + + <p>"It is difficult to speak of Paderewski's manner of teaching + expression, for here the ideas differ with each composer and + with every composition. As to tonal color, he requires all + possible variety in tone production. He likes strong contrasts, + which are brought out, not only by variety of touch but by + skilful use of the pedals.</p> + + <p>"My lessons with Paderewski were somewhat irregular. We + worked together whenever he came to Paris. Sometimes I did not + see him for several months, and then he would be in Paris for a + number of weeks; at such seasons we worked together very often. + Frequently these lessons, which were given in my + <a name="page5" + id="page5"></a>cousin's house, began very late in the + evening—around ten o'clock—and lasted till + midnight, or even till one in the morning.</p> + + <p>"Paderewski the teacher is as remarkable as Paderewski the + pianist. He is very painstaking; his remarks are clear and + incisive: he often illustrates by playing the passage in + question, or the whole composition. He takes infinite trouble + to work out each detail and bring it to perfection. He is very + patient and sweet tempered, though he can occasionally be a + little sarcastic. He often grows very enthusiastic over his + teaching, and quite forgets the lapse of time. In general, + however, he does not care to teach, and naturally has little + time for it."</p> + <hr style='width: 45%;' /> + + <p>Mr. Stojowski, when questioned in regard to his work with + the Polish pianist, said:</p> + + <p>"Paderewski is a very remarkable teacher. There are teachers + who attempt to instruct pupils about what they do not + understand, or cannot do themselves: there are others who are + able to do the thing, but are not able to explain how they do + it. Paderewski can both do it and explain how it is done. He + knows perfectly what effects he wishes to produce, how they are + to be produced, the causes which underlie and bring them about; + he can explain and <a name="page6" + id="page6"></a>demonstrate these to the pupil with the + greatest exactness and detail.</p> + + <p>"As you justly remark the quality of tone and the variety of + tonal gradations are special qualities of Paderewski's playing. + These must be acquired by aid of the ear, which tests and + judges each shade and quality of tone. He counsels the student + to listen to each tone he produces, for quality and + variety.</p> + + <h3>CLEARNESS A MUST PRINCIPLE</h3> + + <p>"The player, as he sits at the piano, his mind and heart + filled with the beauty of the music his fingers are striving to + produce, vainly imagines he is making the necessary effects. + Paderewski will say to him: 'No doubt you feel the beauty of + this composition, but I hear none of the effects you fancy you + are making; you must deliver everything much more clearly: + distinctness of utterance is of prime importance.'' Then he + shows how clearness and distinctness may be acquired. The + fingers must be rendered firm, with no giving in at the nail + joint. A technical exercise which he gives, and which I also + use in my teaching, trains the fingers in up and down + movements, while the wrist is held very low and pressed against + the keyboard. At first simple five-finger forms <a name="page7" + id="page7"></a>are used; when the hand has become accustomed + to this tonic, some of the Czerny Op. 740 can be played, + with the hand in this position. Great care should be taken + when using this principle, or lameness will result. A low + seat at the piano is a necessity for this practise; sitting + low is an aid to weight playing: we all know how low + Paderewski himself sits at the instrument.</p> + + <p>"You ask what technical material is employed. Czerny, Op. + 740; not necessarily the entire opus; three books are + considered sufficient. Also Clementi's <i>Gradus</i>. Of course + scales must be carefully studied, with various accents, rhythms + and tonal dynamics; arpeggios also. Many arpeggio forms of + value may be culled from compositions.</p> + + <p>"There are, as we all know, certain fundamental principles + that underlie all correct piano study, though various masters + may employ different ways and means to exemplify these + fundamentals. Paderewski studied with Leschetizky and + inculcates the principles taught by that master, with this + difference, that he adapts his instruction to the physique and + mentality of the student; whereas the Vorbereiters of + Leschetizky prepare all pupils along the same lines, making + them go through <a name="page8" + id="page8"></a>a similar routine, which may not in every + instance be necessary.</p> + + <h3>FINGERING</h3> + + <p>"One point Paderewski is very particular about, and that is + fingering. He often carefully marks the fingering for a whole + piece; once this is decided upon it must be kept to. He + believes in employing a fingering which is most comfortable to + the hand, as well as one which, in the long run, will render + the passage most effective. He is most sensitive to the choice + of fingering the player makes, and believes that each finger + can produce a different quality of tone. Once, when I was + playing a Nocturne, he called to me from the other end of the + room: 'Why do you always play that note with the fourth finger? + I can <i>hear</i> you do it; the effect is bad,' He has a keen + power of observation; he notices little details which pass + unheeded by most people; nothing escapes him. This power, + directed to music, makes him the most careful and painstaking + of teachers. At the same time, in the matter of fingering, he + endeavors to choose the one which can be most easily + accomplished by the player. The Von Bülow editions, while + very erudite, are apt to be laborious and pedantic; they show + the <a name="page9" + id="page9"></a>German tendency to over-elaboration, which, + when carried too far becomes a positive fault.</p> + + <h3>CORRECT MOTION</h3> + + <p>"Another principle Paderewski considers very important is + that of appropriate motion. He believes in the elimination of + every unnecessary movement, yet he wishes the whole body free + and supple. Motions should be as carefully studied as other + technical points. It is true he often makes large movements of + arm, but they are all thought out and have a dramatic + significance. He may lift the finger off a vehement staccato + note by quick up-arm motion, in a flash of vigorous enthusiasm; + but the next instant his hand is in quiet position for the + following phrase.</p> + + <h3>STUDYING EFFECTS</h3> + + <p>"The intent listening I spoke of just now must be of vital + assistance to the player in his search for tonal variety and + effect. Tone production naturally varies according to the space + which is to be filled. Greater effort must be put forth in a + large hall, to make the tone carry over the footlights, to + render the touch clear, the accents decisive and contrasts + pronounced. In order to become accustomed to these + <a name="page10" + id="page10"></a>conditions, the studio piano can be kept + closed, and touch must necessarily be made stronger to + produce the desired power.</p> + + <h3>INTERPRETATION</h3> + + <p>"A great artist's performance of a noble work ought to sound + like a spontaneous improvisation; the greater the artist the + more completely will this result be attained. In order to + arrive at this result, however, the composition must be + dissected in minutest detail. Inspiration comes with the first + conception of the interpretation of the piece. Afterward all + details are painstakingly worked out, until the ideal blossoms + into the perfectly executed performance. Paderewski endeavors + uniformly to render a piece in the manner and spirit in which + he has conceived it. He relates that after one of his recitals, + a lady said to him:</p> + + <p>"'Why, Mr. Paderewski, you did not play this piece the same + as you did when I heard you before,'</p> + + <p>"'I assure you I intended to,' was the reply.</p> + + <p>"'Oh, it isn't necessary to play it always the same way; you + are not a machine,' said the lady.</p> + + <p>"This reply aroused his artist-nature.</p> + + <p>"<a name="page11" + id="page11"></a>'It is just because I am an artist that I + ought at all times to play in the same way. I have thought + out the conception of that piece, and am in duty bound to + express my ideal as nearly as possible each time I perform + it.'</p> + + <p>"Paderewski instructs, as he does everything else, with + magnificent generosity. He takes no account of time. I would + come to him for a stipulated half-hour, but the lesson would + continue indefinitely, until we were both forced to stop from + sheer exhaustion. I have studied with him at various times. One + summer especially stands out in my memory, when I had a lesson + almost every day."</p> + + <p>Speaking of the rarely beautiful character of Paderewski's + piano compositions, Mr. Stojowski said:</p> + + <p>"I feel that the ignorance of this music among piano + teachers and students is a crying shame. What modern piano + sonata have we to-day, to compare with his? I know of none. And + the songs—are they not wonderful! I love the man and his + music so much that I am doing what lies in my power to make + these compositions better known. There is need of pioneer work + in this matter, and I am glad to do some of it."</p> + <hr style="width: 65%;" /> + <a name="page12" + id="page12"></a> + + <h2><a name="II_ERNEST_SCHELLING" + id="II_ERNEST_SCHELLING"></a>II.</h2> + + <h2>ERNEST SCHELLING</h2> + + <h3>THE HAND OF A PIANIST</h3> + + <p>As I sat in the luxurious salon of the apartments near the + Park, where Mr. and Mrs. Ernest Schelling were spending the + winter, sounds of vigorous piano practise floated out to me + from a distant chamber. It was unusual music, and seemed to + harmonize with the somewhat Oriental atmosphere and coloring of + the music-room, with its heavily beamed ceiling of old silver, + its paintings and tapestries.</p> + + <p>The playing ceased and soon the artist appeared, greeting + the visitor with genial friendliness of manner. He was + accompanied by the "lord of the manor," a beautiful white bull + terrier, with coat as white as snow. This important personage + at once curled himself up in the most comfortable arm-chair, a + quiet, profound observer of all that passed. In the midst of + some preliminary chat, the charming hostess entered and poured + tea for us.</p> + + <p><a name="page13" + id="page13"></a>The talk soon turned upon the subject in + which I was deeply interested—the technical training + of a pianist.</p> + + <p>"Technic is such an individual matter," began Mr. Schelling; + "for it depends on so many personal things: the physique, the + mentality, the amount of nervous energy one has, the hand and + wrist. Perhaps the poorest kind of hand for the piano is the + long narrow one, with long fingers. Far better to have a short, + broad one with short fingers. Josef Hofmann has a wonderful + hand for the piano; rather small, yes, but so thick and + muscular. The wrist, too, is a most important factor. Some + pianists have what I call a 'natural wrist,' that is they have + a natural control of it; it is no trouble for them to play + octaves, for instance. Mme. Carreño has that kind of + wrist; she never had difficulty with octaves, they are perfect, + Hofmann also has a marvelous wrist. I am sorry to say I have + not that kind of wrist, and therefore have been much + handicapped on that account. For I have had to work + tremendously to develop not only the wrist but the whole + technic. You see I was a wonder child, and played a great deal + as a small boy. Then from fifteen to twenty I did not practise + anything like what I ought to have done. That is the + <a name="page14" + id="page14"></a>period when the bones grow, muscles + develop—everything grows. Another thing against me is + the length of my fingers. When the fingers are longer than + the width of the hand across the knuckle joint, it is not an + advantage but a detriment. The extra length of finger is + only so much dead weight that the hand has to lift. This is + another disadvantage I have had to work against. Yes, as you + say, it is a rather remarkable hand in regard to size and + suppleness. But I hardly agree that it is like Liszt's; more + like Chopin's, judging from the casts I have seen of his + hand.</p> + + <p>"As for technical routine, of course I play scales a good + deal and in various ways. When I 'go into training,' I find the + best means to attain velocity is to work with the metronome. + One can't jump at once into the necessary agility, and the + metronome is a great help in bringing one up to the right + pitch. You see by the firmness of these muscles at the back and + thumb side of my hand, that I am in good trim now; but one soon + loses this if one lets up on the routine.</p> + + <p>"Then I practise trills of all kinds, and octaves. Yes, I + agree that octaves are a most necessary and important factor in + the player's technical equipment."</p> + + <p><a name="page15" + id="page15"></a>Going to the piano and illustrating as he + talked, Mr. Schelling continued:</p> + + <p>"Merely flopping the hand up and down, as many do, is of + little use—it does not lead to strength or velocity. As + you see, I hold the hand arched and very firm, and the firmness + is in the fingers as well; the hand makes up and down movements + with loose wrist; the result is a full, bright, crisp tone. One + can play these octaves slowly, using weight, or faster with + crisp, staccato touch. I play diatonic or chromatic octave + scales, with four repetitions or more, on each note—using + fourth finger for black keys.</p> + + <p>"I sit low at the piano, as I get better results in this + way; though it is somewhat more difficult to obtain them. I + confess it is easier to sit high and bear down on the hands. + Yes, I thoroughly approve of 'weight touch,' and it is the + touch I generally use. Sometimes it is a certain pressure on + the key after it is played, using arm weight.</p> + + <p>"Ah, you are right. The young teacher or player, in + listening to the artist, and noticing he does not lift his + fingers to any extent, and that he always plays with weight, + hastily concludes these are the principles with which he must + begin to study or teach the piano. It is <a name="page16" + id="page16"></a>a mistake to begin in that way. Very exact + finger movements must be learned in the beginning. As I said + before, technic is such an individual matter, that after the + first period of foundational training, one who has the + desire to become an artist, must work out things for + himself. There should be no straight-laced methods. Only a + few general rules can be laid down, such as will fit most + cases. The player who would rise to any distinction must + work out his own salvation.</p> + + <p>"In regard to memorizing piano music, it may be said this + can be accomplished in three ways: namely, with the eye, with + the ear, and with the hand. For example: I take the piece and + read it through with the eye, just as I would read a book. I + get familiar with the notes in this way, and see how they look + in print. I learn to know them so well that I have a mental + photograph of them, and if necessary could recall any special + measure or phrase so exactly that I could write it. All this + time my mental ear has been hearing those notes, and is + familiar with them. Then the third stage arrives; I must put + all this on the keyboard, my fingers must have their training; + impressions must pass from the mind to the fingers; then all is + complete."</p> + <hr style="width: 65%;" /> + <a name="page17" + id="page17"></a> + + <h2><a name="III_ERNESTO_CONSOLO" + id="III_ERNESTO_CONSOLO"></a>III.</h2> + + <h2>ERNESTO CONSOLO</h2> + + <h3>MAKING THE PIANO A MUSICAL INSTRUMENT</h3> + + <p>In a long conversation with Ernesto Consolo, the eminent + pianist and instructor, many points of vital importance to the + player and teacher were touched upon. Among other things Mr. + Consolo said:</p> + + <p>"It is absolutely necessary that the piano teacher should + take his profession very seriously. In my opinion there is most + excellent instruction to be secured right here in America, with + such teachers as are willing to take their work seriously. The + time is not far away, I think, when America will enjoy a very + prominent position in the matter of musical instruction, and + perhaps lead the world in musical advantages. The time is not + here just yet, but it is surely coming. You are still young in + this country, though you are wonderfully progressive.</p> + + <p>"If I have spoken of the serious aims of <a name="page18" + id="page18"></a>many teachers of piano, I cannot say as much + for the students: they are often superficial and want to go + too quickly; they are apt to be in a hurry and want to make + a show, without being willing to spend the necessary years + on preparation. No art can be hurried. Students of painting, + sculpture, architecture or music must all learn the + technique of their art; they must all learn to go deep into + the mysteries and master technic as the means to the end, + and no one requires exhaustive preparation more than the + executive musician. The person who would fence, box or play + baseball must know the technic of these things; how much + more must the pianist be master of the technique of his + instrument if he would bring out the best results.</p> + + <p>"At the very bottom and heart of this subject of mastery + lies Concentration: without that, little of value can be + accomplished. Students think if they sit at the piano and + 'practise' a certain number of hours daily, it is sufficient. A + small portion of that time, if used with intense concentration, + will accomplish more. One player will take hours to learn a + page or a passage which another will master in a fraction of + the time. What is the difference? It may be said one has + greater <a name="page19" + id="page19"></a>intelligence than the other. The greater the + intelligence, the stronger the power of concentration.</p> + + <p>"If a pupil comes to me whose powers of concentration have + not been awakened or developed, I sometimes give him music to + read over very slowly, so slowly that every note, phrase and + finger mark can be distinctly seen. Not being used to thinking + intently, mistakes occur, in one hand or the other, showing + that the mind was not sufficiently concentrated. It is the mind + every time that wins. Without using our mental powers to their + fullest extent we fail of the best that is in us.</p> + + <p>"In regard to technical equipment and routine, I do + different work with each pupil, for each pupil is different. No + two people have the same hands, physique or mentality; so why + should they all be poured into the same mold? One student, for + example, has splendid wrists and not very good fingers. Why + should I give him the same amount of wrist practise that I give + his brother who has feeble wrists; it would only be a waste of + time. Again, a pupil with limited ideas of tonal quality and + dynamics is advised to study tone at the piano in some simple + melody of Schubert <a name="page20" + id="page20"></a>or Chopin, trying to realize a beautiful + tone—playing it in various ways until such a quality + Is secured. The piano is a responsive instrument and gives + back what you put into it. If you attack it with a hard + touch, it will respond with a harsh tone. It rests with you + whether the piano shall be a musical instrument or not.</p> + + <p>"A student who comes to me with a very poor touch must of + course go back to first principles and work up. Such an one + must learn correct movements and conditions of hands, arms and + fingers; and these can be acquired at a table. Along with + these, however, I would always give some simple music to play, + so that the tonal and musical sense shall not be neglected.</p> + + <p>"Of course I advise comprehensive scale practise; scales in + all keys and in various rhythms and touches. There is an almost + endless variety of ways to play scales. Those in double thirds + and sixths I use later, after the others are under control. + Arpeggios are also included in this scale practise.</p> + + <p>"I have said that Concentration is the keynote of piano + mastery. Another principle which goes hand in hand with it is + Relaxation. Unless this condition is present in arms, wrist and + shoulders, the tone will be hard and the whole performance + constrained and unmusical.<a name="page21" + id="page21"></a> There is no need of having tired muscles or + those that feel strained or painful. If this condition + arises it is proof that there is stiffness, that relaxation + has not taken place. I can sit at the piano and play + <i>forte</i> for three hours at a time and not feel the + least fatigue in hands and arms. Furthermore, the playing of + one who is relaxed, who knows how to use his anatomy, will + not injure the piano. We must remember the piano is a thing + of joints; the action is so delicately adjusted that it + moves with absolute freedom and ease. The player but adds + another joint, which should equal in ease and adjustment the + ones already there. On the other hand a person with stiff + joints and rigid muscles, thumping ragtime on a good piano, + can ruin it in a week; whereas under the fingers of a player + who understands the laws of relaxation, it would last for + many years.</p> + + <p>"This principle of relaxation is exemplified in the athlete, + baseball player, and others. They have poise and easy + adjustment in every part of the body: they never seem to fall + into strained or stiff attitudes, nor make angular or stiff + movements. Arms, shoulders, wrists and fingers are all relaxed + and easy. The pianist needs to study these principles as well + as the <a name="page22" + id="page22"></a>athlete, I believe in physical exercises to + a certain extent. Light-weight dumb-bells can be used; it is + surprising how light a weight is sufficient to accomplish + the result. But it must be one movement at a time, + exercising one muscle at a time, and not various muscles at + once.</p> + + <p>"For memorizing piano music I can say I have no method + whatever. When I know the piece technically or mechanically, I + know it by heart. I really do not know when the memorizing + takes place. The music is before me on the piano; I forget to + turn the pages, and thus find I know the piece. In playing with + orchestra I know the parts of all instruments, unless it be + just a simple chord accompaniment; it would not interest me to + play with orchestra and not know the music in this way. On one + occasion I was engaged to play the Sgambatti concerto, which I + had not played for some time. I tried it over on the piano and + found I could not remember it. My first idea was to get out the + score and go over it; the second was to try and recall the + piece from memory. I tried the latter method, with the result + that in about three hours and a half I had the whole concerto + back in mind. I played the work ten days later without having + <a name="page23" + id="page23"></a>once consulted the score. This goes to prove + that memory must be absolute and not merely mechanical.</p> + + <p>"Students think they cannot memorize, when it would be quite + easy if they would apply themselves in the right way. I ask + them to look intently at a small portion, two measures, or even + one, and afterward to play it without looking at the notes. Of + course, as you say, this can be done away from the piano; the + notes can even be recited; but there are other signs and marks + to be considered and remembered, so when one can be at the + piano I consider it better.</p> + + <p>"Piano playing is such an individual and complex thing. I do + not require nor expect my pupils to play as I do, nor interpret + as I interpret, for then I would only see just so many replicas + of myself, and their individuality would be lost. I often hear + them play a composition in a different way and with a different + spirit from the one I find in it. But I don't say to them, + 'That is wrong; you must play it as I do,' No, I let them play + it as they see and feel it, so long as there is no sin against + artistic taste.</p> + + <p>"I trust these few points will be helpful to both player and + teacher. The latter needs all <a name="page24" + id="page24"></a>the encouragement we artists can give, for + in most cases he is doing a good work.</p> + + <p>"Volumes might be added to these hurried remarks, but for + that my time is too limited."</p> + <hr style="width: 65%;" /> + <a name="page25" + id="page25"></a> + + <h2><a name="IV_SIGISMOND_STOJOWSKI" + id="IV_SIGISMOND_STOJOWSKI"></a>IV.</h2> + + <h2>SIGISMOND STOJOWSKI</h2> + + <h3>MIND IN PIANO STUDY</h3> + + <p>Mr. Sigismond Stojowski, the eminent Polish pianist and + composer, was found one morning in his New York studio, at work + with a gifted pupil. He was willing to relax a little, however, + and have a chat on such themes as might prove helpful to both + teacher and student.</p> + + <p>"You ask me to say something on the most salient points in + piano technic; perhaps we should say, the points that are most + important to each individual; for no two students are exactly + alike, nor do any two see things in precisely the same light. + This is really a psychological matter. I believe the subject of + psychology is a very necessary study for both teacher and + student. We all need to know more about mental processes than + we do. I am often asked how to memorize, for instance—or + the best means for doing this; another <a name="page26" + id="page26"></a>psychological process. I recommend students + to read William James' <i>Talks on Psychology</i>; a very + helpful book.</p> + + <p>"The most vital thing in piano playing is to learn to think. + Has it ever occurred to you what infinite pains people will + take to avoid thinking? They will repeat a technical + illustration hundreds of times it may be, but with little or no + thought directed to the performance. Such work is absolutely + useless. Perhaps that is a little too strong. With countless + repetitions there may at last come to be a little improvement, + but it will be very small.</p> + + <p>"There is quite a variety of views as to what the essentials + of piano technic are; this is a subject on which teachers, + unluckily, do not agree. For instance, on the point of finger + lifting there is great diversity of opinion. Some believe in + raising the fingers very high, others do not. Lifting the + fingers high is not good for the tone, though it may be used + for velocity playing. I use quite the reverse where I wish + beautiful, singing, tone quality. The young pupil, at the + beginning, must of course learn to raise fingers and make + precise movements; when greater proficiency is reached, many + modifications of touch are used. That the best results are not + more often <a name="page27" + id="page27"></a>obtained in piano teaching and study, is as + much the fault of the teacher as the pupil. The latter is + usually willing to be shown and anxious to learn. It is for + the teacher to correctly diagnose the case and administer + the most efficient remedy.</p><a name="Sigismond_Stojowski" + id="Sigismond_Stojowski"></a> + + <div class="center"> + <img src="images/037.png" + alt="To Miss Harriett Brower with the kindest of remembrances, Sigismond Stojowski New York, April 1913" + title="To Miss Harriett Brower with the kindest of remembrances, Sigismond Stojowski New York, April 1913" /> + + + <h5>To Miss Harriett Brower with the kindest of + remembrances, Sigismond Stojowski New York, April 1913</h5> + </div> + + <h3>NATURAL TECHNIC</h3> + + <p>"There is a certain amount of what I might call 'natural + technic' possessed by every one—some one point which is + easy for him. It Is often the trill. It has frequently come + under my notice that players with little facility in other + ways, can make a good trill. Some singers have this gift; Mme. + Melba is one who never had to study a trill, for she was born + with a nightingale in her throat. I knew a young man in London + who was evidently born with an aptitude for octaves. He had + wonderful wrists, and could make countless repetitions of the + octave without the least fatigue. He never had to practise + octaves, they came to him naturally.</p> + + <p>"The teacher's work is both corrective and constructive. He + must see what is wrong and be able to correct it. Like a + physician, he should find the weak and deficient parts and + build them up. He should have some remedy <a name="page28" + id="page28"></a>at his command that will fit the needs of + each pupil.</p> + + <p>"I give very few études, and those I administer in + homeopathic doses. It is not necessary to play through a mass + of études to become a good pianist. Much of the + necessary technic may be learned from the pieces themselves, + though scales and arpeggios must form part of the daily + routine.</p> + + <h3>KEEPING UP A REPERTOIRE</h3> + + <p>"In keeping a large number of pieces in mind, I may say that + the pianist who does much teaching is in a sense taught by his + pupils. I have many advanced pupils, and in teaching their + repertoire I keep up my own. Of course after a while one grows + a little weary of hearing the same pieces rendered by students; + the most beautiful no longer seem fresh. My own compositions + are generally exceptions, as I do not often teach those. To the + thoughtful teacher, the constant hearing of his repertoire by + students shows him the difficulties that younger players have + to encounter, and helps him devise means to aid them to conquer + these obstacles. At the same time there is this disadvantage: + the pianist cannot fail to remember the places at which such + <a name="page29" + id="page29"></a>and such a student had trouble, forgot or + stumbled. This has happened to me at various times. In my + recitals I would be playing ahead, quite unconscious that + anything untoward could occur—wholly absorbed in my + work; when, at a certain point, the recollection would flash + over me—this is where such or such a pupil stumbled. + The remembrance is sometimes so vivid that I am at some + effort to keep my mental balance and proceed with smoothness + and certainty.</p> + + <p>"Yes, I go over my pieces mentally, especially if I am + playing an entirely new program which I have never played + before; otherwise I do not need to do so much of it.</p> + + <h3>FILLING IN A PASSAGE</h3> + + <p>"You suggest that a composer may fill in or make up a + passage, should he forget a portion of the piece when playing + in public. True; but improvising on a well-known work is rather + a dangerous thing to do in order to improve a bad case. Apropos + of this, I am reminded of an incident which occurred at one of + my European recitals. It was a wholly new program which I was + to give at Vevay. I had been staying with Paderewski, and went + from Morges to Vevay, to give the recital. In my + <a name="page30" + id="page30"></a>room at the hotel I was mentally reviewing + the program, when in a Mendelssohn Fugue, I found I had + forgotten a small portion. I could remember what went before + and what came after, but this particular passage had + seemingly gone. I went down to the little parlor and tried + the fugue on the piano, but could not remember the portion + in question. I hastened back to my room and constructed a + bridge which should connect the two parts. When the time + came to play the fugue at the recital, it all went smoothly + till I was well over the weak spot, which, it seems, I + really played as Mendelssohn wrote it. As I neared the last + page, the question suddenly occurred to me, what had I done + with that doubtful passage? What had really happened I could + not remember; and the effort to recall whether I had played + Mendelssohn or Stojowski nearly brought disaster to that + last page.</p> + + <p>"As soon as my season closes here I shall go to London and + bring out my second piano concerto with the London Symphony + Orchestra, under Nikisch. I shall also play various + recitals."</p> + + <p>It was my good fortune to be present at the orchestral + concert at Queen's Hall, when Mr.<a name="page31" + id="page31"></a> Stojowski was the soloist. It was pleasant + to see the enthusiasm aroused by the concerto itself, and + the performance of it by the artist.</p> + <hr style="width: 65%;" /> + <a name="page32" + id="page32"></a> + + <h2><a name="V_RUDOLPH_GANZ" + id="V_RUDOLPH_GANZ"></a>V.</h2> + + <h2>RUDOLPH GANZ</h2><a name="Rudolph_Ganz" + id="Rudolph_Ganz"></a> + + <div class="center"> + <img src="images/044.png" + alt="Rudolph Ganz" + title="Rudolph Ganz" /> + + <h5>Rudolph Ganz</h5> + </div> + + <h3>CONSERVING ENERGY IN PIANO PRACTISE</h3> + + <p>"One of the most necessary things is the conserving of vital + energy in piano practise," said the pianist Rudolph Ganz to me + one day. "The wrong way is to continually practise the piece as + though you were playing it in public—that is to say, with + all possible energy and emotion. Some of the pianists now + before the public do this, and it always makes me sorry for + them, for I know what a needless waste of energy and vital + force it is. An actor, studying his lines, does not need to + continually shout them in order to learn how they should be + interpreted. Neither does the lyric actress practise her roles + with full tones, for she is well used to saving her voice. Why + then should the pianist exhaust himself and give out his whole + strength merely in the daily routine of practise? I grant this + principle of saving one's self may not be easy to learn, but it + should be acquired by all players, great and <a name="page33" + id="page33"></a>small. I think a pianist should be able to + practise five or six hours daily without fatigue. If the + player is accustomed to husband his vital force during the + daily routine of practise, he can play a long, exacting + program in public without weariness. In every day practise + one often does not need to play <i>forte</i> nor use the + pedals; a tone of medium power is sufficient. Suppose, for + instance, you are studying the Chopin Étude Op. 10, + No. 12, with the left hand arpeggio work. Every note and + finger must be in place, every mark of phrasing obeyed; but + during practise hours you need not give the piece all its + dashing vigor and bravura at every repetition. Such a course + would soon exhaust the player. Yet every effect you wish to + make must be thoroughly studied, must be in mind, and used + at intervals whenever a complete performance of the piece is + desired.</p> + + <p>"As I said before, it is often difficult to control the + impulse to 'let loose,' if the work is an exciting one. At a + recent rehearsal with the Symphony Orchestra, I told the men I + would quietly run through the concerto I was to play, merely + indicating the effects I wanted. We began, but in five minIutes + I found myself playing with full force and + vigor.<a name="page34" + id="page34"></a></p> + + <p>"In regard to methods in piano study there seems to be a + diversity of opinion, resulting, I think, from the various ways + of touching the keys—some players using the tip and + others the ball of the finger. Busoni may be cited as one who + employs the end of the finger—Pauer also; while the + Frenchman, Cortôt, who has an exquisite tone, plays with + the hand almost flat on the keys, a method which certainly + insures weight of hand and arm. Of course players generally, + and teachers also, agree on the employment of arm weight in + playing. The principles of piano technic are surely but few. + Was it not Liszt who said: 'Play the right key with the right + finger, the right tone and the right intention—that is + all!' It seems to me piano technic has been pushed to its + limit, and there must be a reversal; we may return to some of + the older methods of touch and technic.</p> + + <p>"The vital thing in piano playing is to bring out the + composer's meaning, plus your own inspiration and feeling. You + must study deeply into the composer's idea, but you must also + put your own feeling, intensity and emotion into the piece. And + not only must you feel the meaning yourself, but you must play + it in a way to touch others. There are many <a name="page35" + id="page35"></a>pianists who are not cultured musicians; who + think they know their Beethoven because they can play a few + sonatas. In music 'knowledge is power.' We need all possible + knowledge, but we also need to feel the inspiration. One of + the greatest teachers of our time holds that personal + inspiration is not necessary; for the feeling is all in the + music itself. All we have to do is to play with such and + such a dynamic quality of tone. Like a country doctor + measuring out his drugs, this master apportions so many + grains of power for <i>forte</i>, for <i>mezzo</i>, for + <i>piano</i>, and so on. This plan puts a damper on + individuality and enthusiasm, for it means that everything + must be coldly calculated. Such playing does not really warm + the heart.</p> + + <p>"I believe in teaching tonal contrasts and tone color even + to a beginner. Why should not the child form a concept of + <i>forte</i> and <i>piano</i>, and so get away from the deadly + monotony of <i>mezzo</i>? I have written some little + descriptive piano pieces, and my small boy learned one of them + to play for me. There is a closing phrase like this," and Mr. + Ganz illustrated at the piano; "it is to be played + <i>forte</i>, and is followed by a few notes to be touched very + softly, like an echo. It was really beautiful to see how the + little fellow reached out for the pedal to <a name="page36" + id="page36"></a>make the loud part more emphatic, and then + played the echo very softly and neatly. He had grasped the + first principle of tone color—namely tone contrast, + and also a poetic idea.</p> + + <p>"There are so many wonder children in these days, and many + marvels are accomplished by infant prodigies. Very often + however, these wonder children develop no further; they fail to + fulfil their early promise, or the expectations held of + them.</p> + + <p>"A youthful wonder in the field of composition is Eric + Korngold, whose piano sonata I played in my New York recital. I + have played this work eight times in all, during my present + tour, often by request. To me it is most interesting. I cannot + say it is logical in the development of its ideas; it often + seems as though the boy threw in chords here and there with no + particular reason. Thus the effort of memorizing is + considerable, for I must always bear in mind that this C major + chord has a C sharp in it, or that such and such a chord is + changed into a most unusual one. One cannot predict whether the + boy will develop further. As you say, Mozart was an infant + prodigy, but if we judge from the first little compositions + that have been preserved, he began very simply and worked up, + whereas <a name="page37" + id="page37"></a>Korngold begins at Richard Strauss. His + compositions are full of the influence of Strauss. The + critics have much to say for and against these early works. + I do not know the young composer personally, though he has + written me. In a recent letter which I have here, he + expresses the thought that, though the critics have found + many things to disapprove of in the sonata, the fact that I + have found it worth studying and bringing out more than + compensates him for all adverse criticism. To make the work + known in the great musical centers of America is surely + giving it wide publicity."</p> + + <p>On a later occasion, Mr. Ganz said:</p> + + <p>"I thoroughly believe in preserving one's enthusiasm for + modern music, even though, at first glance, it does not attract + one, or indeed seems almost impossible. I enjoy studying new + works, and learning what is the modern trend of thought in + piano work; it keeps me young and buoyant.</p> + + <p>"One of the novelties lately added to my repertoire is the + Haydn sonata in D. On the same program I place the Korngold + sonata. A hundred years and more divide the two works. While I + revere the old, it interests me to keep abreast of the new + thought in musical art and life."</p> + <hr style="width: 65%;" /> + <a name="page38" + id="page38"></a> + + <h2><a name="VI_TINA_LERNER" + id="VI_TINA_LERNER"></a>VI.</h2> + + <h2>TINA LERNER</h2> + + <h3>AN AUDIENCE IS THE BEST TEACHER</h3> + + <p>Between the many engagements that crowded upon the close of + her long American tour, Miss Tina Lerner found time to talk + over certain topics of significance which bear upon pianistic + problems.</p> + + <p>We began by referring to the different methods of holding + the hands, moving the fingers and touching the keys, as + exemplified by the various pianists now before the public.</p> + + <p>"It is true that I play with the ball of the finger on the + key, which necessitates a flat position of hand, with low + wrist." Here the pianist illustrated the point by playing + several pearly scales with straight, outstretched fingers. "I + never realized, however, that I played in this way, until Mr. + Ernest Hutcheson, the pianist, of Baltimore, recently called my + attention to it. The fact is, I have always taken positions of + body, arms, hands and <a name="page39" + id="page39"></a>fingers, which seemed to me the most natural + and easy. This I did when I began, at the age of five, and I + have always kept to them, in spite of what various teachers + have endeavored to do for me. Fortunately my early teachers + were sensible and careful; they kept me at the classics, and + did not give too difficult pieces. The principles followed + by most great pianists I believe are correct; but I have + always kept to my own natural way. In hand position, + therefore, I am individual; perhaps no one else plays with + such a finger position, so in this I am unique.</p> + + <p>"For some reason unknown to me, it has come to be imagined + that I have studied with Leschetizky; this is entirely refuted + when I say I have never been in Vienna. It seems we are getting + away from the idea of helping ourselves out with the name of + some great teacher. The question should be: What has the player + in himself, what can he accomplish? not, Whose pupil is he? We + know of some of Leschetizky's famous pupils, but we never hear + of the thousands he must have had, who have come to nothing. A + teacher can only do a certain amount for you; he can give you + new ideas, which each pupil works out for himself in his own + way. The piano student learns from so <a name="page40" + id="page40"></a>many different sources. He attends a piano + recital and acquires many ideas of touch, tone, phrasing and + interpretation; he hears a great singer or violinist and + absorbs a wholly new set of thoughts, or he listens to a + grand orchestra, and gains more than from all the others. + Then there is life to study from: + experience—living—loving: all go into the work + of the musician. A musical career is indeed the most + exacting one that can be chosen.</p> + + <p>"I have been asked whether I prefer to play for an audience + of 'music-lovers' or one of 'music knowers.' Perhaps an equal + mixture is the happy medium. Of the two sorts it seems to me + the music-knowers are preferable, for even if they are very + critical, they also recognize the various points you make; they + see and appreciate what you are striving for. They are not + inclined to say, 'I don't like such or such a player'; for the + music-knower understands the vast amount of time and energy, + labor and talent that go to make a pianist. He rather says, 'I + prefer the playing of such or such an artist.' The word 'like' + in connection with a great artist seems almost an affront. What + does it matter if his work is not 'liked' by some? He knows it + can stand for what it is—the utmost perfection of his + powers—of <a name="page41" + id="page41"></a>himself. And after all the audience is the + greatest teacher an artist can have; I have learned more + from this teacher than from any other. In this school I + learn what moves and touches an audience; how to improve + this or that passage; how to make a greater climax here, or + more sympathetic coloring there. For in conceiving how a + work should sound, I get—in my study of it—a + general idea of the whole, and make it as nearly perfect as + I am able. But it has to be tested and tried—an + audience must pass its opinion—must set the seal of + approval upon it. When the work has been polished by + repeated trials in this school, interpretation then becomes + crystallized in the mind and the piece can always be given + in nearly the same way. A painter does not change nor + repaint his picture each time he exhibits it; why need the + musician change his idea of the interpretation at each + repetition? To trust too much to the inspiration of the + moment might injure the performance as a whole. When I have + my ideal of the interpretation worked out in mind, it + becomes my sacred duty to play it always in this + spirit—always to give my best. I can never think that + because I am playing in Boston or New York, I must strive + harder for perfection than if I play in a little + town.<a name="page42" + id="page42"></a> No, I must give the highest that is in me, + no matter where it may be. People sometimes ask me if I am + nervous before a recital. It is not that I am afraid of + people; but I am always anxious about being able to realize + my ideal, when the moment comes.</p> + + <p>"I can say I prefer playing in America to anywhere else in + the world; for there are more real appreciation and + understanding here than in any other country. Of course the + great music centers all over the world are about the same; but + the difference lies in the smaller cities, which in America are + far more advanced musically than in Europe. I have proved this + to be the case repeatedly. Not long ago I was booked for a + couple of recitals in a small town of not more than two + thousand inhabitants. When I arrived at the little place, and + saw the barn of a hotel, I wondered what these people could + want with piano recitals. But when I came to the college where + I was to play and found such a large, intelligent audience + gathered, some of whom had traveled many miles to be present, + it proved in what estimation music was held. The teacher of + this school was a good musician, who had studied nine years + with Leschetizky, in Vienna; the pupils understood the numbers + on the program, were wide awake, <a name="page43" + id="page43"></a>and well informed as to what was going on in + the world of music.</p> + + <p>"One handicap the present day pianist encounters, who plays + much with orchestra, and that is the dearth of modern + concertos. The familiar ten or dozen famous ones are played + over and over, and one seldom hears anything new. There are new + ones written, to be sure, but the public has not learned to + care for them. The beautiful second concerto of Rachmaninoff + has not made a success, even in the great music centers, where + the most intelligent audiences have heard it. I believe that if + an audience of the best musicians could be assembled in a small + room and this work could be played to them, they could not fail + to be impressed with its beauties. I am now studying a new + concerto by Haddon Wood, which you see in manuscript there on + the piano; it is one I find very beautiful."</p> + + <p>A subsequent conversation with the artist elicited the + following:</p> + + <p>"I might say that I began my music when about four years + old, by playing the Russian National Hymn, on a toy piano + containing eight keys, which had been given me. My older + sister, who was studying the piano, noticed this, showed me a + few things about the <a name="page44" + id="page44"></a>notes, and I constantly picked out little + tunes and pieces on the real piano. Finally one day my + sister's teacher, Rudolph Heim, came to the house, mainly on + my account. This was in Odessa, in the south of Russia, + where I was born and where I spent my early years. On this + occasion, he wanted to look at me and see what I could do. + Unluckily a sudden fit of shyness overcame me and I began to + cry; the exhibition could not take place, as nothing could + be made out of me that day. You see I was headstrong even at + that early age," said the young pianist, with one of her + charming smiles.</p> + + <p>"Soon after this incident, I was taken to the Professor's + studio. He examined me, considered I had talent, and thought it + should be cultivated. So he took me in hand. I was then five, + and my real musical education began at that time.</p> + + <p>"From the very first I adopted a position of hand which + seemed to me most convenient and comfortable, and no amount of + contrary instruction and advice has ever been able to make me + change it. I play scales and passages with low hand and flat + fingers because that position seems the most favorable for my + hand. When practising, I play everything <a name="page45" + id="page45"></a>very slowly, raising my fingers high and + straight from the knuckle joint. This gives me great + clearness and firmness. In rapid passage work the action is + reduced, but the position remains. I am said to have a + clear, pearly touch, with quite sufficient power at my + command for large works.</p> + + <p>"After five years of study with my first teacher, Rudolph + Heim, a pupil of Moscheles, I entered the Moscow Conservatory, + and continued my studies under Professor Pabst, brother and + teacher of the composer of that name. I was then ten years old. + Professor Pabst was very conservative, very strict, and kept me + at work on the music of the older masters. This kind of music + suits me, I think; at least I enjoy it. Even here I still clung + to my ideas of holding my hands and of touching the keys, and + always expect to do so.</p> + + <p>"I remained with this professor about six years and then + began my public career.</p> + + <p>"You ask about my present studies, and how I regulate my + practise. During my periods of rest from concert work, I + practise a great deal—I wish I could say all the time, + but that is not quite possible. I give an hour or more a day to + technical practise. As to the material, I use Chopin's + Études constantly, <a name="page46" + id="page46"></a>playing them with high-raised, outstretched + fingers, in very slow tempo. One finds almost every + technical problem illustrated in these études; + octaves, arpeggios, scales in double thirds and sixths, + repeated notes, as in number 7, broken chords and passage + work. I keep all these études in daily practise, also + using some of the Liszt <i>Études Transcendantes</i>, + and, of course, Bach. The advantage of using this sort of + material is that one never tires of it; it is always + interesting and beautiful. With this material well in hand, + I am always ready for recital, and need only to add special + pieces and modern music.</p> + + <p>"In learning a new work I first study it very slowly, trying + to become familiar with its meaning. I form my concept of it + and <i>live</i> with it for months before I care to bring it + forward. I try to form an ideal conception of the piece, work + this out in every detail, then always endeavor to render it as + closely like the ideal as possible."</p> + <hr style="width: 65%;" /> + <a name="page47" + id="page47"></a> + + <h2><a name="VII_ETHEL_LEGINSKA" + id="VII_ETHEL_LEGINSKA"></a>VII.</h2> + + <h2>ETHEL LEGINSKA</h2> + + <h3>RELAXATION THE KEYNOTE OF MODERN PIANO PLAYING</h3> + + <p>The brilliant young pianist, Ethel Leginska, who is located + for a time in America, was seen in her Carnegie Hall studio, on + her return from a concert tour. The young English girl is a + petite brunette; her face is very expressive, her manner at + once vivacious and serious. The firm muscles of her fine, + shapely hands indicate that she must spend many hours daily at + the keyboard.</p> + + <p>"Yes, I have played a great deal in public—all my + life, in fact—ever since I was six. I began my musical + studies at Hull, where we lived; my first teacher was a pupil + of McFarren. Later I was taken to London, where some rich + people did a great deal for me. Afterward I went to + Leschetizky, and was with him several years, until I was + sixteen; I also studied in Berlin. Then I began my career, + <a name="page48" + id="page48"></a>and concertized all over Europe; now I am in + America for a time. I like it here; I am fond of your + country already.</p> + + <p>"The piano is such a wonderful instrument to me; I feel we + are only beginning to fathom its possibilities; not in a + technical sense, but as a big avenue for expression. For me the + piano is capable of reflecting every mood, every feeling; all + pathos, joy, sorrow—the good and the evil too—all + there is in life, all that one has lived." (This recalls a + recently published remark of J. S. Van Cleve: "The piano can + sing, march, dance, sparkle, thunder, weep, sneer, question, + assert, complain, whisper, hint; in one word it is the most + versatile and plastic of instruments.")</p> + + <p>"As for the technic of the piano, I think of it only as the + material—only as a means to an end. In fact I endeavor to + get away from the thought of the technical material, in order + that I may get at the meaning of the music I wish to interpret. + I am convinced there is a great future for the piano and its + music. Even now we are taking piano music very seriously, and + are trying to interpret it in a far deeper and broader sense + than the pianists of, say, fifty years ago ever thought of + doing. I fancy if Clara Schumann, for instance, could + <a name="page49" + id="page49"></a>return and play to us, or even Liszt + himself, we should not find their playing suited to this age + at all. Some of us yet remember the hand position Mme. + Schumann had, the lack of freedom in fingers and arms. It + was not the fashion of her time to play with the relaxed + freedom, with the breadth and depth of style which we demand + of artists to-day. In those days relaxation had not received + the attention it deserved, therefore we should probably find + the playing of the greatest artists of a former generation + stiff and angular, in spite of all we have heard of their + wonderful performances.</p> + + <p>"Relaxation is a hobby with me; I believe in absolute + freedom in every part of the arm anatomy, from the shoulder + down to the finger-tips. Stiffness seems to me the most + reprehensible thing in piano playing, as well as the most + common fault with all kinds of players. When people come to + play for me, that is the thing I see first in them, the + stiffness. While living in Berlin, I saw much of Mme. Teresa + Carreño, and she feels the same as I do about + relaxation, not only at the keyboard, but when sitting, moving + about or walking. She has thought along this line so + constantly, that sometimes, if carrying something in hand, she + will inadvertently let it drop, without realizing + <a name="page50" + id="page50"></a> it—from sheer force of the habit of + relaxation.</p> + + <p>"You ask how I would begin with a young pupil who never has + had lessons. I use the principle of relaxation first of all, + loosening arms and wrists. This principle can be taught to the + youngest pupil. The wrist is elevated and lowered, as the hand + is formed on the keys in its five finger position, with arched + knuckles. It does not take long to acquire this relaxed + condition; then come the finger movements. I do not believe in + lifting the fingers high above the keys; this takes time and + interferes with velocity and power. I lift my fingers but + little above the keys, yet I have plenty of power, all the + critics agree on that. In chords and octaves I get all the + power I need by grasping the keys with weight and pressure. I + do not even prepare the fingers in the air, before taking the + chord; I do not find it necessary." Here the pianist played a + succession of ringing chords, whose power and tonal quality + bore out her words; the fingers seemed merely to press and + cling; there was no striking nor percussion.</p> + + <p>"To return to the beginning pupil. As for a book to start + with, I often use the one by Damm, though any foundational work + may <a name="page51" + id="page51"></a>be employed, so long as correct principles + are taught. It is said by Leschetizky that he has no method. + That may be understood to mean a book, for he certainly has + what others would call a method. There are principles and + various sets of exercises to be learned; but it is quite + true that none of the Vorbereiters use a book.</p> + + <p>"In teaching the piano, as you know, every pupil is + different; each has his or her own peculiar hand, and a + different degree of intelligence. So each pupil must be treated + differently. This is really an advantage to the teacher; for it + would be very monotonous if all pupils were alike.</p> + + <p>"The piano is such a revealer of character; I need only to + hear a person play to know what sort of character he has. If + one is inclined to much careful detail in everything, it comes + out in the playing. If one is indolent and indifferent, it is + seen the moment one touches the keys; or if one is built on + broad, generous lines, and sees the dramatic point in life and + things, all this is revealed at the piano.</p> + + <p>"To refer again to the subject of finger action. I do not + believe in the so-called finger stroke; on the contrary I + advocate fingers close to the keys, clinging to them whenever + you can.<a name="page52" + id="page52"></a> This is also Arthur Schnabel's idea. You + should hear Schnabel; all Berlin is wild over him, and + whenever he gives a concert the house is sold out. He has + quantities of pupils also, and is quite a remarkable + teacher. One point I insist upon which he doesn't: I will + not allow the joint of the finger next the tip to break or + give in. I can not stand that, but Schnabel doesn't seem to + care about it; his mind is filled with only the big, broad + things of music.</p> + + <p>"In regard to memorizing piano compositions. I do it phrase + by phrase, and at the instrument, unless I am traveling or + unable to get to a piano, in which case I think it out from the + notes. If the piece is very difficult I take a short passage of + two or three measures and play each hand separately and then + together; but generally I play the passage complete—say + half a dozen times with the notes, and then repeat it the same + number of times from memory. Perhaps the next day I have + forgotten it, so the work has to be done over again; the second + time, however, it generally sticks.</p> + + <p>"My great longing and ambition is to write music, to become + a composer. With this end in view, I give whatever time I am + able to the <a name="page53" + id="page53"></a>study of composition. I hope some day to + create something that will be worthy the high aim I have + before me."</p> + <hr style="width: 65%;" /> + <a name="page54" + id="page54"></a> + + <h2><a name="VIII_BERTHA_FIERING_TAPPER" + id="VIII_BERTHA_FIERING_TAPPER"></a>VIII.</h2> + + <h2>BERTHA FIERING TAPPER</h2> + + <h3>MASTERING PIANISTIC PROBLEMS</h3> + + <p>If environment and atmosphere are inspirational aids to + piano teaching and playing, the students of Mrs. Thomas Tapper + have the incentives of both in their lesson hours. Her + apartments on the Drive have the glory of sunlight all the long + afternoons. Outside the Hudson shimmers in blue and gold; + indoors all is harmonious and home-like. In the large + music-room, facing the river, two grand pianos stand side by + side; there are many portraits and mementoes of the great in + music; fresh flowers, books—everything to uplift thought; + while in the midst of it all is Mrs. Tapper herself, the + serious, high-minded, inspiring teacher; the "mother confessor" + to a large number of young artists and teachers.</p> + + <p>"Music study means so much more than merely exercising the + fingers," she said; "the student should have a good all-round + education. When young people come to me for <a name="page55" + id="page55"></a>instruction, I ask what they are doing in + school. If they say they have left school in order to devote + their whole time to the piano, I say, 'Go back to your + school, and come to me later, when you have finished your + school course.' It is true that in rare cases it may be + advisable for the student to leave school, but he should + then pursue general or special studies at home. I often wish + the music student's education in this country could be + arranged as it is in at least one of the great music schools + in Russia. There the mornings are given to music, while + general studies are taken up later in the day. It is really + a serious problem, here in America, this fitting in music + with other studies. Both public and private schools try to + cover so much ground that there is very little time left for + music or anything else. The music pupil also needs to know + musical literature, history and biography, to be familiar + with the lives and writings of the great composers. Take the + letters and literary articles of Robert Schumann, for + instance. How interesting and inspiring they are!</p> + + <p>"In regard to methods in piano study my principles are based + wholly upon my observations of Leschetizky's work with me + personally, or with others. What I know he has taught + <a name="page56" + id="page56"></a>me; what I have achieved I owe to him. My + first eight weeks in Vienna were spent in learning, first, + to control position and condition of hands and arms + according to the law of balance; secondly, to direct each + motion with the utmost accuracy and speed. To accomplish + this I began with the most elementary exercises in + five-finger position, using one finger at a time. Then came + the principles of the scale, arpeggios, chords and octaves. + All these things were continued until every principle was + mastered. I practised at first an hour a day, then increased + the amount as my hands grew stronger and the number of + exercises increased.</p> + + <p>"Next came the study of tone production in various forms, a + good quality invariably being the result of a free condition of + the arm combined with strength of fingers and hands.</p> + + <p>"The Leschetizky principles seem to me the most perfect and + correct in every particular. Yes, there are several books of + the method, by different authors, but I teach the principles + without a book. The principles themselves are the essential + things. I aim to build up the hand, to make it strong and + dependable in every part, to fill out the weak places and + equalize it. That this may be thoroughly and <a name="page57" + id="page57"></a>successfully accomplished, I require that + nothing but technical exercises be used for the first nine, + ten, or twelve weeks. We begin with the simplest exercises, + one finger at a time, then two, three and so on through the + hand. I believe in thus devoting all the practise time to + technic, for a certain period, so that the mind is free to + master the principles, undisturbed by piece playing. When + the principles have been assimilated, the attention can then + be directed to the study of music itself. If any weak places + appear in the hand from time to time, they can be easily + corrected.</p> + + <p>"If a pupil comes to me who has played a great deal but with + no idea of the principles of piano playing, who does not know + how to handle herself or the keyboard, it is absolutely + necessary to stop everything and get ready to play. If you + attempt even a simple sonata with no legato touch, no idea of + chord or scale playing, you can not make the piece sound like + anything. It is like a painter trying to paint without brushes, + or an artist attempting to make a pen and ink drawing with a + blunt lead pencil; to do good work you must have the tools to + work with.</p> + + <p>"For application of all principles, the studies of Czerny, + Op. 299, 740, and others, offer <a name="page58" + id="page58"></a>unequaled opportunity. They are simple, + direct, and give the student a chance for undivided + attention to every position taken and to every motion + made.</p> + + <p>"What happens afterward is altogether according to the + individual characteristics of the student. How to recognize + these and deal with them to the best advantage is the + interesting task of my great master (and those who try to + follow in his steps)—the man of keenest intelligence, of + profound learning and experience. To learn this lesson from him + has been my greatest aim, and to see him at work, as it has + been my privilege to do for several summers, has been of the + greatest influence and inspiration in my own work.</p> + + <p>"My chief endeavor is to create a desire for good + musicianship. To this end I insist upon the study of theory, + harmony, ear-training and analysis. In the piano lessons I do + not have sufficient time to teach these things. I have + assistant teachers who help me with these subjects and also + with the technical training. Once a month during the season, my + assistant teachers bring their pupils to play for me, and we + have a class in piano teaching. There are sometimes eighteen or + twenty students who come to a class. I can in this way + supervise <a name="page59" + id="page59"></a>all the work done, and keep in touch with my + teachers, their work, and with all the students.</p> + + <p>"On the first Saturday of the month I have my own pupils + here for a class; they play for me and for each other. + Everything is played from memory, not a printed note is used. + Students tell me it is very difficult to play here, where all + listen so intently. Especially is it difficult the first time a + student plays in class, to keep the mind wholly on what he is + doing, with sufficient concentration. Later on, at the end of + the season, it comes easier.</p> + + <p>"This idea of separating the technical work at the outset + from the study of music itself, secures, in my opinion, the + most perfect foundation, and later on the best results. It is + sometimes wonderful how, with proper training, the hand will + improve and develop in a comparatively short time. I often + marvel at it myself."</p> + + <p>The writer had the privilege of being one of the guests at + the last audition of the season. Eight or nine young artists + played a long and difficult program. Among the numbers were a + Beethoven sonata, entire; Chopin's Ballade in A flat major; + Cesar Franck, Prelude, Fugue and Variations; a Mozart + Fantaisie; Grieg Concerto, first movement; Weber's + <a name="page60" + id="page60"></a>Concertstück, and Chopin's Scherzo in + E. The recital was most instructive from an educational + point of view. All the players had repose and concentration, + and there were no noticeable slips, though every piece was + played from memory. Hands were well arched at the knuckles, + fingers curved—with adequate action at the knuckle + joint; wrists in normal position, and extremely loose; the + whole arm swung from the shoulder and poised over the keys, + thus adjusting itself to every requirement of the + composition. Every note had its amount of hand or arm + weight. The tone quality was full and singing. These points + were exemplified even in the playing of the youngest pupils. + Furthermore they had an intelligent grasp of the meaning of + the music they played, and brought it out with conviction, + power, and brilliancy.</p> + <hr style="width: 65%;" /> + <a name="page61" + id="page61"></a> + + <h2><a name="IX_CARL_M_ROEDER" + id="IX_CARL_M_ROEDER"></a>IX.</h2> + + <h2>CARL M. ROEDER</h2> + + <h3>PROBLEMS OF PIANO TEACHERS</h3> + + <p>"The progressive teacher's method must be one of accretion," + said Carl Roeder, when interviewed between lesson hours in his + delightful studio in Carnegie Hall. "He gains ideas from many + methods and sources, and these he assimilates and makes + practical for his work. At the same time he must originate and + work out things for himself. This has been my experience.</p> + + <p>"I was something of a wonder child, and at an early age + developed considerable facility and brilliancy. After knocking + about as a pupil of various private teachers and + conservatories, I became, while quite a young lad, the pupil of + de Konstki, then a lion of the day." The speaker joined in the + laugh his remark called up, which brought to mind the + Chevalier's famous battle-horse, "The Awakening of the + Lion."</p> + + <p>"<a name="page62" + id="page62"></a>De Konstki's style was very brilliant and I + endeavored to imitate him in this respect. I did quite a + little concert work at that time. Realizing, however, that a + pianist's income must be rather precarious, I decided to + teach. In those youthful days I had the idea that the + teacher of the piano had an easy life. I remembered one of + my professors, a man of considerable reputation, who took + the duties of his profession very lightly. His method of + giving a lesson was to place the music upon the piano, start + the pupil going, then retire to a comfortable couch, light + his pipe and smoke at ease, troubling himself little about + the pupil's doings, except occasionally to call out + 'Falsch!'</p> + + <p>"So I, too, began to teach the piano. But I soon discovered + that teaching was something quite different from what I had + imagined it to be, and that it was something I knew very little + about. I now set myself to learn how to teach—how to help + those pupils who came to me.</p> + + <p>"One of my first discoveries was that most of the pupils + were afflicted with stiff wrists and arms, and that this + stiffness must be remedied. My own playing had always been + free, due to one of my early teachers having thoroughly + inculcated the principle of 'weight,' so often <a name="page63" + id="page63"></a>acclaimed in these days as a modern + discovery. But how to bring about this condition in others + was a great problem. I studied the Mason method, and found + many helpful, illuminating ideas in regard to relaxation and + devitalization. I had some lessons with S. B. Mills, and + later did considerable valuable work with Paolo Gallico, who + opened up to me the great storehouse of musical treasure, + and revealed to me among other things the spiritual technic + of the pianist's art. Subsequently I investigated the Virgil + and Leschetizky methods. Mr. Virgil has done some remarkable + things in the way of organizing and systematizing technical + requirements, and for this we owe him much. Such analyses + had not before been made with anything like the care and + minuteness, and his work has been of the greatest benefit to + the profession. My subsequent studies with Harold Bauer + revealed him to be a deep musical thinker and a remarkable + teacher of the meaning of music itself.</p> + + <p>"In my teaching I follow many of the ideas of Leschetizky, + modified and worked out in the manner which I have found most + useful to my own technic and to that of my pupils. I have + formulated a method of my own, based on the principles which + form a dependable <a name="page64" + id="page64"></a>foundation to build the future structure + upon. Each pupil at the outset is furnished with a blank + book, in which are written the exercises thus developed as + adapted to individual requirements.</p> + + <h3>FOUNDATIONAL EXERCISES</h3> + + <p>"We begin with table work. I use about ten different + exercises which embody, as it were, in a nutshell, the + principles of piano playing. The hand is first formed in an + arched position, with curved fingers, and solidified. The thumb + has to be taught to move properly, for many people have never + learned to control it at all.</p> + + <p>"With the hand in firm, solid position, and the arm hanging + freely from the shoulder, I begin to use combined arm and wrist + movements, aiming to get the weight of the arm as well as its + energy at the complete disposal of the finger tip. Each finger + in turn is held firmly in a curved position and played with a + rotary movement of arm and wrist. When this can be done we next + learn hand action at the wrist from which results the staccato + touch. In this form of hand staccato there is an element of + percussion, as you see, but this element gives directness and + precision to the <a name="page65" + id="page65"></a>staccato touch, which in my opinion are + necessary. After this we come to finger action itself. This + principle is taken up thoroughly, first with one finger, + then with two, three, four, and five—in all possible + combinations. In this way we come down from the large + free-arm movements to the smaller finger movements; from the + 'general to the particular,' instead of working from the + smaller to the larger. I find it most necessary to establish + relaxation first, then strengthen and build up the hand, + before finger action to any extent is used. When these + foundational points have been acquired, the trill, scales, + arpeggios, chords, octaves and double notes follow in due + course. At the same time the rhythmic sense is developed, + all varieties of touch and dynamics introduced, and harmonic + and structural analysis dwelt upon.</p> + + <h3>USE OF STUDIES</h3> + + <p>"Above the third or fourth grade I make frequent use of + studies, selecting them from various books. Duvernoy, Op. 120; + Berens, Op. 61; Czerny, Op. 740 I find far more interesting + than the threadbare 299. Heller is indispensable, so melodious + and musical. Arthur Foote's studies, Op. 27, are very useful; + <a name="page66" + id="page66"></a>also MacDowell's, Op. 39 and 46. Sometimes I + use a few of Cramer's and the Clementi 'Gradus,' though + these seem rather old-fashioned now.</p> + + <p>"For more advanced pupils I find Harberbier, Op. 53 + especially applicable; there is beautiful work in them. + Kessler, Op. 20, and the Moszkowski studies, Op. 72, have + splendid material for the advanced player, and prepare for + Henselt, Rubinstein, Chopin and Liszt études. I find + that studies are valuable for application of technical + principles, for reacting purposes, and for the cultivation of + all the refinements of playing. Some teachers believe in + applying the technic directly to pieces, and use almost no + studies; but I think a study is often more valuable than a + piece, because a definite technical principle is treated in + every kind of way. Though I do not require studies to be + memorized, they must be played with all the finish of a piece, + if the pupil is to derive the maximum of benefit from them.</p> + + <h3>BOOKS THAT ARE HELPFUL</h3> + + <p>"As aids to my studies in the art of teaching, several books + have been most helpful. Among these are two volumes by Dr. + Herman H. Home, <i>The Philosophy of Education</i>, and + <a name="page67" + id="page67"></a> <i>The Psychology of Education</i>. Another + book, from which I have profited much is William James' + <i>Talks to Teachers on Psychology</i>. Every teacher should + possess it.</p> + + <p>"You ask what method I pursue with new pupils who have + played a great deal of music but with little idea of correct + principles of piano study. Let us take, for instance, one who + has had lessons for years but is in ignorance of first + principles. Arms and wrists are stiff, hands and fingers held + in cramped position; no freedom anywhere. My first move is to + have the pupil stand and learn to relax arms, shoulders and + body; then learn to breathe. But relaxation, even at first, is + not the only thing; after devitalization comes organization, + firmness and solidity—in the right places. It must be + understood at the very beginning that piano playing is far more + than sitting before the instrument working the fingers six or + seven hours a day. The mechanical side is only preliminary. + Some one has said that the factors in playing are a trinity of + H's—head, hand and heart. I try at once to awaken + thought, to give a wider outlook, to show that piano playing is + the expression, through the medium of tone, of all that the + poet, painter and philosopher are endeavoring to show through + <a name="page68" + id="page68"></a>other means: to this end I endeavor to + stimulate interest in the wonders of the visible universe, + the intellectual achievements of men and the deep things of + spiritual discernment.</p> + + <h3>IN REGARD TO INTERPRETATION</h3> + + <p>"On this subject I think we should avoid pedantry; not to + say to the pupil, you must play this piece a certain way; but + rather say, I see or feel it in this way, and give the reasons + underlying the conception. I believe the successful teacher + should be a pianist. He should understand every point and be + able to <i>do</i> the thing, else how can he really show the + manner of the doing? Many of the <i>nuances</i>, subtleties of + color and phrase, effects of charm or of bravura, cannot be + explained; they must be illustrated. And furthermore, only he + who has been over the road can be a safe or sympathetic guide. + Tolstoi realized he could not be of service to the people he + would uplift unless he lived among them, shared their trials + and experienced their needs. The time has gone by when the + musician and composer was considered a sort of freak, knowing + music and nothing else. We know the great composers were men of + the highest intelligence and learning, men whose aim was to + work out their <a name="page69" + id="page69"></a>genius to the utmost perfection. Nothing + less than the highest would satisfy them. As George Eliot + said, 'Genius is the capacity for taking infinite pains.' + Think of the care Beethoven took with every phrase, how many + times he did it over, never leaving it till he was + satisfied."</p> + + <p>In speaking of the great European teachers Mr. Roeder + continued:</p> + + <p>"We hear much of the Leschetizky method; but with that + master technic is quite a secondary matter over which, when + once the principles are mastered, he troubles himself but + little. It is the conception of the work as a whole which + concerns him, how to project it, so to say, most effectively to + an audience. He brings into prominence now this part, now that, + accenting here, slightly exaggerating there, in order to make + the picture more vivid to the listener. Harold Bauer is another + illuminating master for those who have a technical equipment + adequate to the performance of great works of piano literature. + Some go to him who are not ready for what he has to give, but + to those who can direct attention to the meaning of the music, + he is a wonderful inspirational force. First he will point out + a phrase here, another there, and so on through + <a name="page70" + id="page70"></a>the piece, showing how the same idea takes + on various aspects in the composer's thought. Then he shows + how to gather up these different threads to form the perfect + pattern which the author of the work had in mind; and + finally the master teacher reaches down below the surface of + form and design to the vital significance of the + composition, and the disciple feels the glow and power of + the revelation.</p> + + <p>"There is no gainsaying the fact that this age is + superficial, and the great office of art is to cultivate that + idealism which will uplift and inspire. In an important sense + the teacher must be a preacher of righteousness. He knows that + 'beautiful things are fashioned from clay, but it has first to + pass through the fire,' and only those who can endure that + scorching can hope to achieve success.</p> + + <h3>QUESTION OF PERSONALITY</h3> + + <p>"If asked to what extent a player's personality enters into + the performance, my answer would be: Only in so far as the + performance remains true to the composer's intention. So long + as personality illumines the picture and adds charm, interest, + and effectiveness to it, it is to be applauded; but when it + obstructs the <a name="page71" + id="page71"></a>view and calls attention to itself it should + not be tolerated. It is not art; it is vanity.</p> + + <p>"Yes, I teach both high finger action and pressure touch, + once the principle of arm weight is thoroughly established, + although I use high finger action only to develop finger + independence and precision, and for passages where sharp + delineation is required. I believe in freedom of body, arm and + wrist, a firm, solid arched hand and set fingers. That freedom + is best which insures such control of the various playing + members as to enable the player to produce at will any effect + of power, velocity or delicacy desired; thereby placing the + entire mechanical apparatus under complete subjection to the + mind, which dominates the performance. In other words, I am + neither an anarchist who wants no government, namely + unrestrained devitalization, nor a socialist, whose cry is for + all government—that is, restriction and rigidity. In + piano playing, as in all else, 'Virtue is the happy mean + between two vices.'"</p> + <hr style="width: 65%;" /> + <a name="page72" + id="page72"></a> + + <h2><a name="X_KATHARINE_GOODSON" + id="X_KATHARINE_GOODSON"></a>X.</h2> + + <h2>KATHARINE GOODSON</h2> + + <h3>AN ARTIST AT HOME</h3> + + <p>When one has frequently listened to a favorite pianist in + the concert room, and has studied impersonally, so to speak, + the effects of touch, tone and interpretation produced during a + recital, it is a satisfaction and delight to come into personal + touch with the artist in the inner circle of the home; to be + able to speak face to face with one who has charmed thousands + from the platform, and to discuss freely the points which + impress one when listening to a public + performance.</p><a name="Katharine_Goodson" + id="Katharine_Goodson"></a> + + <div class="center"> + <img src="images/085.png" + alt="Katharine Goodson" + title="Katharine Goodson" /> + + <h5>Katharine Goodson</h5> + </div> + + <p>It has been my recent privilege thus to come into intimate + touch with the artist pair, Mr. and Mrs. Arthur Hinton, the + latter being known all over the world as Katharine Goodson. + They have a quiet, beautiful home in London—a true + artist's home. One feels at once on entering and enjoying its + hospitality, that here at least is one instance where two + <a name="page73" + id="page73"></a>musicians have perfect harmony in the home + life. Mr. Hinton, as is widely known, is a composer and also + a violinist and pianist. The beautiful music-room, which has + been added to one side of the house and leads into the + garden, contains two grand pianos on its raised platform. + This music-room is Miss Goodson's own sanctum and workroom, + and here piano concertos, with orchestral accompaniment + supplied on the second piano, can be studied <i>ad + infinitum</i>. Mr. Hinton has his own studio at the top of + the house.</p> + + <p>The garden music-room is lighted at one end by a great + arched window, so placed that the trees of the garden are seen + through its panes. It is easy to imagine one's self in some + lovely sylvan retreat—which is indeed true! All the + appointments of this room, and indeed of the whole house, every + article of furniture and each touch of color, betoken the + artistic sense for fitness and harmony. Miss Goodson has a keen + and exquisite sense for harmony in colors as well as for color + in the harmonies she brings from her instrument.</p> + + <p>"My coming tour will be the fifth I have made in America," + she said. "I enjoy playing in your country immensely; the + cities of New York, Boston, Chicago, and Philadelphia + <a name="page74" + id="page74"></a>are the most appreciative in the world. It + is true we have masses of concerts in London, but few of + them are really well attended and people are not so + thoroughly acquainted with piano music as you are in + America. And you are so appreciative of the best—even + in the smaller cities.</p> + + <p>"I can recall a recital which I gave in a city of not more + than forty thousand, in the West. The recital was arranged by a + musical club; they asked for the program some time in advance, + studied it up and thus knew every piece I was to play. There + was an enormous audience, for people came from all the country + round. I remember three little elderly ladies who greeted me + after the recital; in parting they said, 'You will see us + to-morrow,' I thought it over afterward and wondered what they + meant, for I was to play at a place many miles from there the + next night. What was my surprise to be greeted by the same + ladles the following evening. 'You see, we are here; we told + you we would come.' Fancy taking a trip from London to + Edinburgh just to hear a concert! For it was a journey like + that. Such incidents show the enthusiasm in America for + music—and for piano music.</p> + + <p>"I hope to play both the Brahms and <a name="page75" + id="page75"></a>Paderewski concertos in America. To me the + latter is a beautiful work—the slow movement is + exquisite. I have as yet scarcely done anything with the + composition, for I have been on a long tour through Norway, + Sweden, and Finland. It was most inspiring to play for these + people; they want me to come back to them now, but I cannot + do so, nor can I go next season, but after that I shall go. + I returned home greatly in need of rest. I shall now begin + work in earnest, however, as summer is really the only time + I have for study throughout the year. I shall have six full + weeks now before we take our usual holiday in the + Grindelwald. On the way there we shall stop at Morges and + visit Paderewski, and then I will go over the concerto with + him and get his ideas as to interpretation.</p> + + <h3>MEMORIZING BY ANALYSIS</h3> + + <p>"You ask how I memorize. First I go over the work several + times to get a general idea of the whole. Then I analyze it, + for I feel it absolutely necessary to know keys, chords, and + construction. A work should be so well understood along these + lines that it can be played in another key as well as in the + one in which it is written. For the actual memorizing of the + <a name="page76" + id="page76"></a>piece I generally do it phrase by phrase, + not always 'each hand alone,' though occasionally I do this + also. I remember learning the Bach A minor Prelude and Fugue + in this way. If I were now asked to play any measure or + passage in any part of it I could do so; it is mine forever, + never to be forgotten."</p> + + <p>Asked about the different ways of teaching the Leschetizky + method by various teachers, Miss Goodson said:</p> + + <p>"As we all know, people claim to understand and teach the + Leschetizky principles who are not competent to do so. I do not + recall, for instance, that the professor requires the tips of + the fingers to form a straight line on the edge of the keys. I + myself have never done this. I believe in a perfectly easy and + natural position of hand at the keyboard. When this is the case + the finger-tips form a curve, the middle fingers being placed a + little farther in on the keys than is natural for the first and + fifth. Of course the hand takes an arched position and the + joints nearest the tip of the fingers must be firm; there + should be no wavering nor giving in there. The whole arm, of + course, is relaxed, and swings easily from the + shoulder.<a name="page77" + id="page77"></a></p> + + <h3>A PIANO HAND</h3> + + <p>"I have, as you say, a good hand for the piano; much depends + on that; I have always had a good deal of what is called a + natural technic. Thus when I am obliged to forego practising I + do not lose my facility; an hour's work puts the hand in + condition again. What do I do to accomplish this? Different + things. First some finger movements, perhaps with fingers in an + extended chord position; then some scales and arpeggios; then a + Chopin étude, and so on. When practising regularly, I do + not generally work at the piano more than four hours a day; it + seems to me that amount is sufficient, if used with absolute + concentration."</p> + + <p>Later we adjourned to the pretty garden back of the + music-room, and here we were joined by a beautiful gray Angora + cat, the pet and pride of his mistress, and a very important + personage indeed. He has a trick of climbing to Miss Goodson's + shoulder, from which point of vantage he surveys the world + about him with all the complaisance of which an animal of such + high degree is capable.</p> + <hr style="width: 65%;" /> + <a name="page78" + id="page78"></a> + + <h2><a name="XI_MARK_HAMBOURG" + id="XI_MARK_HAMBOURG"></a>XI.</h2> + + <h2>MARK HAMBOURG</h2><a name="Mark_Hambourg" + id="Mark_Hambourg"></a> + + <h3>FORM, TECHNIC, AND EXPRESSION</h3> + + <div class="center"> + <img src="images/092.png" + alt="MARK HAMBOURG" + title="MARK HAMBOURG" /> + + <h5>MARK HAMBOURG</h5> + </div> + + <p>In one of the most quiet, secluded quarters of London can be + found the home of the Russian pianist, Mark Hambourg. Mr. + Hambourg lives on a terrace, "far from the madding crowd," and + difficult enough of access to keep mere curiosity seekers at a + distance. One can scarcely picture to one's self, without an + actual sight of them, the quaint charm of these short passages + or streets, usually termed "terraces," or "gardens." This + particular terrace looks out on a restful green park, where + luxuriant trees make long shadows on the sunlit turf. The house + is large and comfortable—built over a hundred years ago; + its rooms are spacious, and the drawing-room and library, which + lead one into the other, form a fine music salon. Surely, amid + such surroundings, with priceless pictures and <i>objets + d'art</i> all about, with exquisite colors, with space and + quiet, an <a name="page79" + id="page79"></a>artist must find an ideal spot for both work + and play. I expressed this thought to Mr. Hambourg when he + entered; then we soon fell to discussing the necessary + equipment of the teacher and pianist.</p> + + <p>"I agree with you," he said, "that it is the beginning of + piano study which is the most difficult of all; this is where + the teacher has such great responsibility and where so many + teachers are so incompetent. Perhaps there are more poor + teachers for the piano than for the voice. The organs of voice + production cannot be seen, they can only be guessed at; so + there may be a little more excuse for the vocal teacher; but + for the piano we have the keys and the fingers. It should not + therefore be such a very difficult thing to learn to play + intelligently and correctly! Yet few seem to have got hold of + the right principles or know how to impart them."</p> + + <p>"I have heard a number of the young pianists here," I + remarked, "and they all play with very little finger + action—with fingers close to the keys. Do you advocate + this?"</p> + + <h3>LOW HAND POSITION</h3> + + <p>"Do not forget that for centuries England has been a country + of organists; without doubt <a name="page80" + id="page80"></a>organ playing has had some effect on the + piano touch. Some schools of piano playing advise lifting + the fingers high above the keys, with a view to producing + greater power; but I think the tone thus produced is often + of a somewhat harsh and disagreeable quality. Then, too, + high lifting interferes with smoothness and velocity. For + myself I advocate keeping the fingers close to the keyboard, + and pressing the keys, which gives the tone a warmer and + more elastic quality."</p> + + <p>"A point in hand position I should like to ask you about. + Some teachers advise placing the finger-tips close to the edge + of the keys, forming a straight line with them; it seems to me + such a position is forced and unnatural."</p> + + <p>Mr. Hambourg smiled assent.</p> + + <p>"I do not advocate anything forced and unnatural," he + answered. "So many people think that a beautiful touch is + 'born, not made,' but I do not agree with them. One can + acquire, I am sure, a fine piano touch with the proper study. + The principal requirement is, first of all, a loose wrist. This + point seems simple enough, but it is a point not sufficiently + considered nor understood. No matter how much the player may + <i>feel</i> the meaning of the music, he cannot express this + meaning with <a name="page81" + id="page81"></a>stiff wrists and arms. Some people have a + natural flexibility, and to such the securing of a musical + tone presents far less difficulty; but with time, patience, + and thought, I fully believe all can arrive at this + goal.</p> + + <h3>AMOUNT OF PRACTISE</h3> + + <p>"In regard to practise I do not think it wise for the + aspiring pianist to spend such a great amount of time at the + piano. Four hours of concentrated work daily seems to me + sufficient. Of course it is the quality of practise that + counts. The old saying, 'Practise makes perfect,' does not mean + constant repetition merely, but constant thinking and + listening. I advise students to stop after playing a passage + several times, and think over what the notes mean. This pause + will rest ears and hands; in a few moments work can be resumed + with fresh vigor.</p> + + <p>"I have been so frequently asked to write on the subject of + technic that I have done so in a few articles which have been + printed in a small booklet. From these you may see what my + ideas are on these points. I do very little teaching + myself—just a few talented pupils; they must be something + out of the ordinary. You see, I do not live in London + continuously; I am here only about four months of the year; + <a name="page82" + id="page82"></a>the rest of the time is spent traveling all + over the world. Only that small part of the year when I am + stationary can I do any solid work. Here it is generally + quiet enough: the Zoological Garden is not far away, + however, and sometimes I have the roaring of the lions as an + accompaniment to my piano.</p> + + <p>"I am always increasing my repertoire, though I find the + public does not care for new things; it prefers the old. It may + listen to the new if forced to, but it will not attend a + recital unless various familiar things are on the program.</p> + + <p>"I have made several tours in America. The rush of travel + from place to place over there, is fatiguing, but I feel that + your people are very appreciative. You demand the best, and + concert giving in America is so costly that a manager can + afford to exploit only the highest artists. Here in London, + where the expense is only about two hundred dollars, say, to + get up a recital, almost any one can scrape together that sum + and bring himself or herself before the public. In America the + outlay is four or five times greater. No wonder that only a + very good artist can take the risk."</p> + + <p>On leaving, Mr. Hambourg took us to another room, where he + showed us with much satisfaction, a <a name="page83" + id="page83"></a> very valuable painting of the old Italian + school, by Ghirlandajo, of which he is very fond.</p> + <hr style="width: 65%;" /> + <a name="page84" + id="page84"></a> + + <h2><a name="XII_TOBIAS_MATTHAY" + id="XII_TOBIAS_MATTHAY"></a>XII.</h2> + + <h2>TOBIAS MATTHAY</h2> + + <h3>WATCHING THE ARTIST TEACHER AT WORK</h3> + + <p>One of the first things accomplished after my arrival in + London was to seek out Tobias Matthay, the composer and + teacher, for an echo of his fame had reached me across the + water.</p> + + <p>Matthay has done much to make the principles of piano + technic so clear and simple that even a child can understand + them. If he has stated facts in a way which seems to some + revolutionary it is because these facts are seldom understood + by the rank and file of piano teachers. The work he has done + has compelled attention and admiration; his ideas are now + accepted as undeniable truths by those who at first repudiated + them. The writings of Mr. Matthay will doubtless be better + known in America a little later on than they are at present. + They consist in part of an exhaustive work on <i>The Act of + Touch in all its <a name="page85" + id="page85"></a>Diversity; First Principles of Piano + Playing; Relaxation Studies; The Child's First Steps in + Piano Playing; The Principles of Fingering and Laws of + Pedaling; Forearm Rotation Principle;</i> and, in press, + <i>The Principles of Teaching Interpretation</i>. These very + titles are inspiring and suggestive, and show Matthay to be + a deep thinker along educational + lines.</p><a name="Tobias_Matthay" + id="Tobias_Matthay"></a> + + <div class="center"> + <img src="images/099.png" + alt="Cordially Yours, Tobias Matthay" + title="Cordially Yours, Tobias Matthay" /> + + <h5>Cordially Yours, Tobias Matthay</h5> + </div> + + <p>Matthay's activities are enormous. He is professor of + advanced piano playing at the Royal Academy of Music; also + founder and head of his own school of piano playing. So + occupied early and late is he, that it is almost impossible to + get a word with him. I was fortunate enough, however, to obtain + an hour's audience, and also permission to attend various + private classes at the Royal Academy, and hear a number of + pupils in recital.</p> + + <p>In appearance Matthay is a striking personality. His head + and features recall pictures of Robert Louis Stevenson. His + tall, muscular form has the stoop of the scholar; and little + wonder when one remembers he must sit in his chair at work day + in and day out. His somewhat brusk manner melts into kind + amiability when discussing the topics in which he is vitally + interested. In his intercourse with <a name="page86" + id="page86"></a>students he is ever kind, sympathetic and + encouraging. They, on their part, treat him with profound + respect.</p> + + <p>Matthay believes, and rightly, that the beginning pupil + should learn essentials of note values, rhythm, time, + ear-training and so on, before attempting to play anything at + the piano. When first taken to the instrument, its mechanism is + carefully explained to the learner, and what he must do to make + a really musical tone. He says <i>(Child's First Steps)</i>: + "Before you take the very first step in tone production, be + sure to understand that you must never touch the piano without + trying to make music. It is only too easy to sound notes + without making music at all. To make music we must make all the + sounds mean something, just as it is no use to pretend to speak + unless the sounds we make with our lips mean something, that is + unless they form reasoned phrases and sentences."</p> + + <p>Here nothing is left vague. Matthay shows clearly how all + musical Form and Shape imply Movement and Progression: the + movement of a phrase toward its cadence; the movement of a + group of notes toward a beat or pulse ahead, or the movement of + a whole piece toward its climax, etc. This original view of his + regarding <a name="page87" + id="page87"></a>form, which he has advocated for the last + twenty years, is now being accepted generally by the more + up-to-date of the English theorists and teachers.</p> + + <p>In regard to key mechanism and what must be done to produce + all varieties of touch and tone, Matthay has made exhaustive + studies. He says (<i>First Principles of Piano Playing</i>): + "The two chief rules of technic, as regards the key, are, + therefore: Always feel how much the key resists you: feel how + much the key <i>wants</i> for every note. Second, Always listen + for the moment each sound begins, so that you may learn to + direct your effort to the sound only, and not to the key bed. + You must never hit a key down, nor hit <i>at</i> it. The + finger-tip may fall on the key, and in gently reaching the key + you may follow up such fall by acting against the key. This + action against the key must be for the sole purpose of making + it move—in one of the many ways which each give us quite + a different kind of sound. And you must always direct such + action to the point in key descent where the sound begins."</p> + + <p>I quote also this little summary from the same work:</p> + + <p>"(a) It is only by making the hammer-end of the key move + that you can make a sound.<a name="page88" + id="page88"></a> (b) The swifter the movement the louder the + sound. (c) The more gradual this swiftness is obtained the + more beautiful the quality of sound. (d) For brilliant tone + you may hit the string by means of the key, but do not, by + mistake, hit the key instead. (e) You must 'aim' the key to + the <i>beginning</i> of each sound, because the hammer falls + off the string as you hear that beginning, and it is too + late then to influence the sound except its continuance. (f) + It is wrong to squeeze the key beds, because it prevents + tone, impairs musical result, impedes agility, and is, + besides, fatiguing. (g) You must feel the 'giving way point' + of the key, so that you may be able to tell how much force + is required for each note. Never, therefore, really hit the + keys."</p> + + <p>Mr. Matthay as minutely gives directions as to the muscular + problems of touch and technique. For instance, he explains how + all varieties of tone, good and bad, are caused, all + inflections of Duration, and the laws which govern the + attainment of Agility and ease of Technique; and also explains + the nature of incorrect muscular actions which prevent the + attainment of all these things. He shows where the released arm + weight should be applied, and again, where it should be + eliminated; makes <a name="page89" + id="page89"></a>clear the two opposite forms of technic + implied by "flat" and "bent" finger actions, and he goes + exhaustively into the little-understood question of forearm + rotary exertions, the correct application of which he proves + to be necessary for every note we play.</p> + + <p>In speaking of methods in piano teaching, Mr. Matthay said + to me:</p> + + <p>"I can say I have no method <i>of playing</i>, and moreover + I have not much faith in people who have. My teachings merely + show how all playing, good or bad, is accomplished. There are + certain principles, however, which every player should know, + but which, I am sorry to say, are as yet scarcely apprehended + even by the best teachers. The great pianists have experimented + till they have hit upon effects which they can repeat if all + conditions are favorable, and they are in the mood. As a rule + they do not know the laws underlying these effects. You may ask + the greatest pianists, for example, how to play octaves. 'Oh, I + play them thus'—illustrating. Just what to do to attain + this result they cannot explain. In my own case I have done + much experimenting, but always with the view to discovering + <i>how</i> things are done—the facts and laws governing + actual tone production and interpretation. I made + <a name="page90" + id="page90"></a>a study of Rubinstein's playing, for I found + he played a great deal better than I did. So I discovered + many things in listening to him, which he perhaps could not + have explained to me. These facts are incontrovertible and I + have brought many of my colleagues to see the truth of them. + More than this, I have brought many even of my older + colleagues who had a life-time of wrong mental habits to + impede them, to realize the truth of my teachings.</p> + + <p>"The work of a teacher should speak for itself. For my own + part I never advertise, for I can point to hundreds of + pupils—this is no exaggeration in the least!—who + are constantly before the public, as concert pianists and + successful teachers.</p> + + <p>"If there is one thing that rouses me deeply, it is the + incompetence of so many teachers of piano. They say to the + pupil: 'You play badly, you must play better'; but they do not + tell the pupil <i>how</i> to play better. They give doses of + études, sonatas and pieces, yet never get at the heart + of the matter at all. It is even worse than the fake singing + teachers; I feel like saying it is damnable!"</p> + + <p>It was my privilege to be present at some of Mr. Matthay's + private lessons, given at the Royal Academy. Several young men + were to <a name="page91" + id="page91"></a>try for one of the medals, and were playing + the same piece, one of the Strauss-Tausig Valse + Caprices.</p> + + <p>Matthay listens to a complete performance of the work in + hand, then turns back to the beginning and goes over it again + for corrections and suggestions. He enters into it with + absolute devotion, directing with movements of head and hands + as a conductor might direct an orchestra; sometimes he dashes + down a chord in the treble to urge more force; at other times + lays a restraining hand on the player's arm, where the tone + should be softer. His blue pencil is often busy adding phrasing + marks. In the pauses he talks over with the pupil the character + of the piece, and the effects he thinks should be made. In + short his lessons are most helpful and illuminating.</p> + + <p>I also had the opportunity to attend a pupils' "Practise + Concert," and here the results attained were little short of + marvelous. Small children, both boys and girls, played + difficult pieces, like the Grieg Variations for two pianos, the + Weber <i>Invitation to the Dance</i>, and works by Chopin and + Liszt, with accuracy and fluency. Almost every selection was + played from memory. The tone was always musical and often of + much power, and the pupils <a name="page92" + id="page92"></a>seemed thoroughly to understand what they + were doing and the meaning of the music. They certainly + exemplified the professor's maxim:</p> + + <p>"Never touch the piano without trying to make music."</p> + <hr style='width: 45%;' /> + + <p>Not long afterward I received a copy of the new book, which + had just come from the press. Its comprehensive title is + <i>Musical Interpretation, its Laws and Principles, and their + Application in Teaching and Performing</i>. The material was + first presented in the form of lectures; on repeated requests + it has been issued in book form. The author at the outset + claims no attempt to treat such a complex problem exhaustively; + he has, however, selected the following seven points for + elucidation:</p> + + <p>1. The difference between Practise and Strumming.<br /> + 2. The difference between Teaching and Cramming.<br /> + 3. How one's mind can be brought to bear on one's work.<br /> + 4. Correct ideas of Time and Shape.<br /> + 5. Elements of Rubato and its application.<br /> + 6. Elements of Duration and Pedaling and their + application.<br /> + 7. Some details as to the application of the Element of + Tone-variety.<br /> + <a name="page93" + id="page93"></a></p> + + <p>Such themes must cause the thoughtful reader to pause and + think. They are treated with illuminating originality. The + great aim of the teacher must ever be to awaken thought along + correct lines; the pupil must be assisted to concentrate his + thought on what he is doing: to constantly think and listen. + Teaching does not consist merely in pointing out faults; the + teacher must make clear the <i>cause</i> of each fault and the + way to correct it. That section of the book devoted to the + Element of Rubato, is illustrated with many examples from + well-known compositions, by which the principle is explained. + He shows how frequently this principle is misunderstood by the + inexperienced, who seem to think that rubato means breaking the + time; whereas true rubato is the <i>bending</i> of the time, + but not <i>breaking</i> it. If we give extra time to certain + notes, we must take some time from other notes, in order to + even things up.</p> + + <p>The subject of Pedaling is aptly explained by means of + numerous illustrations. The <a name="page94" + id="page94"></a>author deplores the misuse of the damper + pedal, which can be made to ruin all the care and effort + bestowed on phrasing and tonal effects by the fingers. The + fault can, in most cases, be traced to inattention to the + sounds coming from the piano.</p> + + <p>There are quotable paragraphs on every page, which in their + sincerity and earnestness, their originality of expression, + stamp themselves on the reader's imagination. Every teacher who + is serious in his work and has the best interests of his pupils + at heart, should read and ponder these pages.</p> + <hr style="width: 65%;" /> + <a name="page95" + id="page95"></a> + + <h2><a name="XIII_HAROLD_BAUER" + id="XIII_HAROLD_BAUER"></a>XIII.</h2> + + <h2>HAROLD BAUER</h2> + + <h3>THE QUESTION OF PIANO TONE</h3> + + <p>Buried deep in the heart of old Paris, in one of the narrow, + busy thoroughfares of the city, stands the ancient house in + which the master pianist, Harold Bauer, has made a home.</p> + + <p>One who is unfamiliar with Paris would never imagine that + behind those rows of uninviting buildings lining the noisy, + commercial street, there lived people of refined and artistic + tastes. All the entrances to the buildings look very much + alike—they seem to be mere slits in the walls. I stopped + before one of the openings, entered and crossed a paved + courtyard, climbed a winding stone stairway, rang at a plain + wooden doorway, and was ushered into the artist's abode. Once + within, I hardly dared to speak, lest what I saw might vanish + away, as with the wave of a fairy's wand. Was I not a moment + before down in that dusty, squalid street, and here I am now in + a beautiful <a name="page96" + id="page96"></a>room whose appointments are all of quiet + elegance—costly but in exquisite taste, and where + absolute peace and quiet reign. The wide windows open upon a + lovely green garden, which adds the final touch of restful + repose to the whole picture.</p> + + <p>Mr. Bauer was giving a lesson in the music salon beyond, + from which issued, now and again, echoes of well-beloved themes + from a Chopin sonata. When the lesson was over he came out to + me.</p> + + <p>"Yes, this is one of the old houses, of the sort that are + fast passing away in Paris," he said, answering my remark; + "there are comparatively few of them left. This building is + doubtless at least three hundred years old. In this quarter of + the city—in the rue de Bac, for instance—you may + find old, forbidding looking buildings, that within are + magnificent—perfect palaces; at the back of them, + perhaps, will be a splendid garden; but the whole thing is so + hidden away that even the very existence of such grandeur and + beauty would never be suspected from without."</p> + + <p>He then led the way to the music-room, where we had an + hour's talk.</p><a name="Harold_Bauer" + id="Harold_Bauer"></a> + + <div class="center"> + <img src="images/112.png" + alt="HAROLD BAUER" + title="HAROLD BAUER" /> + + <h5>HAROLD BAUER</h5> + </div> + + <p>"I was thinking as I drove down here," I began, "what the + trend of our talk might be, <a name="page97" + id="page97"></a>for you have already spoken on so many + subjects for publication. It occurred to me to ask how you + yourself secure a beautiful tone on the piano, and how you + teach others to make it?"</p> + + <p>Mr. Bauer thought an instant.</p> + + <p>"I am not sure that I do make it; in fact I do not believe + in a single beautiful tone on the piano. Tone on the piano can + only be beautiful in the right place—that is, in relation + to other tones. You or I, or the man in the street, who knows + nothing about music, may each touch a piano key, and that key + will sound the same, whoever moves it, from the nature of the + instrument. A beautiful tone may result when two or more notes + are played successively, through their <i>difference of + intensity</i>, which gives variety. A straight, even tone is + monotonous—a dead tone. Variety is life. We see this fact + exemplified even in the speaking voice; if one speaks or reads + in an even tone it is deadly monotonous.</p> + + <h3>VARIETY OF TONE</h3> + + <p>"Now the singer or the violinist can make a single tone on + his instrument beautiful through variety; for it is impossible + for him to make even <i>one</i> tone which does not have shades + of <a name="page98" + id="page98"></a>variation in it, however slight they may be, + which render it expressive. But you cannot do this on the + piano: you cannot color a single tone; but you can do this + with a succession of tones, through their difference, + through their relation to each other. On the other hand you + may say any tone is beautiful if in the right place, no + matter how harsh it may be. The singer's voice may break + from emotion, or simulated emotion, in an impassioned + phrase. The exact note on which it breaks may not be a + beautiful one, it may even be very discordant, but we do not + think of that, for we are moved by the meaning back of the + tones. So on the piano there may be one note in a phrase + which, if heard alone, would sound harsh and unpleasant, but + in its relation to other tones it sounds beautiful, for it + gives the right meaning and effect. Thus it is the + <i>relation of tones</i> which results in a 'beautiful tone' + on the piano.</p> + + <p>"The frequent trouble is that piano teachers and players + generally do not understand their instrument. A singer + understands his, a violinist, flutist or drummer knows his, but + not a pianist. As he only has keys to put down and they are + right under his hand, he does not bother himself further. To + obviate this difficulty, for those who come to me, I have had + <a name="page99" + id="page99"></a>this complete model of piano-key mechanism + made. You see I can touch the key in a variety of ways, and + the results will be different each time. It is necessary for + the pianist to look into his instrument, learn its + construction, and know what happens inside when he touches a + key.</p> + + <p>"As you say, there are a great many methods of teaching the + piano, but to my mind they are apt to be long, laborious, and + do not reach the vital points. The pianist may arrive at these + after long years of study and experimenting, but much of his + time will be wasted in useless labor.</p> + + <p>"In my own case, I was forced by necessity to make headway + quickly. I came to Paris years ago as a violinist, but there + seemed no opening for me then in that direction. There was + opportunity, however, for ensemble work with a good violinist + and 'cellist. So I set to work to acquire facility on the piano + as quickly as possible. I consulted all the pianists I + knew—and I knew quite a number—as to what to do. + They told me I must spend many months on technic alone before I + could hope to play respectably, but I told them I had no time + for that. So I went to work to study out the effects I needed. + It didn't matter to me <i>how</i><a name="page100" + id="page100"></a> my hand looked on the keyboard; whether my + fingers were curved, flat, or stood on end. I was soon able + to get my effects and to convince others that they were the + effects I wanted. Later on, when I had more leisure, I took + more thought about the position of hand and fingers. But I + am convinced that much time is spent uselessly on externals, + which do not reach the heart of the matter.</p> + + <p>"For instance, players struggle for years to acquire a + perfectly even scale. Now I don't believe in that at all. I + don't believe a scale ever should be even, either in tone or in + rhythm. The beginner's untrained efforts at a scale sound like + this"—the speaker illustrated at the piano with a scale + in which all the tones were blurred and run into each other; + then he continued, "After a year's so-called 'correct + training,' his scale sounds like this"—again he + illustrated, playing a succession of notes with one finger, + each tone standing out by itself. "To my thinking such teaching + is not only erroneous, it is positively poisonous—yes, + <i>poisonous</i>!"</p> + + <p>"Is it to be inferred that you do not approve of scale + practise?"</p> + + <p>"Oh, I advise scale playing surely, for facility in passing + the thumb under and the hand over is very necessary. I do not, + however, de<a name="page101" + id="page101"></a>sire the even, monotonous scale, but one + that is full of variety and life.</p> + + <p>"In regard to interpretation, it should be full of tonal and + rhythmic modifications. Briefly it may be said that expression + may be exemplified in four ways: loud, soft, fast, and slow. + But within these crude divisions what infinite shades and + gradations may be made! Then the personal equation also comes + in. Variety and differentiation are of supreme + importance—they are life!</p> + + <p>"I go to America next season, and after that to Australia; + this will keep me away from my Paris home for a long time to + come. I should like to give you a picture to illustrate this + little talk. Here is a new one which was taken right here in + this room, as I sat at the piano, with the strong sunlight + pouring in at the big window at my left."</p> + <hr style='width: 45%;' /> + + <p>On a subsequent occasion, Mr. Bauer spoke further on some + phases of his art.</p> + + <p>"As you already know I do not believe in so-called 'piano + technic,' which must be practised laboriously outside of + pieces. I do not believe in spending a lot of time in such + practise, for I feel it is time wasted and leads nowhere. I do + not believe, for instance, in the <a name="page102" + id="page102"></a>struggle to play a perfectly even scale. A + scale should never be 'even,' for it must be full of variety + and life. A perfectly even scale is on a dead level; it has + no life; it is machine-made. The only sense in which the + word 'even' may be applied to a scale is for its rhythmic + quality; but even in this sense a beautiful scale has slight + variations, so that it is never absolutely regular, either + in tone or rhythm.</p> + + <p>"Then I do not believe in taking up a new composition and + working at the technical side of it first. I study it in the + first place from the musical side. I see what may be the + meaning of the music, what ideas it seeks to convey, what was + in the composer's mind when he wrote it. In other words, I get + a good general idea of the composition as a whole; when I have + this I can begin to work out the details.</p> + + <p>"In this connection I was interested in reading a statement + made by Ruskin in his <i>Modern Painters</i>. The statement, + which, I think, has never been refuted, is that while the great + Italian painters, Raphael, Coreggio, and the rest have left + many immature and imperfect pictures and studies in color, + their drawings are mature and finished, showing that they made + many experiments and studies in color before they thought of + making the finished black and <a name="page103" + id="page103"></a>white drawing. It seems they put the art + thought first before the technical detail. This is the way I + feel and the way I work.</p> + + <h3>AVOID RESTRICTING RULES</h3> + + <p>"Because our ancestors were brought up to study the piano a + certain way, and we—some of us—have been trained + along the same rigid lines, does not mean there are no better, + broader, less limited ways of reaching the goal we seek. We do + not want to limit ourselves or our powers. We do not need to + say: 'Now I have thought out the conception of this composition + to my present satisfaction; I shall always play it the same + way.' How can we feel thus? It binds us at once with iron + shackles. How can I play the piece twice exactly alike? I am a + different man to-day from what I was yesterday, and shall be + different to-morrow from what I am to-day. Each day is a new + world, a new life. Don't you see how impossible it is to give + two performances of the piece which shall be identical in every + particular? It <i>is</i> possible for a machine to make any + number of repetitions which are alike, but a human, with active + thought and emotion, has a broader outlook.</p> + + <p>"The question as to whether the performer <a name="page104" + id="page104"></a>must have experienced every emotion he + interprets is as old as antiquity. You remember in the + Dialogues of Plato, Socrates was discussing with another + sage the point as to whether an actor must have felt every + emotion he portrayed in order to be a true artist. The + discussion waxed warm on both sides. Socrates' final + argument was, If the true artist must have lived through + every experience in order to portray it faithfully, then, if + he had to act a death scene he would have to die first in + order to picture it with adequate fidelity!"</p> + + <h3>THE QUESTION OF VELOCITY</h3> + + <p>In speaking of velocity in piano playing and how it is to be + acquired, Mr. Bauer continued:</p> + + <p>"I believe the quality of velocity is inherent—an + integral part of one's thought. Even a child, if he has this + inherent quality, can play a simple figure of five notes as + fast as they need to be played. People of the South—not + on this side of the water—but of Spain and Italy, are + accustomed to move quickly; they gesticulate with their hands + and are full of life and energy. It is no trouble for them to + think with velocity. Two people will set out to walk to a given + point; they may both walk fast, according to their idea of that + word, but one <a name="page105" + id="page105"></a>will cover the ground much more quickly + than the other. I think this idea of a time unit is again a + limiting idea. There can be <i>no</i> fixed and fast rule as + to the tempo of a composition; we cannot be bound by such + rules. The main thing is: Do I understand the meaning and + spirit of the composition, and can I make these clear to + others? Can I so project this piece that the picture is + alive? If so, the fact as to whether it is a few shades + slower or faster does not enter into the question at + all.</p> + + <h3>OBTAINING POWER</h3> + + <p>"Many players totally mistake in what power consists. They + think they must exert great strength in order to acquire + sufficient power. Many women students have this idea; they do + not realize that power comes from contrast. This is the secret + of the effect of power. I do not mean to say that we must not + play with all the force we have at times; we even have to pound + and bang occasionally to produce the needed effects. This only + proves again that a tone may be beautiful, though in itself + harsh, if this harshness comes in the right time and place.</p> + + <p>"As with velocity so with power; there is <i>no</i> fixed + and infallible rule in regard to it, for that <a name="page106" + id="page106"></a>would only be another limitation to the + feeling, the poetry, the emotion of the executant's + <i>thought</i>. The quality and degree of power are due to + contrast, and the choice of the degree to be used lies with + the player's understanding of the content of the piece and + his ability to bring out this content and place it in all + its perfection and beauty before the listener. This is his + opportunity to bring out the higher, the spiritual + meaning."</p> + <hr style="width: 65%;" /> + <a name="page107" + id="page107"></a> + + <h2><a name="XIV_A_VISIT_TO_RAOUL_PUGNO" + id="XIV_A_VISIT_TO_RAOUL_PUGNO"></a>XIV.</h2> + + <h2>A VISIT TO RAOUL PUGNO</h2> + + <h3>TRAINING THE CHILD</h3> + + <p>"An audience has been arranged for you to-day, with M. Raoul + Pugno; he will await you at four o'clock, in his Paris studio." + Thus wrote the courteous representative of <i>Musical + America</i> in Paris.</p> + + <p>It had been very difficult to make appointments with any of + the famous French musicians, owing to their being otherwise + engaged, or out of the city. I therefore welcomed this + opportunity for meeting at least one of the great pianists of + France.</p> + + <p>At the appointed hour that afternoon, we drove through the + busy rue de Clicy, and halted at the number which had been + indicated. It proved to be one of those unpromising French + apartment buildings, which present, to the passer-by, a stern + façade of flat wall, broken by rows of shuttered + windows, which give no hint of what may be hidden behind them. + In this case we did not find the man <a name="page108" + id="page108"></a>we sought in the front portion of the + building, but were directed to cross a large, square court. + The house was built around this court, as was the custom in + constructing the older sort of dwellings.</p> + + <p>At last we discovered the right door, which was opened by a + neat housekeeper.</p> + + <p>"M. Pugno is not here, he lives in the country," she said, + in answer to our inquiry. (How difficult these French musicians + are to find; they seem to be one and all "in the country"!)</p> + + <p>"But, madame, we have an appointment with M. Pugno; will you + not be good enough to see if he is not here after all?"</p> + + <p>She left us standing, but returned almost immediately with + the message that M. Pugno had only that moment entered his + studio, to which she would conduct us.</p><a name="Raoul_Pugno" + id="Raoul_Pugno"></a> + + <div class="center"> + <img src="images/125.png" + alt="RAOUL PUGNO" + title="RAOUL PUGNO" /> + + <h5>RAOUL PUGNO</h5> + </div> + + <p>In another moment we had crossed the tiny foyer and were + standing within the artist's sanctuary. At first glance one + felt as though in an Oriental chamber of some Eastern monarch. + Heavy gold and silver Turkish embroideries hung over doors and + windows. The walls were covered with many rare paintings; rich + <i>objets d'art</i> were scattered about in profusion; an open + door led out into a <a name="page109" + id="page109"></a>pretty garden, where flowers bloomed, and a + fountain <i>dripped</i> into its marble basin. A raised dais + at one side of the room held a divan, over which were + draperies of Oriental stuffs. On this divan, as on a throne, + sat the great pianist we had come to see. He made a stately + and imposing figure as he sat there, with his long silvery + beard and his dignified bearing. Near him sat a pretty young + woman, whom we soon learned was Mlle. Nadia Boulanger, a + composer and musician of brilliant attainments.</p> + + <p>"I regret that I am unable to converse with you in English, + as I speak no language but my own," began M. Pugno, with a + courteous wave of the hand for us to be seated.</p> + + <p>"You wish to know some of my ideas on piano playing—or + rather on teaching. I believe a child can begin to study the + piano at a very early age, if he show any aptitude for it; + indeed the sooner he begins the better, for then he will get + over some of the drudgery by the time he is old enough to + understand a little about music.</p> + + <h3>TRAINING THE CHILD</h3> + + <p>"Great care must be taken with the health of the child who + has some talent for music, so <a name="page110" + id="page110"></a>that he shall not overdo in his piano + study. After all a robust physical condition is of the first + importance, for without it one can do little.</p> + + <p>"A child in good health can begin as early as five or six + years. He must be most judiciously trained from the start. As + the ear is of such prime importance in music, great attention + should be paid to tone study—to listening to and + distinguishing the various sounds, and to singing them if + possible, in solfeggio.</p> + + <p>"At the outset a good hand position must be secured, with + correct finger movements. Then there must be a thorough drill + in scales, arpeggios, chords, and a variety of finger + exercises, before any kind of pieces are taken up. The young + student in early years, is expected to play various + études, as well as the technic studies I have + mentioned—Czerny, Cramer, Clementi, and always Bach. In + my position, as member of the faculty of the Conservatoire, a + great many students pass before me. If I personally accept any + pupils, they naturally must be talented and advanced, as I + cannot give my time to the children. Still it is interesting to + see the child-thought develop."</p> + + <p>The conversation turned upon the charming studio with its + lovely garden—where absolute quiet could be secured in + spite of the noise and <a name="page111" + id="page111"></a>bustle of one of the busiest quarters of + Paris. The studio itself, we were told, had formerly + belonged to the painter Decamps, and some of the pictures + and furnishings were once his. A fine portrait of Pugno, + life size, filling the whole space above the piano, claimed + our attention. He kindly rose, as we admired the painting, + and sought a photograph copy. When it was found—the + last one he possessed—he presented it with his + compliments.</p> + + <p>We spoke of Mlle. Boulanger's work in composition, a subject + which seemed deeply to interest M. Pugno.</p> + + <p>"Yes, she is writing an opera; in fact we are writing it + together; the text is from a story of d'Annunzio. I will jot + down the title for you."</p> + + <p>Taking a paper which I held in my hand, he wrote,</p> + + <p><i>"La Ville Morte, 4 Acts de d'Annuncio; Musique de Nadia + Boulanger et Raoul Pugno"</i></p> + + <p>"You will certainly have it performed in America, when it is + finished; I will tell them so," I said.</p> + + <p>The great pianist smiled blandly and accepted the suggestion + with evident satisfaction.</p> + + <p>"Yes, we will come to America and see the <a name="page112" + id="page112"></a>work performed, when it is completed," he + said.</p> + + <p>With many expressions of appreciation we took our leave of + the Oriental studio and its distinguished occupants; and, as we + regained the busy, noisy rue de Clicy, we said to ourselves + that we had just lived through one of the most unique + experiences of our stay in Paris.</p> + <hr style='width: 45%;' /> + + <p>(The above is the last interview ever taken from this great + French artist, who passed away a few months later.)</p> + <hr style='width: 45%;' /> + + <p>The following items concerning M. Pugno's manner of teaching + and personal traits, were given me by Mme. Germaine Schnitzer, + the accomplished French pianist and the master's most gifted + pupil.</p> + + <p>"Pugno had played the piano almost from infancy, and in + early youth had taken several piano prizes. Later, however, he + gave much more of his time to the organ, to the seeming neglect + of the former instrument. How his serious attention was + reverted to the piano happened in this wise. It was announced + that Edward Grieg, the noted Norwegian, was coming to Paris. + Pugno was one day looking over his piano Concerto which had + recently <a name="page113" + id="page113"></a>appeared. 'Why don't you play the work for + the composer when he comes?' asked a friend. 'I am no + pianist,' objected Pugno. 'Why not?' said his friend; 'you + know enough about the piano, and there are still four weeks + in which to learn the Concerto.' Pugno took the advice, + practised up the work, played it in the concert given by + Grieg, and scored a success. He was then thirty-nine years + of age. This appearance was the beginning; other engagements + and successes followed, and thus he developed into one of + the great pianists of France.</p> + + <p>"Pugno was a born pianist; he had a natural gift for + technic, and therefore never troubled himself much about + teaching technical exercises nor practising them. If the work + of a pupil contained technical faults, he made no remarks nor + explanations, but simply closed the music book and refused to + listen any further. The pupil, of course, retired in + discomfiture. He was fond of playing along with the pupil + (generally with the left hand), or singing the melodies and + themes, in order to give him ideas of the meaning and + interpretation of the music. This gave independence to the + pupils, though it often afforded them much amusement.</p> + + <p>"<a name="page114" + id="page114"></a>With advanced students Pugno spoke much + about music and what it could express; he translated themes + and passages back into the feelings and emotions which had + originated them; he showed how all emotions find their + counterpart in tones. 'Above all let kindness and goodness + control you,' he once wrote; 'if you are filled with + kindness, your tone will be beautiful!'</p> + + <p>"Pugno's instruction took the form of talks on the inner + meaning of the composition, and the art of interpreting it, + rather than any training on the technical side; about the + latter he concerned himself very little. It goes without saying + that only talented pupils made progress under such a master; + indeed those without talent interested him not at all. He was a + wonderful teacher for those who had the insight to read between + the lines, and were able to follow and absorb his artistic + enthusiasms.</p> + + <p>"I have said that Pugno did not concern himself about + teaching the technical side of piano playing. Even with me, his + best pupil, he rarely touched upon technical points. I must + mention a notable exception. He gave me one technical + principle, expressed in a few simple exercises, which I have + never heard of <a name="page115" + id="page115"></a>from any one else. The use of this + principle has helped me amazingly to conquer many knotty + passages. I have never given these exercises to any one; I + am willing however, to jot them down for you."</p> + + <p>(The following is a brief plan of the exercises, as sketched + by Mme. Schnitzer)</p> + + <div class="center"> + <img src="images/132.png" + alt="EXERCISES" + title="EXERCISES" /> + </div> + + <p>"Pugno wished the thirty-seconds and sixty-fourths to be + played with the utmost quickness. This idea is not alone + applicable to all <a name="page116" + id="page116"></a>scales, but can be used with any difficult + passage found in a composition.</p> + + <p>"Pugno took a keen interest in my work, my progress and + career. A few sentences culled here and there from the many + letters of his which I have preserved, may serve to throw more + light on the inner nature of the man:</p> + + <p>"'I have endeavored to make clear to your young mind the + thoughts expressed in music, so that your understanding and + your emotions also might grow; all this has created a link of + gratitude in you and an affection within me. I have opened the + windows for you and have given you light, and I have reaped the + satisfaction of my sowing.'</p> + + <p>"'Hear all the music you can—do not miss any of the + pianists either good or bad; there is always something to be + learned, even from a poor player—if it is only what to + avoid! Study great works, but even in those there are some + figures and phrases which need not be brought into the + foreground, lest they attain too much significance.'</p> + + <p>"(After playing with Hans Richter's Orchestra): 'What + intoxication of sound—what exhilaration and collaboration + in music! What a force within us, which sways us and + <a name="page117" + id="page117"></a>throbs through us, developing and + expressing each sentiment and instinct! What art can be + compared to music, which finds expression through this + medium, called an orchestra. I feel myself greater amid the + orchestra, for I have a giant to converse with. I keep pace + with him, I lead him where I will—I calm him and I + embrace him. We supplement each other; in a moment of + authority I become his master and subdue him. The piano + alone is too small for me; it does not tempt me to play it + except under such conditions—with a grand + orchestra!'"</p> + <hr style="width: 65%;" /> + <a name="page118" + id="page118"></a> + + <h2><a name="XV_THUEL_BURNHAM" + id="XV_THUEL_BURNHAM"></a>XV.</h2> + + <h2>THUEL BURNHAM</h2> + + <h3>THE "MELODY" AND "COLORATURA" HAND</h3> + + <p>A prominent figure in the musical life of Paris is Thuel + Burnham, pianist and teacher.</p> + + <p>Mr. Burnham is an American, who for a number of years has + made his home in Paris. He has studied with the greatest + masters of his instrument on both sides of the water. More than + this he is a musical thinker who has worked out things for + himself, amalgamating what he has found best in other methods + with what he has discovered in his own experience. He has been + able to simplify the whole fabric of technical material, so + there is no time lost in useless labor.</p> + + <p>As a pianist Mr. Burnham takes high rank. Technical + difficulties do not exist for him. He has come to the last + turning of the road; before him rise the heights of supreme + spiritual mastery. A touch that is limpid, clear, and capable + of many gradations of tints; splendid power in + <i>fortissimo</i>; delicacy, velocity <a name="page119" + id="page119"></a> and variety are all his; together with all + this he has a sympathetic insight into the mood and meaning + of the composer. Of late he has been giving several recitals + of a semi-private nature, at which he has brought out some + of the larger works in his repertoire. These recitals have + taken place in his charming studios, and it was my good + fortune to be present when two concertos were played, the + MacDowell in D minor, and the Grieg in A minor. Mr. Burnham + is a warm admirer of the works of our great American + composer, and has prepared an entire program of MacDowell's + music, which included the Tragica Sonata, Polonaise, and + many of the shorter pieces.</p> + + <p>In a conversation with Mr. Burnham in regard to methods of + teaching, he gave many helpful points, explaining how he had + reduced technical difficulties to a minimum through the + exercise of a few simple principles.</p> + + <h3>PRINCIPLES OF TOUCH</h3> + + <p>"The position and condition of the hand varies according to + the character of the music, and the tone you wish to produce. + If you give out a melody, you want a full, luscious tone, the + weight of arm on the key, everything <a name="page120" + id="page120"></a>relaxed, and a clinging, caressing pressure + of finger. Here then, you have the 'Melody Hand,' with + outstretched, flat fingers. If, on the contrary, you want + rapid passage work, with clear, bright, articulate touch, + the hand must stand up in well-arched, normal playing + position, with fingers well rounded and good finger action. + Here you have the 'Technical' or 'Coloratura Hand.'</p> + + <h3>MELODY HAND</h3> + + <p>"The Melody Hand is weighty and 'dead,' so to speak. The + touch is made with flat fingers; the ball of the finger comes + in contact with the key, the whole arm, hand and fingers are + relaxed—as loose as possible. You caress the keys as + though you loved them, as though they were a very part of you; + you cling to them as to something soft, velvety or + downy—with pressure, pressure, pressure, always."</p> + + <p>(This illustration recalled to the listener's mind one of + Kitty Cheatham's stories, the one about the little girl + caressing a pet kitten. She was asked which she loved + best—her mother or the kitten. "Of course I love her + best," was the rather hesitating answer; "but I love kitty + too—and she has <i>fur</i>!")</p> + + <p>"To acquire the melody touch, I teach it <a name="page121" + id="page121"></a>with the simplest exercises, sometimes with + only single tones. When the idea is apprehended, the pupil + works it out in some lyric piece, like a <i>Song without + Words</i>, by Mendelssohn.</p> + + <p>"There are three touches for melody playing: First, the + <i>down touch</i>, made by descending arm and hand; second, the + <i>up touch</i>, made by elevating the wrist, while the finger + lies upon the key; third, the <i>wiping-off touch</i>, which + draws the finger off the key, with an arm and hand + movement.</p> + + <h3>THE TECHNICAL HAND</h3> + + <p>"The technical hand employs finger touch and finger action; + the hand is held up, in military position, so to speak; the + finger movements are quick, alert and exact; the hand is + <i>alive</i>, not dead and heavy, as is the melody hand. The + two ways of playing are quite opposite in their fundamental + character, but they can be modified and blended in endless + ways.</p> + + <p>"For the technical or coloratura touch, the hand is in + arched position, the five fingers are well rounded and curved, + their tips are on the keys, everything is rounded. When a + finger is lifted, it naturally assumes a more rounded position + until it descends to the same spot on <a name="page122" + id="page122"></a>the key from which it was lifted, as though + there were five little imaginary black spots on the keys, + showing exactly where the finger-tips should rest. The + fingers are lifted cleanly and evenly and <i>fall</i> on the + keys—no hitting nor striking. I make a great + distinction between the coloratura touch and the melody + touch. The first is for rapid, brilliant passage work, + sparkling, glittering, iridescent—what you + will—but cold. It is made, as I said, with arched hand + and raised finger action. Melody touch expresses warmth and + feeling; is from the heart. Then there are the down and up + arm movements, for chords, and, of course, scale and + arpeggio work, with coloratura touch. I generally expect + pupils who come to me to go through a short course of + preparatory study with my assistant, Miss Madeleine Prosser, + who has been with me for years, and does most thorough work + in this line.</p> + + <h3>ASSIMILATION OF PRINCIPLES</h3> + + <p>"Many pupils come to me with no very definite ideas as to + touch and what they may express through it. They think if they + <i>feel</i> a passage sufficiently, they will be able to use + the right touch for it. Sometimes they may be able to hit upon + the effect they want, but they <a name="page123" + id="page123"></a>don't know quite how they got it, nor can + they repeat it another time at will. I believe the + principles governing certain touches can be so thoroughly + learned and assimilated that <i>when the player sees a + certain passage, he knows at once what touch is required to + express it.</i> A great actor illustrates what I + mean—he knows how to employ his features and body to + express the thought of his lines. When you go to the Theatre + Français in Paris, you know every member of the + company is thoroughly trained in every phase of his art. You + are aware that each actor has studied expression to such an + extent that the features naturally fall into the required + lines and curves whenever a certain emotion comes up for + expression. So with the pianist—he should have the + various touches at his finger-tips. The step beyond is to + express himself, which he will do easily and naturally, when + his has such a preparation as I have referred to.</p> + + <h3>MEMORIZING</h3> + + <p>"I am often questioned on the subject of memorizing. Some + pupils think if they play the piece a sufficient number of + times they will know it; then are troubled because they cannot + at all times remember the notes. Such <a name="page124" + id="page124"></a>players must know every note of the piece + away from the piano, and be able to recite them. I have + students who are able to learn their music away from the + instrument, and can play it to me without having tried it on + the piano. I require the piece so thoroughly memorized that + if I correct a measure or phrase, the pupil can go right on + from that point, without being obliged to start farther + back, or at the beginning. In some cases, however, if the + pupil has her own method of committing to memory, and it is + successful, I have no desire to change it.</p> + + <h3>OCTAVE STUDIES</h3> + + <p>"For octave study, form the hand with the 'octave + grimace,'—that is with arched hand, the unemployed + fingers slightly curved. In staccato touch of course use light + wrist. Begin with one beat in sixteenths and finish with the + 'wiping off' touch. Build up more and more beats in notes of + the same value, always ending the passage with the same touch, + as above mentioned. This exercise can be played the full length + of the keyboard, in all keys, and also chromatically. It can be + played in the same fashion, using four-voiced chords instead of + octaves. When such an exercise can be <a name="page125" + id="page125"></a>prolonged for twenty minutes at a time, + octave passages in pieces have no terrors for the pianist. + For the octaves in Chopin's Polonaise Op. 53, he would + merely have to learn the notes, which can be done away from + the piano; there is no need for exhaustive practise of the + passage.</p> + + <h3>KEEPING UP REPERTOIRE</h3> + + <p>"In order to keep repertoire in repair, one should have it + arranged so that old pieces are gone over once a week. Group + your repertoire into sections and programs. It might be well to + begin the week with Chopin, playing through the whole list; + after which pick out the weak places, and practise those. + Tuesday, take Schumann, and treat him in the same way. Then + comes Liszt, Russian music, modern composers, concertos, and + chamber music. In this systematic way the whole repertoire is + kept up.</p> + + <h3>DETAILS OF PRACTISE</h3> + + <p>"My mornings are given up to practise, my afternoons to + teaching. Of these practise hours, at least one hour is given + to technic, scales, arpeggios, octaves, chords—and Bach! + I believe in taking one selection of Bach, say + <a name="page126" + id="page126"></a>a Two-voiced Invention, and perfecting it, + playing it in various ways—transposing it into all + keys and polishing it to the highest degree possible. The B + flat Invention is a useful one for this treatment. So with + études; instead of playing <i>at</i> so many, is it + not better to perfect a few and bring them up to the highest + degree of completeness?</p> + + <p>"I am very susceptible to color, anywhere, in + anything—especially in pictures. Music should express + color. Certain compositions seem to embody certain colors. As + you suggest, red is certainly the motif of Chopin's great + Polonaise, Op. 53."</p> + <hr style='width: 45%;' /> + + <p>Mr. Burnham should certainly look forward to success in his + visit to his native land. His fine touch and tone, sincere and + musicianly style, and buoyant, genial personality will make + friends for his art and himself everywhere.</p> + <hr style="width: 65%;" /> + <a name="page127" + id="page127"></a> + + <h2><a name="XVI_EDWIN_HUGHES" + id="XVI_EDWIN_HUGHES"></a>XVI.</h2> + + <h2>EDWIN HUGHES</h2> + + <h3>SOME ESSENTIALS OF PIANO PLAYING</h3> + + <p>When one has read with pleasure and profit the published + ideas of a musical worker and thinker, it is always an + interesting experience to meet such an one personally, and have + the opportunity to discuss points of special import, + particularly when the meeting can take place in some ideal spot + in the old world. Such was my thought in visiting Mr. Edwin + Hughes, an American who has made a name and place for himself + among the pianists and teachers of Europe. After years of study + in Vienna with Leschetizky, where he also acted as one of the + <i>Vorbereiters</i>, he has established himself in Munich, + where he feels he has found a true home of music and art. Here, + amid beautiful and artistic surroundings, he lives and works, + dividing his time between teaching and concert playing. As a + pianist Mr. Hughes has met with gratifying success in the most + important cities of Germany, while as <a name="page128" + id="page128"></a>a teacher he has been sought by students + from almost every State in America, from Maine to Texas, and + also from Canada. What has given him special satisfaction is + that during the past year a number of pupils have come to + him from the Conservatory here in Munich. They have been + greatly pleased with their progress, only regretting they + had not come to him before.</p> + + <p>As to whether he uses the Leschetizky method in its + entirety, Mr. Hughes testified in the affirmative.</p> + + <p>"If you were to ask Leschetizky about the 'Leschetizky + Method,' he would probably laugh and tell you he has no method, + or he would tell you his 'method' consists of only two + things—firm fingers and pliable wrist.</p> + + <p>"These are the principles upon which I base the technical + training of my pupils. I first establish an arched hand + position, and then test the firmness of the fingers and knuckle + joints by tapping them. At first the joints, particularly the + nail joints, are very apt to sink in when tapped by a lead + pencil; but by having the pupil continue the tapping process at + home, it is not long before he acquires the feeling of + conscious firmness in his fingers.</p> + + <p>"Along with this exercise it is most important + <a name="page129" + id="page129"></a> to begin at once with wrist exercises, as + otherwise, from the effort to acquire firmness of finger, + the wrist may become stiff and unwieldy. The wrist exercises + consist in raising and lowering this joint, with the hand + and arm supported first on each finger separately, then on + two, three, four and five fingers. The wrist should not be + so limp as to be incapable of resistance; but rather it + should be like a fine steel spring—a 'spring-wrist,' I + call it—capable of every degree of resistance or + non-resistance the quality of tone demands.</p> + + <p>"High finger action is not so necessary for beginners as + most piano teachers imagine. It is much easier to teach pupils + to raise their fingers high, than it is to teach them the + acquisition of the <i>legato</i> touch at the piano, which is + only to be attained by playing close to the keys, without + raising the fingers. It is difficult to get pupils to play a + perfect <i>legato</i> who have had years of training with high + finger action, something which should be taken up for + <i>non-legato</i> and <i>staccato</i> finger work <i>after</i> + the more difficult <i>legato</i> touch has been mastered.</p> + + <h3>TONE PRODUCTION</h3> + + <p>"The subject of tone production is one which is much + neglected by piano teachers.<a name="page130" + id="page130"></a> Viewed from this standpoint the piano is + an instrument apart from every other, except in some + respects the organ. A young violinist, 'cellist or flutist + has to study for some time before he can produce a tone of + good musical quality on his instrument. Think what the + beginner on the violin has to go through before he can make + a respectable middle C; but anybody, even a totally + unmusical person, can play middle C on the piano without the + least trouble. It is just this ease in tone production at + the piano which leads to carelessness as to the <i>kind</i> + of tone produced; and so piano teachers, above all others, + complain they cannot get their pupils to listen to what they + are playing. Pupils should be made to listen, by means of a + special course in tone production, which should go hand in + hand with the technical exercises used at the very + beginning. Otherwise they imagine they are making music when + they place the printed page on the rack, and set the correct + keys in motion.</p> + + <p>"There is no other instrument with which it is so easy to + 'bluff' a large part of the audience; for the character of the + piano is such that the general public often think it fine music + if the player makes a big noise. Pianists of considerable + reputation often take advantage of this <a name="page131" + id="page131"></a>lack of discrimination on the part of + piano-recital audiences, which, above all the other + audiences, seem peculiarly incapable of judging correctly + the musical value of a performance.</p> + + <p>"Of the hundreds of piano recitals which take place yearly + in the musical centers of Europe, only a comparatively small + number are of real musical interest. In many cases it seems as + though the players were merely repeating something learned by + rote, in an unknown language; just as though I should repeat a + poem in Italian. The words I might pronounce after a fashion, + but the meaning of most of them would be a blank to me—so + how could I make others understand them.</p> + + <h3>RHYTHM IN PIANO PLAYING</h3> + + <p>"The subject of rhythm is an important one, and more + attention should be given it. Leschetizky once said that tones + and rhythm are the only things which can keep the piano alive + as a solo instrument. I find in pupils who come to me so much + deficiency in these two subjects, that I have organized classes + in ear-training and rhythm.</p> + + <p>"If pupils have naturally a poor sense of rhythm, there is + no remedy equal to practising with a metronome, using this + instrument of <a name="page132" + id="page132"></a>torture daily until results are evident, + when, of course, there must be a judicious slowing down in + its use. The mechanical sense of rhythm, the ability to + count three or four to a measure, and to group the notes of + a piece correctly, can be taught to any person, if one has + the patience; but for those delicate rhythmic <i>nuances</i> + required by a Chopin mazurka or a Viennese waltz, a specific + rhythmic gift must be possessed by the pupil.</p> + + <p>"Leschetizky says little to his pupils on the subject of + technic; I cannot remember his having spoken a dozen words to + me on the subject, during all the time I have known him. His + interest, of course, lies wholly in the matter of + interpretation, and technic comes into consideration only as a + means and never as an end.</p> + + <p>"Leschetizky likes to have the player talk to him, ask + questions, do anything but sit still and not speak. 'How do I + know you comprehend my meaning,' he asks, 'that you understand + what I am talking about, if you say nothing?' At first a + student may be silent from nervousness, but if he is bright he + will soon 'catch on,' and see what is expected of him. + Leschetizky says sometimes: 'When the Lord made the ten + commandments He omitted <a name="page133" + id="page133"></a> the eleventh, "Thou shalt not be stupid."' + If one is not very quick, one may have a hard time with this + master.</p> + + <p>"As a high school in technic I use Joseffy's <i>School of + Advanced Piano Playing</i> with my pupils. This work leads to + the highest possible technical development at the keyboard, and + I consider it the last word in piano technic. The hundreds of + exercises have been devised with most wonderful ingenuity, and + the musicianship of the author stands out on every page. The + book is not a dry series of technics but has vital connection + with all the big technical problems found in the literature of + the piano.</p> + + <p>"In teaching, I consider a second piano an absolute + necessity. There are so many things in piano playing which + cannot be put into words, and the teacher must constantly + illustrate. How can one teach the interpretation of a Chopin + nocturne, for instance, by merely talking about it. I can say, + 'play loud here—soft there'; but how far do such + directions go toward an artistic conception of the piece? One + cannot indicate the swell of a melody, the tonal and rhythmic + <i>nuance</i> of a <i>groupetto</i>—and a thousand other + things in any other way than by the living example. Through + imitation <a name="page134" + id="page134"></a> one learns rapidly and surely, until one + reaches the point where the wings of one's own individuality + begin to sprout.</p> + + <h3>ABOUT MEMORIZING</h3> + + <p>"On the subject of memorizing who can lay down rules for + this inexplicable mental process, which will hold good for + every one? For myself, I hear the notes mentally, and know + their position on the keyboard. In actual performance much must + be left to finger memory, but one must actually have the notes + in his mind as well as in his fingers. Before a concert I go + over all my program mentally, and find this an excellent method + of practise when traveling from one city to another. To those + who study with me I say, you must try various methods of + memorizing; there is no universal way; each must find out by + experiment which is most suited to his individual case.</p> + + <p>"With some pianists visual memory of the printed page plays + the principal rôle in memorizing; with others visual + memory of the notes on the keyboard; with still others + ear-memory, or memory of the harmonic progressions. I believe + in making the pupil familiar with all these different ways, so + that he may find out which one is most helpful to him.</p> + + <p>"<a name="page135" + id="page135"></a>For pupils with weak hands and arms I + recommend simple gymnastic exercises to be done morning and + evening. Physical strength is a very necessary essential for + a brilliant technic; the student who would accomplish big + things must possess it in order to succeed.</p> + + <h3>KEEPING TECHNIC IN REPAIR</h3> + + <p>"The only way to keep one's technic in repair is to be + constantly working at it. Technic is the mechanical part of + music-making; to keep it in good working order one must be + constantly tinkering with it, just as the engine driver tinkers + with his locomotive or the chauffeur with his automobile. In + the course of his technical study every intelligent pupil will + recognize certain exercises which are particularly important + for the mechanical well-being of his playing; from these + exercises he will plan his daily schedule of technical + practise.</p> + + <p>"In order to keep a large repertoire going at the same time, + one must have a weekly practise plan, which will allow for a + frequent repetition of the pieces. Those pieces which have been + recently added to one's list will require more frequent + repetition, while those which have been played for a longer + period may be left for an occasional brushing up. Frequent + <a name="page136" + id="page136"></a>playing before others, either publicly or + privately, is above everything else to be recommended to the + pianist, as the greatest incentive to keeping up his + repertoire and toward growing in his art.</p> + + <h3>AMERICAN VERSUS EUROPEAN CONDITIONS</h3> + + <p>"In America many people who have little talent study music, + intending to make it their profession; whereas in Europe there + is such a profusion of music and music-making that only those + of more than average gifts think of making music their life + work. In America we are still 'in the making,' from a musical + standpoint, and although we have accomplished much there is + still much to be done. It is the office of the piano teacher in + America to make music study easy and interesting to pupils of + moderate ability. Just these conditions have brought about very + excellent methods of piano and music study for American + children, which have no counterpart in Europe."</p> + <hr style="width: 65%;" /> + <a name="page137" + id="page137"></a> + + <h2><a name="XVII_FERRUCCIO_BUSONI" + id="XVII_FERRUCCIO_BUSONI"></a>XVII.</h2> + + <h2>FERRUCCIO BUSONI</h2> + + <h3>AN ARTIST AT HOME</h3> + + <p>As a man's surroundings and environment are often + reflections of his character, it is always a matter of deep + interest to get in touch with the surroundings of the creative + or executive musician. To meet him away from the glare of the + footlights, in the privacy and seclusion of the home, gives one + a far more intimate knowledge of the artist as a man. Knowing + how difficult it often is to obtain such an opportunity, I can + be the more thankful that this privilege has been granted me + many times, even with those artists who hold themselves most + aloof. I was told Busoni was exceedingly difficult to approach, + and the only way I could see him was to call at his house quite + unannounced, when I might have the good fortune to find him at + home and willing to see me. Not wishing to take him by storm in + this way, I quietly waited, until I received the following + note: "While I am not fond of <a name="page138" + id="page138"></a>interviews, if you will come to tea on + Thursday afternoon, you will be welcome."</p> + + <p>Busoni is located in a stately <i>Wohnung</i> overlooking + the handsome Victoria Luise Platz, in the newer western section + of Berlin. Mme. Busoni met us as we arrived, and conducted us + to the master, who rose from a cozy nook in a corner of the + library to greet us. Tea was soon brought in and our little + party, which included a couple of other guests, was soon + chatting gaily in a mixture of French, German and English.</p> + + <p>During the sprightly chat I could not help glancing from + time to time around the great library in which we sat, noting + its artistic furnishings, and the rows upon rows of volumes in + their costly bindings, which lined the walls. One appreciates + what Dr. Johnson meant when he said that whenever he saw + shelves filled with books he always wanted to get near enough + to them to read their titles, as the choice of books indicates + character.</p> + + <p>Presently Busoni turned to me: "I am composing a rhapsodie + on American Indian themes."</p> + + <p>"And where did you capture the themes?" he was + asked.</p><a name="Ferruccio_Busoni" + id="Ferruccio_Busoni"></a> + + <div class="center"> + <img src="images/156.png" + alt="Ferruccio Busoni" + title="Ferruccio Busoni" /> + + <h5>Ferruccio Busoni</h5> + </div> + + <p>"From a very charming lady, a countrywoman <a name="page139" + id="page139"></a> of yours, Miss Natalie Curtis. She has + taken great interest in the idea and has been most helpful + to me."</p> + + <p>"One of the German music papers announced that you are about + to leave Berlin, and have accepted an offer elsewhere—was + it in Spain?"</p> + + <p>"I intend leaving Berlin for a time," he admitted, "and will + go to Bologna—perhaps you thought that was in Spain," + with a sly side glance and a humorous twinkle in his eyes. "My + offer from Bologna appears most flattering. I am appointed head + of the great conservatory, but I am not obliged to live in the + city, nor even to give lessons. I shall, however, go there for + a time, and shall probably teach. I am to conduct six large + orchestral concerts during the season, but aside from this I + can be absent as much as I wish. We shall probably close up our + house here and go to Italy in the autumn. Living is very cheap + in Bologna; one can rent a real palace for about $250 a + year."</p> + + <p>Mme. Busoni now invited us to inspect other parts of the + house. We passed to the adjoining room, which contains many + rare old prints and paintings and quaint old + furniture—"everything old," as Mme. Busoni said, with + <a name="page140" + id="page140"></a>a smile. In this room stands a harpsichord, + with its double keyboard and brilliant red case. It is not + an antique but an excellent copy made by Chickering.</p> + + <p>Farther on is a veritable musician's den, with upright + piano, and with a large desk crowded with pictures and + mementoes. On the walls hang rare portraits chiefly of Chopin + and Liszt. Beyond this room came the salon, with its two grand + pianos side by side. This is the master's teaching and recital + room, and here are various massive pieces of richly carved + furniture. Mme. Busoni called our attention to the elaborate + chandelier in old silver, of exquisite workmanship, which, she + said, had cost her a long search to find. There are several + portraits here of the composer-pianist in his youth—one + as a boy of twelve, a handsome lad—<i>bildschön</i>, + with his curls, his soulful eyes and his big white collar.</p> + + <p>Busoni soon joined us in the salon and the conversation was + turned to his activities in the new field.</p> + + <p>"When you have finished the new rhapsodie you will come and + play it to us in America—and in London also," he was + urged.</p> + + <p>"Ah, London! I am almost homesick for London; it is + beautiful there. I am fond of <a name="page141" + id="page141"></a> America, too. You know I lived there for + some years; my son was born there; he is an American + citizen. Yes, I will return, though just when I do not yet + know, and then I will assuredly play the rhapsodie."</p> + <hr style="width: 65%;" /> + <a name="page142" + id="page142"></a> + + <h2><a name="XVIII_ADELE_AUS_DER_OHE" + id="XVIII_ADELE_AUS_DER_OHE"></a>XVIII.</h2> + + <h2>ADELE AUS DER OHE</h2> + + <h3>ANOTHER ARTIST AT HOME</h3> + + <p>Another opportunity to see the home of an artist was + afforded me when Frl. Aus der Ohe invited me to visit her in + her Berlin home. She also lives in the newer western portion of + the city, where so many other artists are located. One feels on + entering the spacious rooms that this home has the true German + atmosphere. Adele Aus der Ohe, whose personality is well + remembered in America, on account of her various pianistic + tours, now wears her brown hair softly drawn down over her + ears, in Madonna fashion, a mode which becomes her vastly.</p> + + <p>"My time is divided between playing in concert, composing, + and my own studies," began the artist. "I give almost no + lessons, for I have not time for them. I never have more than a + couple of pupils studying with me at one time; they must be + both talented and eager. The amount of time I consider + necessary for <a name="page143" + id="page143"></a>practise depends, of course, on quickness + of comprehension. In general, I may say four, or at most + five hours are quite sufficient, If used with absolute + concentration. The quality of practise is the great + essential. If the passage under consideration is not + understood, a thousand times going over it will be only vain + repetitions; therefore, understand the construction and + meaning of the passage in the beginning, and then a thousand + repetitions ought to make it perfect.</p> + + <p>"There is so much practise which can be done away from the + instrument, by reading the notes from the printed page and + thinking about them. Is this understood in America? Always + <i>listen</i> to your playing, to every note you make on the + piano; I consider this point of the very first importance. My + pupils are generally well advanced or are those who intend + making music a profession. I have, however, occasionally taken + a beginner. This point of listening to every note, of training + the ear, should stand at the very foundation.</p> + + <h3>LETTING THE HAND FIND ITSELF</h3> + + <p>"In regard to hand position, I endeavor not to be narrow and + pedantic. If pupils play with good tone and can make reasonably + good <a name="page144" + id="page144"></a>effects, I take them, at the point where + they are and try to bring them forward, even if the hand + position is not just what I would like. If I stop everything + and let them do nothing but hand position, they will be + discouraged and think they are beginning all over again. + This beginning again is sometimes detrimental. To take a + pupil at his present point, and carry him along was also + Liszt's idea. He did not like to change a hand position to + which the player has grown accustomed for one which seems + unnatural, and which the pianist has to work a long time to + acquire. He felt that one's time could be spent to more + advantage. There are so many legitimate positions, each hand + is a separate study, and is apt to take the position most + natural to itself.</p> + + <p>"I shall play numerous concerts and recitals in Europe the + coming season, but shall not be in America. I know your country + well as I have made several tours and have lived there. I left + it the last time under sad circumstances, as my sister, who + always accompanied me, had just passed away after quite a long + illness. So you see I have not much zest to return.</p> + + <p>"However I am fond of America, and admire the great progress + you are making in <a name="page145" + id="page145"></a>music and art. And you have the courage of + your convictions; you do not admire a musical work simply + because some one else says you should, or the critics tell + you to. You do not ask your neighbor's opinion before you + applaud it. If you do not like it you are not afraid to say + so. Even when it is only ragtime that pleases you, you are + not afraid to own up to it. When you learn what is better + you say so. It Is this honesty which leads to progressive + results. You are rapidly becoming competent to judge what is + best. I have found the most appreciative audiences in + America."</p> + + <p>Miss Aus der Ohe had much to relate of the Woman's Lyceum. + The Department of Music was founded by Aus der Ohe herself. Not + long ago there was an exhibition of woman's work in music. + Women composers from all over the country sent examples of + their work. Our own Mrs. H.A.A. Beach, who has been located for + some time in Munich, was well represented. There are branches + of this institution in other German cities.</p> + + <p>Several paintings of large size and striking originality + hang on the walls of the pianist's home. They all illustrate + religious themes <a name="page146" + id="page146"></a>and are the work of Herr Aus der Ohe, the + pianist's only brother, who passed away at the height of his + career.</p> + + <p>"Yes," said the composer, "my mother, brother and sister + have been taken away, since I was last in America, and now I am + quite alone; but I have my art."</p> + <hr style="width: 65%;" /> + <a name="page147" + id="page147"></a> + + <h2><a name="XIX_ELEANOR_SPENCER" + id="XIX_ELEANOR_SPENCER"></a>XIX.</h2> + + <h2>ELEANOR SPENCER</h2> + + <h3>MORE LIGHT ON LESCHETIZKY'S IDEAS</h3> + + <p>Eleanor Spencer, whose first American tour is announced for + the coming season, happened to be in Berlin during my visit + there. I found her in her charming apartments in the + Schönberg section of the city, far away from the noise and + bustle of traffic. Her windows look out upon a wide inner court + and garden, and she seems to have secured the quiet, peaceful + environment so essential to an artist's development. Indeed + Miss Spencer has solved the problems of how to keep house, with + all the comforts of an American home, in a great German + city.</p> + + <p>"I grew so tired of living in <i>pensions</i> that I took + this little apartment over two years ago," she said, "and I + like it so much better.</p> + + <p>"I have been away from America for nine years, so the + foreign cities where I have lived seem almost more like home to + me than my native land, to which I have only paid two short + <a name="page148" + id="page148"></a>visits during those nine years. But I love + America, and perhaps you can imagine how eagerly I am + looking forward to my coming tour.</p> + + <p>"The first eight years of my life were spent in Chicago, and + then my family moved to New York. Here I studied with Dr. + William Mason. When I was about fifteen I went to Europe for + further study, and although I had another master at first, it + was not so very long before I went to Vienna, to Leschetizky, + for I felt the need of more thorough preparation than I had yet + had. There is nothing like a firm technical foundation; it is a + rock to build upon; one cannot do great things without it. I + have had to labor hard for what I have attained, and am not + ashamed to say so. I practise 'all my spare time,' as one of my + colleagues expresses it; though, of course, if one studies with + the necessary concentration one cannot practise more than five + hours to advantage.</p><a name="Eleanor_Spencer" + id="Eleanor_Spencer"></a> + + <div class="center"> + <img src="images/167.png" + alt="To Miss Brower in appreciation and pleasant remembrance of our Berlin meeting ...ELEANOR SPENCER" + title="To Miss Brower in appreciation and pleasant remembrance of our Berlin meeting ...ELEANOR SPENCER" /> + + + <h5>To Miss Brower in appreciation and pleasant remembrance + of our Berlin meeting ...ELEANOR SPENCER</h5> + </div> + + <p>"I thoroughly believe in practising technic outside of + pieces; I have always done so and still continue to do it. This + brings the hand into condition, and keeps it up to the mark, so + that difficult compositions are more readily within the grasp, + and the technical requirements <a name="page149" + id="page149"></a> in them are more easily met. When the hand + is in fine condition, exhaustive technical practise in + pieces is not necessary, and much wear and tear of nerve + force is saved. In this technical practise, to which I give + an hour or more daily, I use very simple exercises, but each + one contains some principle of touch, movement or condition. + Hand over thumb and thumb under hand; different qualities of + tone; staccato or clinging touch; scales, arpeggios and + various other forms are used. Part of the technic study + period is always given to Bach.</p> + + <p>"I began my studies in Vienna with Mme. Bree, to get the + preparatory foundation, but before long combined her lessons + with those of the professor, and later went to him + entirely."</p> + + <p>"Just here I should like to mention a trifling point, yet it + seems one not understood in America by those who say they are + teachers of the Leschetizky method. These teachers claim that + the professor wishes the fingers placed on a straight line at + the edge of the keys, and in some cases they place the tip of + the thumb in the middle of its key, so that it extends + considerably beyond the tips of the other fingers. Is this the + position taught by the <i>Vorbereiters</i>, or favored by + Leschetizky?"<a name="page150" + id="page150"></a></p> + + <p>Miss Spencer's laugh rang out merrily.</p> + + <p>"This is the first I have ever heard of the idea! Such a + position must seem very strained and unnatural. Leschetizky, on + the contrary, wishes everything done in the most easy, natural + way. Of course, at first, when one is seeking to acquire + strength and firmness of hand and fingers, one must give time + and thought to securing an arched hand and steady first joints + of fingers. Later, when these conditions have been thoroughly + established, the hand can take any position required. + Leschetizky's hand often lies quite flat on the keys. He has a + beautiful piano hand; the first joints of the fingers have so + long been held firmly curved, that they always keep their + position, no matter what he is doing; if he only passes his + fingers through his hair, his hand is in shape.</p> + + <p>"Leschetizky is indeed a wonderful teacher! The player, + however, must divine how to be receptive, how to enter into the + master's thought, or it may go hard with him. If he does not + understand, nor grasp the master's words he may suffer terribly + during the ordeal of the lessons. I have witnessed such scenes! + Those who are equal to the situation receive most illuminative + instruction.<a name="page151" + id="page151"></a></p> + + <p>"I trust I do not give you the impression of being so + devoted to, and enthusiastic in, the work I enjoyed with my + venerated master that I wish to exclude other masters and + schools. I think narrowness one of the most unpleasant of + traits, and one I should dread to be accused of. I see so much + good in others, <i>their</i> ways and ideas, that, to me, all + things great and beautiful in art seem very closely + related.</p> + + <h3>MEMORIZING</h3> + + <p>"How do I memorize a composition? I first play it over a few + times to become somewhat familiar with its form and shape. Then + I begin to analyze and study it, committing it by phrases, or + <i>ideas</i>, one or two measures at a time. I do not always + take each hand alone, unless very intricate; sometimes it is + easier to learn both hands together. It is a good thing to + study out the melodic line, to build each phrase, to work with + it till you get it to suit you. Then come the larger + proportions, the big climaxes, which have to be thought out and + prepared for in advance. A composition should be so thoroughly + your own that you can play it at any time, if your hand is in + condition. Or, if it has been laid aside for a long + <a name="page152" + id="page152"></a>time, a couple of days should bring it + back.</p> + + <p>"The subject of forming a repertoire is one often overlooked + or not understood. The repertoire should be comprehensive and + built on broad lines. A pupil intending to make music a + profession should know the literature of the piano, not only + the small and unimportant works of the great composers (as is + too often the case), but the big works as well. If one is well + grounded in the classics at an early age, it is of great + benefit afterwards.</p> + + <h3>POWER AND VELOCITY</h3> + + <p>"For gaining power, heavy chords are very beneficial; + combinations of five notes that take in all the fingers are + most useful.</p> + + <p>"The principle of velocity is the doing away with all + unnecessary movement—raising the fingers as little as + possible, and so on. But in early stages of study, and at all + times for slow practise, exactness and clearness, the fingers + must be raised, Leschetizky <i>is a great believer in finger + action; he holds it to be absolutely necessary for finger + development</i>.</p> + + <p>"I have been concertizing for the last three years, and + studying alone. This does not mean I have learned all the + masters can teach, but only that I have come to a place where + <a name="page153" + id="page153"></a> I felt I had to go alone, that I must work + out what is in me. No master can teach us that; we have to + find ourselves alone.</p> + + <p>"I shall probably play considerably with orchestra next + season. There is a Concerto by Rimsky-Korsakow which is quite + short, only one movement. It Is charming and brilliant, and I + think has not yet been played in America. There is also a new + work by Stavenhagen for piano and orchestra, which is a novelty + on the other side. I greatly enjoy playing with orchestra, but + of course I shall play various recitals as well."</p> + + <p>Miss Spencer has appeared with the best orchestras in + England and on the continent, and has everywhere received + commendation for her pure, singing tone, plastic touch, and + musical temperament. She is certain to have success in America, + and to win hosts of friends there.</p> + <hr style="width: 65%;" /> + <a name="page154" + id="page154"></a> + + <h2><a name="XX_ARTHUR_HOCHMAN" + id="XX_ARTHUR_HOCHMAN"></a>XX.</h2> + + <h2>ARTHUR HOCHMAN</h2> + + <h3>HOW THE PIANIST CAN COLOR TONE WITH ACTION AND EMOTION</h3> + + <p>"A pianist, like a painter, should have an infinitude of + colors on his palette," remarked Arthur Hochman, the young + Russian pianist, in a recent chat about piano playing. He + should paint pictures at the keyboard, just as the artist + depicts them upon the canvas. The piano is capable of a + wonderful variety of tonal shading, and its keys will respond + most ideally to the true musician who understands how to awaken + and bring forth all this tonal beauty from the instrument.</p> + + <p>"The modern pianist is often lacking in two important + essentials—phrasing and shading. Inability to grasp the + importance of these two points may be the cause of artistic + failure. An artist should so thoroughly make his own the + composition which he plays, and be so deeply imbued with its + spirit, that he will know the phrasing and dynamics which best + express the meaning of the piece. When he has risen + <a name="page155" + id="page155"></a>to such heights, he is a law to himself in + the matter of phrasing, no matter what marks may stand upon + the printed page. As a rule the editing of piano music is + extremely inadequate, though how can it really be otherwise? + How is it possible, with a series of dots, lines, dashes and + accents, to give a true idea of the interpretation of a work + of musical art? It is <i>not</i> possible; there are + infinite shadings between <i>piano</i> and + <i>forte</i>—numberless varieties of touch which have + not been tabulated by the schools. Great editors like von + Bülow, Busoni and d'Albert have done much to make the + classics clearer to the student; yet they themselves realize + there are a million gradations of touch and tone, which can + never be expressed by signs nor put into words.</p> + + <h3>FOUR REQUISITES FOR PIANISTS</h3> + + <p>"Four things are necessary for the pianist who would make an + artistic success in public. They are: Variety of tone color; + Individual and artistic phrasing; True feeling; Personal + magnetism. Colors mean so much to me; some are so beautiful, + the various shades of red, for instance; then the golden + yellows, rich, warm browns, and soft liquid blues. We can make + as wonderful combinations with them as <a name="page156" + id="page156"></a>ever the painters do. To me dark red speaks + of something tender, heart-searching, mysterious." Here Mr. + Hochman illustrated his words at the piano with an + expressive fragment full of deep feeling. "On the other + hand, the shades of yellow express gaiety and brightness"; + here the illustrations were all life and fire, in crisp, + brilliant staccatos. Other colors were just as effectively + represented.</p> + + <p>"What I have just indicated at the keyboard," continued the + artist, "gives a faint idea of what can be done with tone + coloring, and why I feel that pianists who neglect this side of + their art, or do not see this side of it, are missing just so + much beauty. I could name one pianist, a great name in the + world of music—a man with an absolutely flawless technic, + yet whose playing to me, is dry and colorless; it gives you no + ideas, nothing you can carry away: it is like + water—water. Another, with great variety of tonal beauty, + gives me many ideas—many pictures of tone. His name is + Gabrilowitsch; he is for me the greatest pianist.</p> + + <h3>MAKING CLIMAXES PIANISSIMO</h3> + + <p>"In my own playing, when I color a phrase, I do not work up + to a climax and make that the loudest note, as most pianists + do, but <a name="page157" + id="page157"></a>rather the soft note of the phrase; this + applies to lyric playing. I will show you what I mean. Here + is a fragment of two measures, containing a soulful melody. + I build up the crescendo, as you see, and at the highest + point, which you might expect to be the loudest, you find + instead that it is soft: the sharpness has been taken out of + it, the thing you did not expect has happened; and so there + are constant surprises, tonal surprises—tone colors + not looked for.</p> + + <p>"It is generally thought that a pianist should attend many + recitals and study the effects made by other pianists; I, on + the contrary, feel I gain more from hearing a great singer. The + human voice is the greatest of all instruments, and the player + can have no more convincing lesson in tone production and tone + coloring, than he can obtain from listening to a great + emotional singer. The pianist should hear a great deal of + opera, for there he will learn much of color, of effect, light + and shade, action and emotion.</p> + + <h3>WE DO NOT WANT CUT-AND-DRIED PERFORMANCES</h3> + + <p>"The third requisite for the pianist, as I have said, is + true feeling. I have no sympathy <a name="page158" + id="page158"></a> with dry, mechanical performance, where + every effect is coldly calculated beforehand, and the player + always strives to do it the same way. How can he always play + the same way when he does not feel the same? If he simply + seeks for uniformity where does the inspiration come in?</p> + + <p>"The true artist will never give a mechanical performance. + At one time he may be in a tender, melting mood; at another in + a daring or exalted one. He must be free to play as he feels, + and he will be artist enough never to overstep bounds. The + pianist who plays with true feeling and 'heart' can never play + the same composition twice exactly alike, for he can never feel + precisely the same twice. This, of course, applies more + especially to public performance and playing for others.</p> + + <p>"Another essential is breath control. Respiration must be + easy and natural, no matter how much physical strength is + exerted. In <i>fortissimo</i> and all difficult passages, the + lips must be kept closed and respiration taken through the + nostrils, as it always ought to be.</p> + + <h3>DISSECTION OF DETAILS</h3> + + <p>"Yes, I do a great deal of teaching, but prefer to take only + such pupils as are intelligent <a name="page159" + id="page159"></a>and advanced. With pupils I am very + particular about hand position and touch. The ends of the + fingers must be firm, but otherwise the hand, wrist and arm, + from the shoulder, are all relaxed. In teaching a + composition, I am immensely careful and particular about + each note. Everything is dissected and analyzed. When all is + understood and mastered, it is then ready for the stage + setting, the actors, the lights, and the colors!"</p> + <hr style='width: 45%;' /> + + <p>"I was intended for a pianist from the first. Born in + Russia, I afterward came to Berlin, studying seven or eight + years with Xaver Scharwenka, then with d'Albert, Stavenhagen + and others. But when one has all that can be learned from + others, a man's greatest teacher is himself. I have done a + great deal of concert work and recital playing in Europe, and + have appeared with the leading orchestras in the largest cities + of America."</p> + + <p>Mr. Hochman has done considerable work in composition. + Numerous songs have been published and doubtless larger works + may be expected later.</p> + <hr style="width: 65%;" /> + <a name="page160" + id="page160"></a> + + <h2><a name="XXI_TERESA_CARRENO" + id="XXI_TERESA_CARRENO"></a>XXI.</h2> + + <h2>TERESA CARREÑO</h2> + + <h3>EARLY TECHNICAL TRAINING</h3> + + <p>A music critic remarked, "That ever youthful and fascinating + pianist, Teresa Carreño is with us again."</p> + + <p>I well remember how fascinated I was, as a young girl, with + her playing the first time I heard it—it was so full of + fire, enthusiasm, brilliancy and charm. How I longed and + labored to imitate it—to be able to play like that! I not + only loved her playing but her whole appearance, her gracious + manner as she walked across the stage, her air of buoyancy and + conscious mastery as she sat at the piano; her round white arms + and wrists, and—the red sash she wore!</p> + + <p>During a recent talk with Mme. Carreño, I recalled + the above incident, which amused her, especially the memory of + the sash.</p><a name="Teresa_Carreno" + id="Teresa_Carreno"></a> + + <div class="center"> + <img src="images/180.png" + alt="TERESA CARREÑO" /> + + <h5>TERESA CARREÑO</h5> + </div> + + <p>"I assure you that at heart I feel no older now than in the + days when I wore it," she said. The conversation then turned to + questions of mastering the piano, with particular reference + <a name="page161" + id="page161"></a>to the remarkable technic of the artist + herself.</p> + + <p>"The fact that I began my studies at a very early age was a + great advantage to me," she said. "I loved the sound of the + piano, and began to pick out bits of tunes when I was little + more than three. At six and a half I began to study seriously, + so that when I was nine I was playing such pieces as Chopin's + Ballade in A flat. Another fact which was of the utmost + advantage to me was that I had an ideal teacher in my father. + He saw that I loved the piano, and decided I must be properly + taught. He was passionately fond of music, and if he had not + been a statesman, laboring for the good of his country, he + would undoubtedly have been a great musician. He developed a + wonderful system for teaching the piano, and the work he did + with me I now do with my pupils. For one thing he invented a + series of stretching and gymnastic exercises which are + splendid; they did wonders for me, and I use them constantly in + my teaching. But, like everything else, they must be done in + the right way, or they are not beneficial.</p> + + <h3>580 TECHNICAL EXERCISES</h3> + + <p>"My father wrote out for me a great many technical + exercises; to be exact, there were 580 <a name="page162" + id="page162"></a>of them! Some consisted of difficult + passages from the great composers—perhaps originally + written for one hand—which he would arrange for two + hands, so that each hand had the same amount of work to do. + Thus both my hands had equal training, and I find no + difference between them. These 580 exercises took just three + days to go through. Everything must be played in all keys, + and with every possible variety of touch—legato, + staccato, half-staccato, and so on; also, with all kinds of + shading."</p> + + <p>(Think of such a drill in pure technic, O ye teachers and + students, who give little or no time to such matters outside of + études and pieces!)</p> + + <p>"Part of my training consisted in being shown how to + criticize myself. I learned to listen, to be critical, to judge + my own work; for if it was not up to the mark I must see what + was the matter and correct it myself. The earlier this can be + learned the better. I attribute much of my subsequent success + to this ability. I still carry out this plan, for there on the + piano you will find all the notes for my coming recitals, which + I work over and take with me everywhere. This method of study I + always try to instill into my pupils.<a name="page163" + id="page163"></a> I tell them any one can make a lot of + <i>noise</i> on the piano, but I want them, to make the + piano <i>speak</i>! I can do only a certain amount for them; + the rest they must do for themselves.</p> + + <h3>VALUE OF TRANSPOSING</h3> + + <p>"Another item my zealous teacher insisted upon was + transposing. I absorbed this idea almost unconsciously, and + hardly know when I learned to transpose, so natural did it seem + to me. My father was a tactful teacher; he never commanded, but + would merely say, 'You can play this in the key of C, but I + doubt if you can play it in the key of D.' This doubt was the + spur to fire my ambition and pride: I would show him I could + play it in the key of D, or in any other key; and I did!</p> + + <p>"With all the technic exercises, I had many études + also; a great deal of Czerny. Each étude must also be + transposed, for it would never do to play an étude twice + in the same key for my father. So I may say that whatever I + could perform at all, I was able to play in any key.</p> + + <p>"For one year I did nothing but technic, and then I had my + first piece, which was nothing less than the Capriccio of + Mendelssohn, Op. 22. So you see I had been well grounded; + <a name="page164" + id="page164"></a>indeed I have been grateful all my life for + the thorough foundation which was laid for me. In these days + we hear of so many 'short cuts,' so many new methods, + mechanical and otherwise, of studying the piano; but I fail + to see that they arrive at the goal any quicker, or make any + more thorough musicians than those who come by the royal + road of intelligent, well-directed hard work."</p> + + <p>Asked how she obtained great power with the least + expenditure of physical strength, Mme. Carreño + continued:</p> + + <p>"The secret of power lies in relaxation; or I might say, + power <i>is</i> relaxation. This word, however, is apt to be + misunderstood. You tell pupils to relax, and if they do not + understand how and when they get nowhere. Relaxation does not + mean to flop all over the piano; it means, rather, to loosen + just where it is needed and nowhere else. For the heavy chords + in the Tschaikowsky Concerto my arms are absolutely limp from + the shoulder; in fact, I am not conscious I have arms. That is + why I can play for hours without the slightest fatigue. It is + really mental relaxation, for one has to think it; it must be + in the mind first before it can be worked out in arms and + hands. We have to think it and then act it.<a name="page165" + id="page165"></a></p> + + <p>"This quality of my playing must have impressed Breithaupt, + for, as you perhaps know, it was after he heard me play that he + wrote his famous book on 'Weight Touch,' which is dedicated to + me. A second and revised edition of this work, by the way, is + an improvement on the first. Many artists and musicians have + told me I have a special quality of tone; if this is true I am + convinced this quality is the result of controlled + relaxation."</p> + + <p>I referred to the artist's hand as being of exceptional + adaptability for the piano.</p> + + <p>"Yes," she answered, "and it resembles closely the hand of + Rubinstein. This brings to mind a little incident. As a small + child, I was taken to London, and on one occasion played in the + presence of Rubinstein; he was delighted, took me under his + wing, and introduced me all about as his musical daughter. + Years afterward we came to New York, and located at the old + Clarendon Hotel, which has housed so many men of note. The + first day at lunch, my aunt and I were seated at a table mostly + occupied by elderly ladies, who stared at us curiously. I was a + shy slip of a girl, and hardly ventured to raise my eyes after + the first look around the room. Beside me sat a gentleman. I + glanced at his hand as it <a name="page166" + id="page166"></a>rested on the table—then I looked + more closely; how much it reminded me of Rubinstein's hand! + My eyes traveled slowly up to the gentleman's face—it + was Rubinstein! He was looking at me; then he turned and + embraced me, before all those observing ladles!"</p> + + <p>We spoke of Berlin, the home of the pianist, and of its + musical life, mentioning von Bülow and Klindworth. "Both + good friends of mine," she commented. "What a wonderful work + Klindworth has accomplished in his editions of Beethoven and + Chopin! As Goethe said of himself, we can say of + Klindworth—he has carved his own monument in this work. + We should revere him for the great service he has done the + pianistic world.</p> + + <p>"I always love to play in America, and each time I come I + discover how much you have grown. The musical development here + is wonderful. This country is very far from being filled with a + mercenary and commercial spirit. If Europeans think so it is + because they do not know the American at home. Your progress in + music is a marvel! There is a great deal of idealism here, and + idealism is the very heart and soul of music.</p> + + <p>"I feel the artist has such a beautiful + calling—<a name="page167" + id="page167"></a>a glorious message—to educate a + people to see the beauty and grandeur of his art—of + the ideal!"</p> + <hr style="width: 65%;" /> + <a name="page168" + id="page168"></a> + + <h2><a name="XXII_WILHELM_BACHAUS" + id="XXII_WILHELM_BACHAUS"></a>XXII.</h2> + + <h2>WILHELM BACHAUS</h2> + + <h3>TECHNICAL PROBLEMS DISCUSSED</h3> + + <p>"How do I produce the effects which I obtain from the + piano?"</p> + + <p>The young German artist, Willielm Bachaus, was comfortably + seated in his spacious apartments at the Ritz, New York, when + this question was asked. A grand piano stood close at hand, and + the pianist ran his fingers lightly over its keys from time to + time, or illustrated some technical point as he talked.</p> + + <p>"In answer I would say I produce them by listening, + criticizing, judging—working over the point, until I get + it as I want it. Then I can reproduce it at will, if I want to + make just the same effect; but sometimes I want to change and + try another.</p><a name="Wilhelm_Bachaus" + id="Wilhelm_Bachaus"></a> + + <div class="center"> + <img src="images/189.png" + alt="WILHELM BACHAUS" + title="WILHELM BACHAUS" /> + + <h5>WILHELM BACHAUS</h5> + </div> + + <p>"I am particular about the seat I use at the piano, as I sit + lower than most amateurs, who in general are apt to sit too + high. My piano stool has just been taken out for a few repairs, + or I could show you how low it is.<a name="page169" + id="page169"></a> Then I am old-fashioned enough to still + believe in scales and arpeggios. Some of the players of the + present day seem to have no use for such things, but I find + them of great importance. This does not necessarily mean + that I go through the whole set of keys when I practise the + scales; but I select a few at a time, and work at those. I + start with ridiculously simple forms—just the hand + over the thumb, and the thumb under the hand—a few + movements each way, especially for arpeggios. The principle + I have referred to is the difficult point; a few doses of + this remedy, however, bring the hand up into order + again."</p> + + <p>The pianist turned to the keyboard and illustrated the point + very clearly.</p> + + <p>"As you see, I slant the hand considerably across the keys," + he said, "but this oblique position is more comfortable, and + the hand can accommodate itself to the intervals of the + arpeggio, or to the passing of the thumb in scales. Some may + think I stick out the elbow too much, but I don't care for + that, if by this means the scale becomes smooth and even.</p> + + <h3>OVERHAULING ONE'S TECHNIC</h3> + + <p>"I have to overhaul my technic once or twice a week, to see + that everything is all <a name="page170" + id="page170"></a>right—and of course the scales and + arpeggios come in for their share of criticism. I practise + them in legato, staccato and in other touches, but mostly in + legato, as that is somewhat more difficult and more + beautiful than the others.</p> + + <p>"Perhaps I have what might be called a natural technic; that + is I have a natural aptitude for it, so that I could acquire it + easily, and it stays with me. Hofmann has that kind of natural + technic; so has d'Albert. Of course I have to practise technic; + I would not allow it to lapse; I love the piano too much to + neglect any part of the work. An artist owes it to himself and + the public to keep himself up in perfect condition—for he + must never offer the public anything but the best. I only mean + to say I do not have to work at it as laboriously as some + others have to do. However, I practise technic daily, and will + add that I find I can do a great deal in a short time. When on + tour I try to give one hour a day to it, not more."</p> + + <p>Speaking of the action of fingers, Mr. Bachaus + continued:</p> + + <p>"Why, yes, I raise my fingers whenever and wherever + necessary—no more. Do you <a name="page171" + id="page171"></a>know Breithaupt? Well, he does not approve + of such technical exercises as these (illustrating); holding + down some fingers and lifting others, for technical + practise, but I do. As for the metronome, I approve of it to + cultivate the sense of rhythm in those who are lacking in + this particular sense. I sometimes use it myself, just to + see the difference between the mechanical rhythm and the + musical rhythm—for they are not always the same by any + means.</p> + + <p>"Do you know these Technical Exercises of Brahms? I think a + great deal of them, and, as you see, carry them around with me; + they are excellent.</p> + + <p>"You ask me about octaves. It is true they are easy for me + now, but I can remember the time when they were difficult. The + only alternative is to work constantly at them. Of course they + are more difficult for small hands; so care must be taken not + to strain nor over-tire the hand. A little at a time, in + frequent doses, ought in six months to work wonders. Rowing a + boat is good to develop wrists for octave playing.</p> + + <p>"You ask if I can tell how I obtain power. That is a very + difficult question. Why does <a name="page172" + id="page172"></a>one child learn to swim almost immediately, + while another cannot master it for a long time? To the first + it comes naturally—he has the <i>knack</i>, so to + speak. And it is just so with the quality of power at the + piano. It certainly is not due to physique, nor to brute + strength, else only the athlete would have sufficient power. + No, it is the 'knack,' or rather it is the result of + relaxation, as you suggest.</p> + + <p>"Take the subject of velocity. I never work for that special + thing as some do. I seldom practise with great velocity, for it + interferes with clearness. I prefer to play more slowly, giving + the greatest attention to clearness and good tone. By pursuing + this course I find that when I need velocity I have it.</p> + + <p>"I am no pedagogue and have no desire to be one. I have no + time for teaching; my own studies and concert work fill all my + days. I do not think that one can both teach and play + successfully. If I were teaching I should no doubt acquire the + habit of analyzing and criticizing the work of others; of + explaining and showing just how a thing should be done. But I + am not a critic nor a teacher, so I do not always know how I + produce effects. I play 'as the bird sings,' to quote an old + German song.<a name="page173" + id="page173"></a></p> + + <h3>MODERN PIANO MUSIC</h3> + + <p>"Your MacDowell has written some nice music, some pretty + music; I am familiar with his Concerto in D minor, some of the + short pieces and the Sonatas. As for modern piano concertos + there are not many, it is quite true. There is the + Rachmaninoff, the MacDowell I mentioned, the D minor of + Rubinstein, and the Saint-Saens in G minor. There is also a + Concerto by Neitzel, which is a most interesting work; I do not + recall that it has been played in America. I have played it on + the other side, and I may bring it out here during my present + tour. This Concerto is a fine work, into which the author has + put his best thought, feeling and power."</p> + + <h3>A BRAHMS CONCERTO</h3> + + <p>As I listened to the eloquent reading of the Brahms second + Concerto, which Mr. Bachaus gave soon afterward with the New + York Symphony, I was reminded of a memorable event which + occurred during my student days in Berlin. It was a special + concert, at which the honored guest and soloist was the great + Brahms himself. Von Bülow conducted the orchestra, and + Brahms played his second Con<a name="page174" + id="page174"></a>certo. The Hamburg master was not a + virtuoso, in the present acceptance of the term: his touch + on the piano was somewhat hard and dry; but he played the + work with commendable dexterity, and made an imposing figure + as he sat at the piano, with his grand head and his long + beard. Of course his performance aroused immense enthusiasm; + there was no end of applause and cheering, and then came a + huge laurel wreath. I mentioned this episode to Mr. Bachaus + a few days later.</p> + + <p>"I first played the Brahms Concerto in Vienna under Hans + Richter; he had counseled me to study the work. The Americans + are beginning to admire and appreciate Brahms; he ought to have + a great vogue here.</p> + + <p>"In studying such a work, for piano and orchestra, I must + not only know my own part but all the other parts—what + each instrument is doing. I always study a concerto with the + orchestral score, so that I can see it all before me."</p> + <hr style="width: 65%;" /> + <a name="page175" + id="page175"></a> + + <h2><a name="XXIII_ALEXANDER_LAMBERT" + id="XXIII_ALEXANDER_LAMBERT"></a>XXIII.</h2> + + <h2>ALEXANDER LAMBERT</h2> + + <h3>AMERICAN AND EUROPEAN TEACHERS</h3> + + <p>Among American teachers Alexander Lambert takes high rank. + For over twenty-five years he has held aloft the standard of + sound musicianship in the art of teaching and playing. A + quarter of a century of thorough, conscientious effort along + these lines must have left its impress upon the whole rising + generation of students and teachers in this country, and made + for the progress and advancement of American art.</p> + + <p>It means much to have a native-born teacher of such high + aims living and working among us; a teacher whom no flattery + nor love of gain can influence nor render indifferent to the + high aim ever in view. There is no escaping a sound and + thorough course of study for those who come under Mr. Lambert's + supervision. Scales must be, willingly or unwillingly, the + daily bread of the player; the hand must be put in + <a name="page176" + id="page176"></a>good shape, the finger joints rendered + firm, the arms and body supple, before pieces are thought + of. Technical study must continue along the whole course, + hand in hand with piece playing; technic for its own sake, + outside the playing of compositions. And why not? Is the + technic of an art ever quite finished? Can it ever be laid + away on the shelf and considered complete? Must it not + always be kept in working order?</p> + + <p>"Have you not seen many changes in the aims of students, and + in the conditions of piano teaching in New York, during the + years you have taught here?" I asked Mr. Lambert, in the course + of a recent conversation.</p> + + <p>"Some changes, it is true, I have seen," he answered; "but I + must also say that the conditions attending piano teaching in + America are peculiar. We have some excellent teachers here, + teachers who can hold their own anywhere, and are capable of + producing finished artists. Yet let a pupil go to the best + teacher in this country, and the chances are that he or she is + still looking forward to 'finishing' with some European artist. + They are not satisfied until they have secured the foreign + stamp of approval. While this is true of the advanced pianist, + it is even more in <a name="page177" + id="page177"></a> evidence in the mediocre player. He, too, + is dreaming of the 'superior advantages,' as he calls them, + of European study. He may have no foundation to build + upon—may not even be able to play a scale correctly, + but still thinks he must go abroad!</p> + + <p>"You ask if I think students can obtain just as good + instruction here as in Europe? That is a little difficult to + answer off-hand. I fully believe we have some teachers in + America as able as any on the other side; in some ways they are + better. For one thing they are morally better—I repeat, + <i>morally</i> better. For another they are more thorough: they + take more interest in their pupils and will do more for them. + When such a teacher is found, he certainly deserves the deep + respect and gratitude of the American student. But alas, he + seldom experiences the gratitude. After he has done everything + for the pupil—fashioned him into a well-equipped artist, + the student is apt to say: 'Now I will go abroad for lessons + with this or that famous European master!' What is the result? + He may never amount to anything—may never be heard of + afterward. On the other hand, I have pupils coming to me, who + have been years with some of the greatest foreign masters, yet + who are <a name="page178" + id="page178"></a>full of faults of all kinds, faults which + it takes me years to correct. Some of them come with hard + touch, with tense position and condition of arms and body, + with faulty pedaling, and with a lack of knowledge of some + of the fundamental principles of piano playing.</p> + + <h3>POWER WITHOUT EFFORT</h3> + + <p>"How do I teach them to acquire power with little effort? + Relaxation is the whole secret. Your arm is really quite heavy, + it weighs considerable. Act on this principle then: let the + arms fall with their full weight on the keys, and you will have + all the power you need, provided the fingers are rounded and + firm. That is the other half of the secret. The finger joints + must be firm, especially the third joint. It stands to reason + there can be no power, no brilliancy when this joint is + wavering and wobbling.</p> + + <p>"I teach arched hand position, and, for children and + beginners, decided finger action; the fingers are to be raised, + in the beginning, though not too high. Some teachers may not + teach finger action, because they say artists do not use it. + But the artist, if questioned, would tell you he had to learn + finger action in the beginning. There are so many stages in + piano <a name="page179" + id="page179"></a>playing. The beginner must raise his + fingers in order to acquire finger development and a good, + clear touch. In the middle stage he has secured enough + finger control to play the same passage with less action, + and still perform it with sufficient clearness; while in the + more finished stage the passage may be played with scarcely + any perceptible motion, so thoroughly do the fingers respond + to every mental requirement.</p> + + <p>"Sometimes pupils come to me who do not know scales, though + they are playing difficult compositions. I insist on a thorough + knowledge of scales and arpeggios, and a serious study of Bach. + I use almost everything Bach ever wrote for the piano; the Two + and Three Part Inventions, French and English Suites, + Well-tempered Clavichord, and the organ Preludes and Fugues, + arranged by Liszt."</p> + <hr style="width: 65%;" /> + <a name="page180" + id="page180"></a> + + <h2><a name="XXIV_FANNIE_BLOOMFIELD_ZEISLER" + id="XXIV_FANNIE_BLOOMFIELD_ZEISLER"></a>XXIV.</h2> + + <h2>FANNIE BLOOMFIELD ZEISLER</h2> + + <h3>THE SCOPE OF PIANO TECHNIC</h3> + + <p>Each year, as Mme. Bloomfleld Zeisler plays for us, we feel + the growth of a deeper experience, a clearer insight into human + nature, a broader outlook and grasp on art and life. Such a + mentality, ever seeking for truth and the sincerest expression + of it, must continually progress, until—as now—the + greatest heights are reached. Mme. Zeisler is no keyboard + dreamer, no rhapsodist on Art. She is a thoroughly practical + musician, able to explain as well as demonstrate, able to talk + as well as play. Out of the fulness of a rich experience, out + of the depth of deepest sincerity and conviction the artist + speaks, as she plays, with authority and + enthusiasm.</p><a name="FannieZeisler" + id="FannieZeisler"></a> + + <div class="center"> + <img src="images/202.png" + alt="With sincerest good wishes Fannie Bloomfield Zeisler Chicago Dec 30 '14" + title="With sincerest good wishes Fannie Bloomfield Zeisler Chicago Dec 30 '14" /> + + + <h5>With sincerest good wishes Fannie Bloomfield Zeisler + Chicago Dec 30 '14</h5> + </div> + + <p>"The first thing to be done for a pupil is to see that the + hand is in correct position. I explain that the wrist should be + about on a level with the second joint of the middle finger, + when the fingers are properly rounded. The <a name="page181" + id="page181"></a>knuckles will then be somewhat elevated; in + fact they will naturally take care of themselves, other + points of the hand being correct. Two things are of supreme + importance: namely, firm finger joints and loose wrists; + these must be insisted on from the very beginning. I + sometimes use firm wrists in my own playing, if I wish to + make a certain effect; but I can safely affirm, I think, + that no one has ever seen me play with weak, bending + fingers.</p> + + <h3>WHAT TECHNIC INCLUDES</h3> + + <p>"Piano technic includes so much; everything goes into + it—arithmetic, grammar, diction, language study, poetry, + history, and painting! In the first stages there are rules to + be learned, just as in any other study. In school we had to + learn the rules of grammar and mathematics. Just such rules are + applicable to musical performance. I must know the rules of + versification in order to scan poetic stanzas; so I must know + the laws of rhythm and meter to be able to punctuate musical + phrases and periods. Pupils who have long passed the stage of + division and fractions do not seem able to determine the + time-values of the various notes and groups of + <a name="page182" + id="page182"></a>notes used in music; they do not know what + must be done with triplets, dotted notes, and so on. So you + see 'just technic' includes a multitude of things; it is a + very wide subject.</p> + + <h3>EACH PUPIL A DIFFERENT PROBLEM</h3> + + <p>"Each pupil presents a different problem as to physical + formation of hand and body, intelligence and talent. Those who + are the most talented do not always prove the most satisfactory + students. They grasp the composer's ideas quickly enough, it is + true, so that sometimes in a few days, they can take up a + difficult composition and clash it off with such showy effect + as to blind the eyes of the superficial listener; but these + students are not willing to work out the fine points of the + piece and polish it artistically. Neither are they willing to + get right down, to the bed rock of technic and work at that + seriously and thoroughly. If this course is suggested they grow + restive, think they are being held back, and some times prefer + to study with a more superficial teacher. The consequence is + they never really amount to anything; whereas if these same + players possessed perseverance along with their talent they + could become great artists. I would rather have an intelligent, + earnest, serious <a name="page183" + id="page183"></a>pupil, who is obedient and willing to work, + than a very gifted pupil. The two seldom go together. When + you find both in one person, a marvelous musician is the + result, if assisted by the right sort of training.</p> + + <h3>HARMONY STUDY</h3> + + <p>"One thing a teacher should insist upon, and that is that + the pupil should study harmony. He should have a practical + working knowledge of keys, chords, and progressions. There may + be no need for him to study orchestration or composition, but + he must know the foundation and structure of the material of + music. My pupil must be familiar with the various chords of the + scale and know how to analyze them, before I can make clear to + him the rules of pedaling. Without this knowledge, my words + about the use of the pedals are as so much Greek to him. He + must go and learn this first, before coming to me.</p> + + <h3>ACCORDING TO RULE</h3> + + <p>"Experience counts for much with the teacher, but much, more + with the pianist. The beginner must go according to rule, until + he has thoroughly mastered the rules. He must <a name="page184" + id="page184"></a>not think because he sees a great artist + holding his hands a certain way at times—turning under + his unemployed fingers for octaves perhaps, or any other + seeming eccentricity, that he himself is at liberty to do + the same things. No, he must learn to play in a normal, safe + way before attempting any tricks. What may seem eccentric to + the inexperienced student may be quite a legitimate means of + producing certain effects to the mature artist, who through + wide experience and study knows just the effect he wants and + the way to make it. The artist does many things the pupil + should not attempt. The artist knows the capabilities of his + own hand; his technic is, in a certain sense, individual; it + should not be imitated by the learner of little or no + experience. If I play a chord passage with high wrist, that + I may bring out a certain effect or quality of tone at that + point, the thoughtless student might be under the impression + that a high wrist was habitual with me, which is not true. + For this reason I do not give single lessons to any one, nor + coach on single pieces. In the case of the interpretation of + a piece, a student can get the ideas of it from hearing it + in recital, if he can grasp and assimilate + them.<a name="page185" + id="page185"></a></p> + + <h3>ON INTERPRETATION</h3> + + <p>"Interpretation! That is a wide subject; how can it be + defined? I try to arouse the imagination of the student first + of all. We speak of the character of the piece, and try to + arrive at some idea of its meaning. Is it + <i>largo</i>—then it is serious and soulful; is it + <i>scherzo</i>—then it should be blithe and gay. We + cannot depend on metronome tempi, for they are not reliable. + Those given in Schumann are generally all wrong. We try to feel + the rhythm of the music, the swing of it, the spirit of it. In + giving out the opening theme or subject, I feel it should be + made prominent, to arrest attention, to make it clear to the + listener; when it appears at other times in the piece, it can + be softened or varied. Variety of effect we must have; but + whether a passage is played with decreasing or increasing tone, + whether this run is soft and the next loud, or vice versa, does + not matter so much as to secure variety and individuality. I + may look at it one way, another player an opposite way. One + should be broad-minded enough to see the beauty of each + interpretation. I do not expect my pupils to copy me or do + things just as I do them. I show them how I do it, + <a name="page186" + id="page186"></a>then leave them to work it out as they see + it.</p> + + <p>"<i>Pianissimo</i> is one of the later things to teach. A + beginner should not attempt it too soon, for then it will only + result in flabbiness. A true <i>pianissimo</i> is not the + result of weakness but of strength.</p> + + <h3>MUSICAL CONDITIONS IN AMERICA</h3> + + <p>"America has made marvelous progress in the understanding + and appreciation of music; even the critics, many of them, know + a great deal about music. The audiences, even in small towns, + are a pleasure and delight to play to. I am asked sometimes why + I attempt the last sonata of Beethoven in a little town. But + just such audiences listen to that work with rapt attention; + they hang on every note. How are they to learn what is best in + music unless we are willing to give it to them?</p> + + <p>"The trouble with America is that it does not at all realize + how much it knows—how much talent is here. We are so + easily tricked with a foreign name and title; our serious and + talented musicians are constantly being pushed to the wall by + some unknown with a name ending in <i>ski</i>. These are the + people who tour America (for one season at least), who get the + best places in our music schools and <a name="page187" + id="page187"></a> colleges, crowding out our native + musicians. It makes me very bitter against this utterly + mistaken and fallacious idea of ours. I have many talented + students, who come to me from all over the country. Some of + them become most excellent concert artists. If I recommend + them to managers or institutions, should not my word count + for something? Ought I not to know what my students can do, + and what is required of a concert artist? But instead of + their securing an engagement, with such a recommendation, a + foreigner with the high-sounding name is the one invariably + chosen. When I first started on my career I endeavored in + every way to get a proper hearing in America. But not until + I had made a name for myself in Europe was I recognized + here, in my own land. All honor to those who are now + fighting for the musical independence of America!"</p> + + <h3>A GROUP OF QUESTIONS</h3> + + <p>Not long after the above conversation with Mme. Zeisler, I + jotted down some questions, leading to further elucidation of + her manner of teaching and playing, and sent them to her. The + artist was then fully occupied with her long and arduous tours + and later went to <a name="page188" + id="page188"></a> Europe. My questions remained unanswered + for nearly a year. When she next played in New York, she + sent for me to come to her hotel. As she entered the room to + greet me, she held in her hand the paper containing the + questions. I expressed surprise that she had preserved the + bit of paper so long.</p> + + <p>"I am very conscientious," she answered; "I have kept this + ever since you sent it, and now we will talk over the topics + you suggest."</p> + + <p>(1) What means do you favor for gaining power?</p> + + <p>"I can say—none. There is no necessity for using + special means to acquire power; when everything is right you + will have sufficient power; you cannot help having it. If you + know the piece thoroughly, your fingers have acquired the + necessary strength through efficient practise, so that when the + time comes to make the desired effects, you have the strength + to make them, provided everything is as it should be with your + technic. Power is a comparative term at best; one pianist may + play on a larger scale than another. I am reminded of an + amusing incident in this connection. My son Paul, when a little + fellow, was fond of boasting about his mother; I could not seem + to <a name="page189" + id="page189"></a>break him of it. One day he got into an + argument with another boy, who asserted that his father, an + amateur pianist, could play better than Paul's mother, + because he 'could play louder, anyway.' I don't know whether + they fought it out or not; but my boy told me about the + dispute afterward.</p> + + <p>"'What do you think makes a great player?' I asked him.</p> + + <p>"'If you play soft enough and loud enough, slow enough and + fast enough, and it sounds nice,' was his answer. It is the + whole thing in a nutshell: and he was such a little fellow at + the time!</p> + + <p>"As I said, you must have everything right with your + technic, then both power and velocity will come almost + unconsciously."</p> + + <p>(2) What do you do for weak finger joints?</p> + + <p>"They must be made strong at once. When a new pupil comes to + me the first thing we do is to get the hand into correct + position, and the fingers rounded and firm. If the pupil is + intelligent and quick, this can be accomplished in a few weeks; + sometimes it takes several months. But it must be done. Of what + use is it to attempt a Beethoven sonata when the fingers are so + weak that they cave in. The fingers must keep their rounded + position <a name="page190" + id="page190"></a> and be strong enough to bear up under the + weight you put upon them. As you say, this work can be done + at a table, but I generally prefer the keyboard; wood is so + unresponsive.</p> + + <p>"I think, for this work, children are easier to handle than + their elders; they have no faults to correct; they like to hold + their hands well and make them look pretty. They ought to have + a keyboard adapted to their little delicate muscles, with + action much less heavy than two ounces, the minimum weight of + the clavier. As they grow and gain strength, the weight can be + increased. If they should attempt to use my instrument with its + heavy action, they would lame the hand in a few moments or + their little fingers could not stand up under the weight."</p> + + <p>(3) Do you approve of finger action?</p> + + <p>"Most emphatically. Finger action is an absolute essential + in playing the piano. We must have finger development. As you + say, we can never make the fingers equal in themselves; we + might practise five hundred years without rendering the fourth + finger as strong as the thumb. Rather let us learn to so adjust + the weight and pressure of each finger, that all will sound + equal, whenever we wish <a name="page191" + id="page191"></a>them to do so. I tell my pupils that in + regard to strength, their fingers are in this relation to + each other," and the pianist drew with her pencil four + little upright lines on the paper, representing the relative + natural weight of the four fingers. "The fifth finger," she + said, "figures very little in scale or passage playing. By + correct methods of study the pupil learns to lighten the + pressure of the stronger fingers and proportionately + increase the weight of the weaker fingers."</p> + + <p>(4) Do you approve of technic practise outside of + pieces?</p> + + <p>"I certainly do. The amount of time given to technic study + varies with the pupil's stage of advancement. In the beginning, + the whole four hours must be devoted to technic practise. When + some degree of facility and control have been attained, the + amount may be cut down to two hours. Later one hour is + sufficient, and when one is far advanced a very short time will + suffice to put the hand in trim; some rapid, brilliant + arpeggios, or an étude with much finger work may be all + that is necessary.</p> + + <p>"The player gains constantly in strength and technical + control while studying pieces, provided correct methods are + pursued. Every <a name="page192" + id="page192"></a>piece is first of all a study in technic. + The foundation must be rightly laid; the principles can then + be applied to étude and piece."</p> + + <p>(5) What do you consider the most vital technical + points?</p> + + <p>"That is a difficult question, involving everything about + piano playing. There are the scales of all kinds, in single and + double notes. Arpeggios are of great importance, because, in + one form or another, they constantly occur. Octaves, chords, + pedaling, and so on."</p> + + <p>"The trill, too," I suggested.</p> + + <p>"Yes, the trill; but, after all, the trill is a somewhat + individual matter. Some players seem to have it naturally, or + have very little trouble with it; others always have more or + less difficulty. They do not seem able to play a rapid, even + trill. Many are unable to finish it off deftly and + artistically. They can trill for a certain number of + repetitions; when they become accustomed to the monotonous + repetition it is not so easy to go into the ending without a + break."</p> + + <p>(6) What means do you advise to secure velocity?</p> + + <p>"I make the same answer to this question that I made to the + first—none. I never work <a name="page193" + id="page193"></a>for velocity, nor do I work <i>up</i> + velocity. That is a matter that generally takes care of + itself. If you know the piece absolutely, know what it means + and the effects you want to make, there will be little + difficulty in getting over the keys at the tempo required. + Of course this does not apply to the pupil who is playing + wrong, with weak fingers, uncertain touch and all the rest + of the accompanying faults. I grant that these faults may + not be so apparent in a piece of slow tempo. A pupil may be + able to get through Handel's Largo, for instance; though his + fingers are uncertain he can make the theme sound half-way + respectable, while a piece in rapid tempo will be quite + beyond him. The faults were in the Largo just the same, but + they did not show. Rapid music reveals them at once. Certain + composers require almost a perfect technical equipment in + order to render their music with adequate effect. Mozart is + one of these. Much of his music looks simple, and is really + quite easy to read; but to play it as it should be played is + another thing entirely. I seldom give Mozart to my pupils. + Those endless scales, arpeggios and passages, which must be + flawless, in which you dare not blur or miss a single note! + To play this music with just the right spirit, you must + <a name="page194" + id="page194"></a>put yourself <i>en rapport</i> with the + epoch in which it was written—the era of crinoline, + powdered wigs, snuffboxes and mincing minuets. I don't mean + to say Mozart's music is not emotional; it is filled with + it, but it is not the emotion of to-day, but of yesterday, + of more than a century back.</p> + + <p>"For myself, I love Mozart's music. One of my greatest + successes was in a Mozart concerto with the Chicago Orchestra. + I afterward remarked to one of my colleagues that it had been + one of the most difficult tasks I had ever accomplished. 'Yes, + when one plays Mozart one is so <i>exposed</i>,' was his clever + rejoinder."</p> + + <p>(7) How do you keep repertoire in repair?</p> + + <p>"If you mean my own, I would answer that I don't try to keep + all my pieces up, for I have hundreds and hundreds of them, and + I must always save time to study new works. A certain number + are always kept in practise, different programs, according to + the requirements of the hour. My method of practise is to play + slowly through the piece, carefully noting the spots that are + weak and need special treatment. To these I give a certain + number of repetitions, and then repeat the <a name="page195" + id="page195"></a>whole to see if the weak places are equal + in smoothness to the rest. If not, they must have more + study. But always slow practise. Only occasionally do I go + through the piece at the required velocity.</p> + + <p>"My pupils are always counseled to practise slowly. If they + bring the piece for a first hearing, it must be slowly and + carefully played; if for a second or third hearing, and they + know it well enough to take it up to time, they can play it + occasionally at this tempo before coming to me. But to + constantly play a piece in rapid tempo is very harmful; it + precludes all thought of analysis, of <i>how</i> you are doing + it. When you are playing at concert speed, you have no time to + think of fingering, movement or condition—you are beyond + all that. It is only in slow practise that you have time and + opportunity to think of everything.</p> + + <p>"As an illustration, take the case of a pianist in a + traveling concert company. He must play the same pieces night + after night, with no opportunity to practise between. For the + first few days the pieces go well; then small errors and weak + spots begin to appear. There is no time for slow practise, so + each nightly repetition increases the uncertainty. In a few + months his playing degenerates so it is hardly + <a name="page196" + id="page196"></a>fit to listen to. This is the result of + constant fast playing."</p> + + <p>(8) How do you keep technic up to the standard?</p> + + <p>"If one is far advanced a few arpeggios and scales, or a + brilliant étude will put the hand in condition. After + one has rested, or had a vacation, some foundational exercises + and finger movements may be necessary, to limber up the muscles + and regain control and quickness. One may often have to review + first principles, but technical facility is soon regained if it + has once been thoroughly acquired. If one has stopped practise + for quite a period, the return is slower, and needs to be more + carefully prepared.</p> + + <p>"I use considerable Czerny for technical purposes, with my + pupils. Op. 299, of course, and even earlier or easier ones; + then Op. 740. A few of the latter are most excellent for + keeping up one's technic. The Chopin Studies, too, are daily + bread."</p> + + <p>(9) The best way to study chords?</p> + + <p>"From the wrist and with fingers of steel Small hands must + of course begin with smaller positions."</p> + + <p>(10) What gymnastic exercises do you suggest?</p> + + <p>"<a name="page197" + id="page197"></a>Whatever seems necessary for the special + hand. Tight hands need to be massaged to limber the fingers + and stretch the web of flesh between them. The loose, flabby + hand may also be strengthened and rendered firm by massage; + but this is often a more difficult task than to stretch the + right hand. If technical training is properly given, it is + sure to render the hand flexible and strong."</p> + <hr style="width: 65%;" /> + <a name="page198" + id="page198"></a> + + <h2><a name="XXV_AGNES_MORGAN" + id="XXV_AGNES_MORGAN"></a>XXV.</h2> + + <h2>AGNES MORGAN</h2> + + <h3>SIMPLICITY IN PIANO TEACHING</h3> + + <p>One of the busiest of New York piano teachers, whose list of + students taking private lessons in a season, almost touches the + hundred mark, is Mrs. Agnes Morgan. Mrs. Morgan has been + laboring in this field for more than two decades, with ever + increasing success. And yet so quietly and unobtrusively is all + this accomplished, that the world only knows of the teacher + through the work done by her pupils. The teacher has now risen + to the point where she can pick and choose her own pupils, + which is a great comfort to her, for it dispels much of the + drudgery of piano teaching, and is one of the reasons why she + loves her work.</p> + + <p>When one teaches from nine in the morning till after six + every day of the season, it is not easy to find a leisure hour + in which to discuss means and methods. By a fortunate chance, + however, such an interview was recently possible.</p> + + <p><a name="page199" + id="page199"></a>The questions had been borne in upon me: By + what art or influence has this teacher attracted so large a + following? What is it which brings to her side not only the + society girl but the serious art-student and young teacher? + What is the magnet which draws so many pupils to her that + five assistants are needed to prepare those who are not yet + ready to profit by her instruction? When I came in touch + with this modest, unassuming woman, who greeted me with + simple cordiality, and spoke with quiet dignity of her work, + I felt that the only magnet was the ability to impart + definite ideas in the simplest possible way.</p> + + <p>"Dr. William Mason, with whom I studied," began Mrs. Morgan, + "used to say that a musical touch was born, not made; but I + have found it possible to so instruct a pupil that she can make + as beautiful a tone as can be made; even a child can do this. + The whole secret lies in arm and wrist relaxation, with arched + hand, and firm nail joint.</p> + + <h3>INSPIRATION FROM AN AMERICAN TEACHER</h3> + + <p>"I feel that Dr. Mason himself was the one who made me see + the reason of things. I had always played more or less + brilliantly, for <a name="page200" + id="page200"></a>technic came rather easy to me. I had + studied in Leipsic, where I may say I learned little or + nothing about the principles of piano playing, but only + 'crammed' a great number of difficult compositions. I had + been with Moszkowski also; but it was really Dr. Mason, an + American teacher, who first set me thinking. I began to + think so earnestly about the reason for doing things that I + often argued the points out with him, until he would laugh + and say, 'You go one way and I go another, but we both reach + the same point in the end.' And from that time I have gone + on and on until I have evolved my own system of doing + things. A teacher cannot stand still. I would be a fool not + to profit by the experience gained through each pupil, for + each one is a separate study. This has been a growth of + perhaps twenty-five years—as the result of my effort + to present the subject of piano technic in the most concise + form. I have been constantly learning what is not essential, + and what can be omitted.</p> + + <h3>SIMPLICITY</h3> + + <p>"Simplicity Is the keynote of my work. I try to teach only + the essentials. There are so many études and studies + that are good, Czerny, for instance, is splendid. I believe in + <a name="page201" + id="page201"></a>it all, but there is not time for much of + it. So with Bach. I approve of studying everything we have + of his for piano, from the 'Little Pieces' up to the big + Preludes and Fugues. Whenever I can I use Bach. But here + again we have not time to use as much of Bach as we should + like. Still I do the best I can. Even with those who have + not a great deal of time to practise, I get in a Bach + Invention whenever possible.</p> + + <p>"When a new pupil comes who is just starting, or has been + badly taught, she must of course begin with hand formation. She + learns to form the arch of the hand and secure firm finger + joints, especially the nail joint. I form the hand away from + the piano, at a table. Nothing can be done toward playing till + these things are accomplished. I often have pupils who have + been playing difficult music for years, and who consider + themselves far advanced. When I show them some of these simple + things, they consider them far too easy until they find they + cannot do them. Sometimes nothing can be done with such pupils + until they are willing to get right down to rock bottom, and + learn how to form the hand. As to the length of time required, + it depends on the mentality of the pupil and the kind of + <a name="page202" + id="page202"></a>hand. Some hands are naturally very soft + and flabby, and of course it is more difficult to render + them strong.</p> + + <h3>FINGER ACTION</h3> + + <p>"When the arch of the hand is formed, we cultivate + intelligent movement in the finger tips, and for this we must + have a strong, dependable nail joint. Of course young students + must have knuckle action of the fingers, but I disapprove of + fingers being raised too high. As we advance, and the nail + joint becomes firmer and more controlled, there is not so great + need for much finger action. Velocity is acquired by less and + less action of the fingers; force is gained by allowing arm + weight to rest on the fingers; lightness and delicacy by taking + the arm weight off the fingers—holding it back.</p> + + <p>"I use no instruction books for technical drill, but give my + own exercises, or select them from various sources. Certain + principles must govern the daily practise, from the first. When + they are mastered in simple forms later work is only + development. Loose wrist exercises, in octaves, sixths, or + other forms, should form a part of the daily routine. So should + scale playing, for I am a firm believer in scales + <a name="page203" + id="page203"></a>of all kinds. Chords are an important item + of practise. How few students, uninstructed in their + principles, ever play good chords? They either flap the hand + down from the wrist, with a weak, thin tone, or else they + play with stiff, high wrists and arms, making a hard, harsh + tone. In neither case do they use any arm weight. It often + takes some time to make them see the principles of arm + weight and finger grasp.</p> + + <h3>QUESTIONS OF PEDALING</h3> + + <p>"Another point which does not receive the attention it + deserves is pedaling. Few students have a true idea of the + technic of the foot on the pedal. They seem to know only one + way to use the damper pedal, and that is to come down hard on + it, perhaps giving it a thump at the same time. I give special + preparatory exercises for pedal use. Placing the heel on the + floor, and the forepart of the foot on the pedal, they learn to + make one depression with every stroke of the metronome; when + this can be done with ease, then two depressions to the beat, + and so on. In this exercise the pedal is not pressed fully + down; on the contrary there is but a slight depression; this + vibration on the pedal has the effect of a con<a name="page204" + id="page204"></a>stant shimmering of light upon the tones, + which is very beautiful." Here the artist illustrated most + convincingly with a portion of a Chopin Prelude. "One needs + a flexible ankle to use the pedal properly; indeed the ankle + should be as pliant as the wrist. I know of no one else who + uses the pedal in just this fashion; so I feel as though I + had discovered it.</p> + + <p>"Yes, I have numbers of pupils among society people; girls + who go out a good deal and yet find time to practise a couple + hours a day. The present tendency of the wealthy is to take a + far more serious view of music study than was formerly the + case. They feel its uplifting and ennobling influence, respect + its teachers, and endeavor to do carefully and well whatever + they attempt.</p> + + <p>"While necessary and important, the technical foundation is + after all but a small part compared to the training for + rhythmic sense, and for the knowledge of how to produce good + and beautiful results in musical interpretation."</p> + <hr style="width: 65%;" /> + <a name="page205" + id="page205"></a> + + <h2><a name="XXVI_EUGENE_HEFFLEY" + id="XXVI_EUGENE_HEFFLEY"></a>XXVI.</h2> + + <h2>EUGENE HEFFLEY</h2> + + <h3>MODERN TENDENCIES IN PIANO MUSIC</h3> + + <p>Eugene Heffley, the Founder and first President of the + MacDowell Club, of New York, a pianist and teacher of high + ideals and most serious aims, came to New York from Pittsburg, + in 1900, at the suggestion of MacDowell himself. He came to + make a place for himself in the profession of the metropolis, + and has proved himself a thoroughly sincere and devoted + teacher, as well as a most inspiring master; he has trained + numerous young artists who are winning success as pianists and + teachers.</p> + + <p>Mr. Heffley, while entertaining reverence for the older + masters, is very progressive, always on the alert to discover a + new trend of thought, a new composer, a new gospel in musical + art. He did much to make known and arouse enthusiasm for + MacDowell's compositions, when they were as yet almost unheard + of in America. In an equally broad <a name="page206" + id="page206"></a>spirit does he introduce to his students + the works of the ultra modern school, Debussy, Rachmaninoff, + Florent Schmitt, Reger, Liadow, Poldini and others.</p> + + <p>"My students like to learn these new things, and the + audiences that gather here in the studio for our recitals, come + with the expectation of being enlightened in regard to new and + seldom heard works, and we do not disappoint them. Florent + Schmitt, in spite of his German surname, is thoroughly French + in his manner and idiom, though they are not of the style of + Debussy; he has written some beautiful things for the piano; a + set of short pieces which are little gems. I rank Rachmaninoff + very highly, and of course use his Preludes, not only the + well-known ones—the C and G minor—but the set of + thirteen in one opus number; they are most interesting. I use a + good deal of Russian music; Liadow has composed some beautiful + things; but Tschaikowsky, in his piano music, is too + complaining and morbid, as a rule, though he is occasionally in + a more cheerful mood. It seems as though music has said all it + can say along consonant lines, and regular rhythms. We must + look for its advancement in the realm of Dissonance; not only + in this but in the way of variety <a name="page207" + id="page207"></a>in Rhythm. How these modern composers vary + their rhythms, sometimes three or four different ones going + at once! It is the unexpected which attracts us in musical + and literary art, as well as in other things: we don't want + to know what is coming next; we want to be surprised.</p> + + <p>"Of the classic literature, I use much Bach, when I can. I + used to give more Mozart than I do now; latterly I have + inclined toward Haydn; his Variations and Sonatas are fine; my + students seem to prefer Haydn also. I thoroughly believe in the + value of polyphonic music as a mental study; it is a necessity. + And Bach is such a towering figure, such a rock of strength in + musical art. Bach was essentially a Christian, and this element + of devoutness, of worship, shines out in everything he wrote. I + do not believe that music, without this element of worship, + will live. Tschaikowsky did not have it, nor Berlioz, nor even + Mozart, for Mozart wrote merely from the idea of sheer beauty + of sound; in that sense he was a pagan. I doubt if Strauss has + it. One cannot foresee how the future will judge the music of + to-day; what will it think of Schönberg? I am holding in + abeyance any opinion I might form regarding his work till + <a name="page208" + id="page208"></a> I have had more time to know it better. I + can only say I have heard his string Quartet three times. + The first time I found much in it to admire; the second time + I was profoundly moved by certain parts of it, and on the + third occasion I felt that the work, especially the latter + part, contained some of the most beautiful music I had ever + listened to.</p> + + <p>"In regard to the technical training my pupils receive, it + is not so easy to formulate my manner of teaching. Each pupil + is a separate study, and is different from every other. As you + well know, I am not a 'method man': I have little use for the + so-called piano method. To be a true teacher of the piano is a + high calling indeed; for there are many pedagogues but + comparatively few real teachers. I make a distinction between + the two. A pedagogue is one who, filled with many rules and + much learning, endeavors to pour his knowledge into the pupil; + whereas the true teacher seeks to draw out what is in the + pupil. He strives to find what the pupil has aptitude for, what + he likes to do and can do best. The teacher must be something + of a psychologist, or how can he correctly judge of the pupil's + temperament, his tastes, his mentality, and what to do for + him?</p> + + <p>"<a name="page209" + id="page209"></a>When a new pupil comes, I must make a + mental appraisement of his capacity, his likelihood to grasp + the subject, his quickness of intelligence, his health, and + so on. No two pupils can be treated in the same way. One who + has little continuity, who has never followed out a serious + line of thought in any direction, must be treated quite + differently from one of an opposite mentality and + experience. It would be useless to give Bach to the first + pupil, it would only be a waste of time and patience: he + could not comprehend the music in any sense; he would have + no conception of the great things that Bach stands for. Such + a course of treatment would only make him hate music; + whereas to one of a more serious and thoughtful turn of + mind, you might give any amount of Bach.</p> + + <p>"A student with a poor touch and undeveloped hand, must go + through a regular course of training. The hand is first placed + in position, either at the keyboard or on a table; the fingers + are taught to start with up movements, as the lifting muscles + need special attention. A muscle or a finger, is either + <i>taut</i>, <i>flabby</i> or <i>stiff</i>; it is the taut + condition I strive for—to make the finger responsive, + like a fine steel spring.<a name="page210" + id="page210"></a></p> + + <p>"It is absolutely necessary to establish correct finger + action at the outset; for the sake of finger development, + clearness, and accuracy. When single fingers can make accurate + up and down movements, we can put two fingers together and + acquire a perfect legato. I teach three kinds of + legato—the <i>passage</i> legato, the <i>singing</i> + legato, and the <i>accompanying</i> legato; the pupil must + master the first before attempting the others. I advise technic + practise with each hand alone, for you must know I am a firm + believer in the study of pure technic outside of pieces.</p> + + <p>"As the student advances we take up chord playing with + different touches, scales, arpeggios and octaves. I institute + quite early what I call polyphonic technic—one hand doing + a different movement or touch from the other. This works out in + scales and arpeggios with a variety of touches—one hand + playing a passage or scale staccato while the other plays + legato, and vice versa."</p> + + <p>Asked if he taught technical material without a book, Mr. + Heffley replied:</p> + + <p>"No, I generally use the Heinrich Germer work, as it covers + the ground very satisfactorily; it is compact, concise, and + complete in one volume. I also use Mertke to some + <a name="page211" + id="page211"></a>extent. Every form of exercise must be + worked out in all keys; I find the books useful for all + kinds of students. I may add that I use comparatively few + études.</p> + + <p>"If the student seems to have a very imperfect rhythmic + sense, I use the metronome, but as sparingly as possible, for I + want to establish the inner sense of rhythm.</p> + + <p>"In regard to memorizing. I give no special advice, but + counsel the student to employ the way which is easiest and most + natural to him. There are three distinct ways of committing + music: the Analytic, Photographic, and Muscular. The Analytic + memory picks the passage apart and learns just how it is + constructed, and why; the Photographic memory can see the + veritable picture of the passage before the mind's eye; while + the Muscular memory lets the fingers find the notes. This is + not a very reliable method, but some pupils have to learn in + this way. Of course the Analytical memory is the best; when the + pupil has the mental ability to think music in this way, I + strongly recommend it.</p> + + <p>"One point I make much of in my teaching, and that is Tone + Color, as a distinct factor in musical interpretation. It is + not merely a question of using the marks of expression, + <a name="page212" + id="page212"></a>such as FF, MF, PP, and so on; it is more + subtle than that—it is the <i>quality</i> of tone I + seek after. Sometimes I work with a pupil for several + minutes over a single tone, until he really comprehends what + he has to do to produce the right quality of tone, and can + remember how he did it. The pedal helps wonderfully, for it + is truly the 'soul of the piano.'</p> + + <p>"Some pupils have fancy but no imagination, and vice versa. + The terms are not synonymous. Reading poetry helps to develop + the aesthetic sense; pictures help also, and nature. I must + necessarily take into account the pupil's trend of temperament + while instructing him.</p> + + <p>"Interpretative expression is not a positive but a relative + quantity. One player's palette is covered with large blotches + of color, and he will paint the picture with bold strokes; + another delights in delicate miniature work. Each will conceive + the meaning and interpretation of a composition through the + lens of his own temperament. I endeavor to stimulate the + imagination of the pupil through reading, through knowledge of + art, through a comprehension of the correlation of all the + arts.</p> + + <p>"The musical interpreter has a most difficult, exacting and + far-reaching task to <a name="page213" + id="page213"></a>perform. An actor plays one part night + after night; a painter is occupied for days and weeks with a + single picture; a composer is absorbed for the time being on + one work only. The pianist, on the other hand, must, during + a recital, sweep over the whole gamut of expression: the + simple, the pastoral, the pathetic, the passionate, the + spiritual—he is called upon to portray every phase of + emotion. This seems to me a bigger task than is set before + any other class of art-workers. The pianist must be able to + render with appropriate sentiment the simplicity and fresh + naïveté of the earlier classics, Haydn, Mozart; + the grandeur of Bach; the heroic measures of Beethoven; the + morbid elegance of Chopin; the romanticism of Schumann; the + magnificent splendor of Liszt.</p> + + <p>"In choosing musical food for my pupils, I strive to keep + away from the beaten track of the hackneyed. The mistake made + by many teachers is to give far too difficult music. Why should + I teach an old war-horse which the pupil has to struggle over + for six months without being really able to master, and which + he will thoroughly hate at the end of that time? The Scherzo + Op. 31, of Chopin, and the Liszt Rhapsodies he can hear in the + concert room, where he can become familiar with most of the + <a name="page214" + id="page214"></a>famous piano compositions. Why should he + not learn to know many less hackneyed pieces, which do not + so frequently appear on concert programs?</p> + + <p>"Herein lies one of the great opportunities for the + broad-minded teacher—to be individual in his work. + According to his progressive individuality will his work be + valued."</p> + <hr style="width: 65%;" /> + <a name="page215" + id="page215"></a> + + <h2><a name="XXVII_GERMAINE_SCHNITZER" + id="XXVII_GERMAINE_SCHNITZER"></a>XXVII.</h2> + + <h2>GERMAINE SCHNITZER</h2> + + <h3>MODERN METHODS IN PIANO STUDY</h3> + + <p>"It is difficult to define such a comprehensive term as + technic, for it means so much," remarked Germaine Schnitzer the + French pianist to me one day, when we were discussing pianistic + problems. "There is no special sort or method of technic that + will do for all players, for every mentality is different; + every hand is peculiar to itself, and different from every + other. Not only is each player individual in this particular, + but one's right hand may differ from one's left; therefore each + hand may require separate treatment.</p> + + <p>"An artistic technic can be acquired only by those who have + an aptitude for it, plus the willingness to undertake the + necessary drudgery; practise alone, no matter how arduous, is + not sufficient. Technic is evolved from thought, from hearing + great music, from much listening to great players; intent + listening to one's own playing, and to the effects one + <a name="page216" + id="page216"></a>strives to make. It is often said that the + pianist cannot easily judge of the tonal effects he is + producing, as he is too near the instrument. With me this is + not the case. My hearing is so acute that I know the exact + dynamics of every tone, every effect of light and shade; + thus I do not have to stand at a distance, as the painter + does, even if I could do so, in order to criticize my work, + for I can do this satisfactorily at close range.</p> + + <p>"I hardly know when I learned technic; at all events it was + not at the beginning. At the start I had some lessons with + quite a simple woman teacher. We lived near Paris, and my elder + sister was then studying with Raoul Pugno; she was a good + student and practised industriously. She said she would take me + to the master, and one day she did so. I was a tiny child of + about seven, very small and thin—not much bigger than a + fly. The great man pretended he could hardly see me. I was + perched upon the stool, my feet, too short to reach the floor, + rested on the extension pedal box which I always carried around + with me, I went bravely through some Bach Inventions. When I + finished, Pugno regarded me with interest. He said he would + teach me; told me to prepare some more Inventions, some + <a name="page217" + id="page217"></a> Czerny studies and the Mendelssohn + Capriccio, Op. 22, and come to him in four weeks. Needless + to say, I knew every note of these compositions by heart + when I took my second lesson. Soon I was bidden to come to + him every fortnight, then every week, and finally he gave me + two lessons a week.</p> + + <p>"For the first five years of my musical experience, I simply + played the piano. I played everything—sonatas, + concertos—everything; large works were absorbed from one + lesson to the next. When I was about twelve I began to awake to + the necessity for serious study; then I really began to + practise in earnest. My master took more and more interest in + my progress and career: he was at pains to explain the meaning + of music to me—the ideas of the composers. Many + fashionable people took lessons of him, for to study with Pugno + had become a fad; but he called me his only pupil, saying that + I alone understood him. I can truly say he was my musical + father; to him I owe everything. We were neighbors in a suburb + of Paris, as my parents' home adjoined his; we saw a great deal + of him and we made music together part of every day. When he + toured in America and other countries, he wrote me frequently; + I could show <a name="page218" + id="page218"></a>you many letters, for I have preserved a + large number—letters filled with beautiful and exalted + thoughts, expressed in noble and poetic language. They show + that Pugno possessed a most refined, superior mind, and was + truly a great artist.</p> + + <p>"I studied with Pugno ten years. At the end of that time he + wished me to play for Emil Saur. Saur was delighted with my + work, and was anxious to teach me certain points. From him I + acquired the principles of touch advocated by his master, + Nicholas Rubinstein. These I mastered in three months' time, or + I might say in two lessons.</p> + + <p>"According to Nicholas Rubinstein, the keys are not to be + struck with high finger action, nor is the direct end of the + finger used. The point of contact is rather just back of the + tip, between that and the ball of the finger. Furthermore we do + not simply strive for plain legato touch. The old instruction + books tell us that legato must be learned first, and is the + most difficult touch to acquire. But legato does not bring the + best results in rapid passages, for it does not impart + sufficient clarity. In the modern idea something more crisp, + scintillating and brilliant is needed. So we use a half + staccato touch. The tones, when sepa<a name="page219" + id="page219"></a>rated a hair's breadth from each other, + take on a lighter, more vibrant, radiant quality; they are + really like strings of pearls. Then I also use pressure + touch, pressing and caressing the keys—feeling as it + were for the quality I want; I think it, I hear it mentally, + and I can make it. With this manner of touching the keys, + and this constant search for quality of tone, I can make any + piano give out a beautiful tone, even if it seems to be only + a battered tin pan.</p> + + <h3>TONE WHICH VIBRATES THROUGH THE WHOLE BODY</h3> + + <p>"Weight touch is of course a necessity; for it I use not + only arms and shoulders, but my whole body feels and vibrates + with the tones of the piano. Of course I have worked out many + of these principles for myself; they have not been acquired + from any particular book, set of exercises, or piano method; I + have made my own method from what I have acquired and + experienced in ways above mentioned.</p> + + <h3>ON MEMORIZING</h3> + + <p>"In regard to memorizing piano music I have no set method. + The music comes to me I know not how. After a period of deep + <a name="page220" + id="page220"></a>concentration, of intent listening, it is + mine, a permanent possession. You say Leschetizky advises + his pupils to learn a small portion, two or four measures, + each hand alone and away from the piano. Other pianists tell + me they have to make a special study of memorizing. All this + is not for me—it is not my way. When I have studied + the piece sufficiently to play it, I know it—every + note of it. When I play a concerto with orchestra I am not + only absolutely sure of the piano part, but I also know each + note that the other instruments play. Of course I am + listening intently to the piano and to the whole orchestra + during a performance; if I allowed myself to think of + anything else, I should be lost. This absolute concentration + is what conquers all difficulties.</p> + + <h3>ABSTRACT TECHNIC</h3> + + <p>"About practising technic for itself alone: this will not be + necessary when once the principles of technic are mastered. I, + at least, do not need to do so. I make, however, various + technical exercises out of all difficult passages in pieces. I + scarcely need to look at the printed pages of pieces I place on + my recital programs. I have them with me, to be sure, but they + are seldom taken out of their boxes.<a name="page221" + id="page221"></a> What I do is to think the pieces through + and do mental work with them, and for this I must be quiet + and by myself. An hour's actual playing at the piano each + day is sufficient to prepare for a recital.</p> + + <p>"It must not be thought that I do not study very seriously. + I do not work less than six hours a day; if on any day I fail + to secure this amount of time, I make it up at the earliest + moment. During the summer months, when I am preparing new + programs for the next season, I work very hard. As I said, I + take the difficult passages of a composition and make the + minutest study of them in every detail, making all kinds of + technical exercises out of a knotty section, sometimes playing + it in forty or fifty different ways. For example, take the + little piece out of Schumann's <i>Carneval</i>, called 'The + Reconnaissance.' That needed study. I gave three solid days to + it; that means from nine to twelve in the morning, and from one + to five in the afternoon. At the end of that time I knew it + perfectly and was satisfied with it. From that day to this I + have never had to give a thought to that number, for I am + confident I know it utterly. I have never had an accident to + that or to any of my pieces when playing in public. In my + <a name="page222" + id="page222"></a>opinion a pianist has a more difficult task + to accomplish than any other artist. The singer has to sing + only one note at a time; the violinist or 'cellist need use + but one hand for notes. Even the orchestral conductor who + aspires to direct his men without the score before him, may + experience a slip of memory once in awhile, yet he can go on + without a break. A pianist, however, has perhaps half a + dozen notes in each hand to play at once; every note must be + indelibly engraved on the memory, for one dares not make a + slip of any kind.</p> + + <p>"An artist playing in London, Paris or New York—I + class these cities together—may play about the same sort + of programs in each. The selections will not be too heavy in + character. In Madrid or Vienna the works may be even more + brilliant. It is Berlin that demands heavy, solid meat. I play + Bach there, Beethoven and Brahms. It is a severe test to play + in Berlin and win success.</p> + + <p>"I have made several tours in America. This is a wonderful + country. I don't believe you Americans realize what a great + country you have, what marvelous advantages are here, what fine + teachers, what great orchestras, what opera, what audiences! + The critics, too, are so well informed and so just. All these + things <a name="page223" + id="page223"></a>impress a foreign artist—the love for + music that is here, the knowledge of it, and the enthusiasm + for it. A worthy artist can make a name and success in + America more quickly and surely than in any country in the + world.</p> + + <p>"For one thing America is one united country from coast to + coast, so it is much easier getting about here than in Europe. + For another thing I consider you have the greatest orchestras + in the world, and I have played with the orchestras of all + countries. I also find you have the most enthusiastic audiences + to be found anywhere.</p> + + <p>"In Europe a musical career offers few advantages. People + often ask my advice about making a career over there, and I try + to dissuade them. It sometimes impresses me as a lions' den, + and I have the desire to cry out 'Beware' to those who may be + entrapped into going over before they are ready, or know what + to expect. Of course there are cases of phenomenal success, but + they are exceptions to the general rule.</p> + + <p>"People go to Europe to get atmosphere (stimmung)—that + much abused term! I could tell them they make their own + atmosphere wherever they are. I have lived in music all my + life, but I can say I find musical <a name="page224" + id="page224"></a>atmosphere right here in America. If I + listen to the Boston Symphony Orchestra, or to the Kneisel + Quartet, when these organizations are giving an incomparable + performance of some masterpiece, I am entirely wrapt up in + the music; am I not then in a musical atmosphere? Or if I + hear a performance of a Wagner opera at the Metropolitan, + where Wagner is given better even than in Bayreuth, am I not + also in a musical atmosphere? To be sure, if I am in + Bayreuth I may see some reminiscences of Wagner the man, or + if I am in Vienna I can visit the graves of Beethoven and + Schubert. But these facts of themselves do not create a + musical atmosphere.</p> + + <p>"You in America can well rejoice over your great country, + your fine teachers and musicians and your musical growth. After + a while you may be the most musical nation in the world."</p> + <hr style="width: 65%;" /> + <a name="page225" + id="page225"></a> + + <h2><a name="XXVIII_OSSIP_GABRILOWITSCH" + id="XXVIII_OSSIP_GABRILOWITSCH"></a>XXVIII.</h2> + + <h2>OSSIP GABRILOWITSCH</h2> + + <h3>CHARACTERISTIC TOUCH ON THE PIANO</h3> + + <p>Arthur Hochman, Russian pianist and composer, once remarked + to me, in reference to the quality of tone and variety of tonal + effects produced by the various artists now before the + public:</p> + + <p>"For me there is one pianist who stands above them + all—his name is Gabrilowitsch."</p> + + <p>The quality of tone which this rare artist draws from his + instrument, is unforgettable. I asked him one morning, when he + was kind enough to give me the opportunity for a quiet chat, + how he produced this luscious singing quality of tone.</p> + + <p>"A beautiful tone? Ah, that is difficult to describe, + whether in one hour or in many hours. It is first a matter of + experiment, of individuality, then of experience and memory. We + listen and create the tone, modify it until it expresses our + ideal, then we try to remember how we did it.</p> + + <p>"<a name="page226" + id="page226"></a>I cannot say that I always produce a + beautiful tone; I try to produce a characteristic tone, but + sometimes it may not be beautiful: there are many times when + it may be anything but that. I do not think there can be any + fixed rule or method in tone production, because people and + hands are so different. What does for one will not do for + another. Some players find it easier to play with high + wrist, some with low. Some can curve their fingers, while + others straighten them out. There are of course a few + foundation principles, and one is that arms and wrists must + be relaxed. Fingers must often be loose also, but not at the + nail joint; that must always be firm. I advise adopting the + position of hand which is most comfortable and convenient. + In fact all forms of hand position can be used, if for a + right purpose, so long as the condition is never cramped or + stiff. I permit either a high or low position of the wrist, + so long as the tone is good. As I said, the nail joint must + remain firm, and never be crushed under by the weight of + powerful chords, as is apt to be the case with young players + whose hands are weak and delicate.<a name="page227" + id="page227"></a></p><a name="Ossip_Gabrilowitsch" + id="Ossip_Gabrilowitsch"></a> + + <div class="center"> + <img src="images/249.png" + alt="TO MISS HARRIETTE BROWER, OSSIP GABRILOWITSCH" + title="TO MISS HARRIETTE BROWER, OSSIP GABRILOWITSCH" /> + + + <h5>TO MISS HARRIETTE BROWER, OSSIP GABRILOWITSCH</h5> + </div> + + <h3>TECHNICAL STUDY</h3> + + <p>"Yes, I am certainly in favor of technical practise outside + of pieces. There must be scale and arpeggio study, in which the + metronome can be used. But I believe in striving to make even + technical exercises of musical value. If scales are played they + should be performed with a beautiful quality and variety of + tone; if one attempts a Czerny étude, it should be + played with as much care and finish as a Beethoven sonata. + Bring out all the musical qualities of the étude. Do not + say, 'I'll play this measure sixteen times, and then I'm done + with it.' Do nothing for mechanical ends merely, but everything + from a musical standpoint. Yes, I give some Czerny to my + students; not many études however. I prefer Chopin and + Rubinstein. There is a set of six Rubinstein Studies which I + use, including the Staccato Étude.</p> + + <p>"In regard to technical forms and material, each player may + need a different tonic. I have found many useful things in a + work by your own Dr. William Mason, <i>Touch and Technic</i>. I + have used this to a considerable extent. To my knowledge he was + the first to illustrate the principle of weight, which is now + <a name="page228" + id="page228"></a>pretty generally accepted here as well as + in Europe.</p> + + <p>"An ancient and famous philosopher, Seneca, is said to have + remarked that by the time a man reaches the age of twenty-five, + he should know enough to be his own physician, or he is a fool. + We might apply this idea to the pianist. After studying the + piano for a number of years he should be able to discover what + sort of technical exercises are most beneficial; if he cannot + do so he must be a fool. Why should he always depend on the + exercises made by others? There is no end to the list of method + books and technical forms; their name is legion. They are + usually made by persons who invent exercises to fit their own + hands; this does not necessarily mean that they will fit the + hands of others. I encourage my pupils to invent their own + technical exercises. They have often done so with considerable + success, and find much more pleasure in them than in those made + by others.</p> + + <p>"Two of the most important principles in piano playing are: + full, round, exact tone; distinct phrasing. The most common + fault is indistinctness—slurring over or leaving out + notes. Clearness in piano playing is absolutely essential. If + an actor essays the rôle <a name="page229" + id="page229"></a>of Hamlet, he must first of all speak + distinctly and make himself clearly understood; otherwise + all his study and characterization are in vain. The pianist + must likewise make himself understood; he therefore must + enunciate clearly.</p> + + <h3>VELOCITY</h3> + + <p>"You speak of velocity as difficult for some players to + acquire. I have found there is a general tendency to play + everything too fast, to rush headlong through the piece, + without taking time to make it clear and intelligible. When the + piece is quite clear in tone and phrasing, it will not sound as + fast as it really is, because all the parts are in just + relation to each other. As an illustration of this fact, there + is a little Gavotte of mine, which I had occasion to play + several times in Paris. A lady, a very good pianist, got the + piece, learned it, then came and asked me to hear her play it. + She sat down to the piano, and rushed through the piece in a + way that so distorted it I could hardly recognize it. When she + finished I remonstrated, but she assured me that her tempo was + exactly like mine as she had heard me play the piece three + times. I knew my own tempo exactly and showed her + <a name="page230" + id="page230"></a>that while it did not differ so greatly + from hers, yet my playing sounded slower because notes and + phrasing were all clear, and everything rightly + balanced.</p> + + <h3>POWER</h3> + + <p>"How do I gain power? Power does not depend on the size of + the hand or arm; for persons of quite small physique have + enough of it to play with the necessary effect. Power is a + nervous force, and of course demands that arms and wrists be + relaxed. The fingers must be so trained as to be strong enough + to stand up under this weight of arms and hands, and not give + way. I repeat, the nail joint must remain firm under all + circumstances. It is so easy to forget this; one must be + looking after it all the time.</p> + + <h3>MEMORIZING</h3> + + <p>"In regard to memorizing, I have no special rule or method. + Committing to memory seems to come of its own accord. Some + pieces are comparatively easy to learn by heart; others, like a + Bach fugue, require hard work and close analysis. The surest + way to learn a difficult composition, is to write it out from + memory. There is a great deal of benefit in <a name="page231" + id="page231"></a>that. If you want to remember the name of a + person or a place, you write it down. When the eye sees it, + the mind retains a much more vivid impression. This is + visual memory. When I play with orchestra, I of course know + every note the orchestra has to play as well as my own part. + It is a much greater task to write out a score from memory + than a piano solo, yet it is the surest way to fix the + composition in mind. I find that compositions I learned in + early days are never forgotten, they are always with me, + while the later pieces have to be constantly looked after. + This is doubtless a general experience, as early impressions + are most enduring.</p> + + <p>"An orchestral conductor should know the works he conducts + so thoroughly that he need not have the score before him. I + have done considerable conducting the past few years. Last + season I gave a series of historical recitals, tracing the + growth of the piano concerto, from Mozart down to the present. + I played nineteen works in all, finishing with the Rachmaninoff + Concerto."</p> + + <p>Mr. Gabrilowitsch has entirely given up teaching, and + devotes his time to recital and concert, conducting, and + composing.</p> + <hr style="width: 65%;" /> + <a name="page232" + id="page232"></a> + + <h2><a name="HANS_VON_BULOW_AS_TEACHER_AND_INTERPRETER" + id="HANS_VON_BULOW_AS_TEACHER_AND_INTERPRETER"></a>HANS VON + BÜLOW AS TEACHER AND INTERPRETER</h2> + + <p>Those who heard Hans von Bülow in recital during his + American tour, in 1876, listened to piano playing that was at + once learned and convincing. A few years before, in 1872, + Rubinstein had come and conquered. The torrential splendor of + his pianism, his mighty crescendos and whispering diminuendos, + his marvelous variety of tone—all were in the nature of a + revelation; his personal magnetism carried everything before + it. American audiences were at his feet.</p><a name="Hansvon" + id="Hansvon"></a> + + <div class="center"> + <img src="images/256.png" + alt="HANS VON BÜLOW" /> + + <h5>HANS VON BÜLOW</h5> + </div> + + <p>In Von Bülow was found a player of quite a different + caliber. Clarity of touch, careful exactness down to the + minutest detail caused the critics to call him cold. He was a + deep thinker and analyzer; as he played one saw, as though + reflected in a mirror, each note, phrase and dynamic mark of + expression to be found in the work. From a Rubinstein recital + the listener came away subdued, awed, inspired, uplifted, but + disinclined to open the piano or touch the keys that had been + made to burn and <a name="page233" + id="page233"></a>scintillate under those wonderful hands. + After hearing Von Bülow, on the other hand, the impulse + was to hasten to the instrument and reproduce what had just + seemed so clear and logical, so simple and attainable. It + did not seem to be such a difficult thing to play the + piano—like <i>that</i>! It was as though he had said: + "Any of you can do what I am doing, if you will give the + same amount of time and study to it that I have done. Listen + and I will teach you!"</p> + + <p>Von Bülow was a profound student of the works of + Beethoven; his edition of the sonatas is noted for recondite + learning, clearness and exactness in the smallest details. + Through his recitals in America he did much to make these works + better known and understood. Nor did he neglect Chopin, and + though his readings of the music of the great Pole may have + lacked in sensuous beauty of touch and tone, their + interpretation was always sane, healthy, and beautiful.</p> + + <p>Toward the end of a season during the eighties, it was + announced that Von Bülow would come to Berlin and teach an + artist class in the Klindworth Conservatory. This was an + unusual opportunity to obtain lessons from so famous a musician + and pedagogue, and about <a name="page234" + id="page234"></a>twenty pianists were enrolled for the + class. A few of these came with the master from Frankfort, + where he was then located.</p> + + <p>Carl Klindworth, pianist, teacher, critic, editor of Chopin + and Beethoven, was then the Director of the school. The two men + were close friends, which is proved by the fact that Von + Bülow was willing to recommend the Klindworth Edition of + Beethoven, in spite of the fact that he himself had edited many + of the sonatas. Another proof is that he was ready to leave his + work in Frankfort, and come to Berlin, in order to shed the + luster of his name and fame upon the Klindworth + school—the youngest of the many musical institutions of + that music-ridden, music-saturated capital.</p> + <hr style='width: 45%;' /> + + <p>It was a bright May morning when the Director entered the + music-room with his guest, and presented him to the class. They + saw in him a man rather below medium height, with large + intellectual head, beneath whose high, wide forehead shone + piercing dark eyes, hidden behind glasses.</p> + + <p>He bowed to the class, saying he was pleased to see so many + industrious students. His movements, as he looked around the + room, were quick and alert; he seemed to see everything + <a name="page235" + id="page235"></a> at once, and the students saw that nothing + could escape that active mentality.</p> + + <p>The class met four days in each week, and the lessons + continued from nine in the morning until well on toward one + o'clock. It was announced that only the works of Brahms, Raff, + Mendelssohn and Liszt would be taught and played, so nothing + else need be brought to the class; indeed Brahms was to have + the place of honor.</p> + + <p>While many interesting compositions were discussed and + played, perhaps the most helpful thing about these hours spent + with the great pedagogue was the running fire of comment and + suggestion regarding technic, interpretation, and music and + musicians in general. Von Bülow spoke in rapid, nervous + fashion, with a mixture of German and English, often repeating + in the latter tongue what he had said in the former, out of + consideration for the Americans and English present.</p> + + <p>In teaching, Von Bülow required the same qualities + which were so patent in his playing. Clearness of touch, + exactness in phrasing and fingering were the first + requirements; the delivery of the composer's idea must be just + as he had indicated it—no liberties with the text were + ever permitted. He was so honest, so <a name="page236" + id="page236"></a>upright in his attitude toward the makers + of good music, that it was a sin in his eyes to alter + anything in the score, though he believed in adding any + marks of phrasing or expression which would elucidate the + intentions of the composer. Everything he said or did showed + his intellectual grasp of the subject; and he looked for + some of the same sort of intelligence on the part of the + student. A failure in this respect, an inability to + apprehend at once the ideas he endeavored to convey, would + annoy the sensitive and nervous little Doctor; he would + become impatient, sarcastic and begin to pace the floor with + hasty strides. When in this state he could see little that + was worthy in the student's performance, for a small error + would be so magnified as to dwarf everything that was + excellent. When the lion began to roar, it behooved the + players to be circumspect and meek. At other times, when the + weather was fair in the class-room, things went with + tolerable smoothness. He did not trouble himself much about + technic, as of course a pupil coming to him was expected to + be well equipped on the technical side; his chief concern + was to make clear the content and interpretation of the + composition. In the lessons he often played detached phrases + and <a name="page237" + id="page237"></a>passages for and with the student, but + never played an entire composition.</p> + + <p>One of the most remarkable things about this eccentric man + was his prodigious memory. Nearly every work for piano which + could be mentioned he knew and could play from memory. He often + expressed the opinion that no pianist could be considered an + artist unless he or she could play at least two hundred pieces + by heart. He, of course, more than fulfilled this requirement, + not only for piano but for orchestral music. As conductor of + the famous Meiningen orchestra, he directed every work given + without a note of score before him—considered a great + feat in those days. He was a ceaseless worker, and his eminence + in the world of music was more largely due to unremitting labor + than to genius.</p> + + <p>From the many suggestions to the Berlin class, the following + have been culled.</p> + + <p>"To play correctly is of the first importance; to play + beautifully is the second requirement. A healthy touch is the + main thing. Some people play the piano as if their fingers had + <i>migrane</i> and their wrists were rheumatic. Do not play on + the sides of the finger nor with a sideways stroke, for then + the touch will be weak and uncertain.</p> + + <p>"<a name="page238" + id="page238"></a>Clearness we must first have; every line + and measure, every note must be analyzed for touch, tone, + content and expression.</p> + + <p>"You are always your first hearer; to be one's own critic is + the most difficult of all.</p> + + <p>"When a new theme enters you must make it plain to the + listener; all the features of the new theme, the new figure, + must be plastically brought out.</p> + + <p>"Brilliancy does not depend on velocity but on clarity. What + is not clear cannot scintillate nor sparkle. Make use of your + strongest fingers in brilliant passages, leaving out the fourth + when possible. A scale to be brilliant and powerful must not be + too rapid. Every note must be round and full and not too + legato—rather a mezzo legato—so that single tones, + played hands together, shall sound like octaves. One of the + most difficult things in rhythm, is to play passages where two + notes alternate with triplets. Scales may be practised in this + way alternating three notes with two.</p> + + <p>"We must make things sound well—agreeably, in a way to + be admired. A seemingly discordant passage can be made to sound + well by ingeniously seeking out the best that is in it and + holding that up in the most favorable <a name="page239" + id="page239"></a>light. Practise dissonant chords until they + please the ear in spite of their sharpness. Think of the + instruments of the orchestra and their different qualities + of tone, and try to imitate them on the piano. Think of + every octave on the piano as having a different color; then + shade and color your playing. (<i>Also bitte + coloriren</i>)!"</p> + + <p>If Bülow's musical trinity, Bach, Beethoven, and + Brahms, had a fourth divinity added, it would surely have been + Liszt. The first day's program contained chiefly works by the + Hungarian master; among them <i>Au bord d'une Source</i>, + Scherzo and March, and the Ballades. The player who rendered + the Scherzo was advised to practise octaves with light, + flexible wrist; the Kullak Octave School was recommended, + especially the third book; the other books could be read + through, practising whatever seemed difficult and passing over + what was easy. Of the Ballades the first was termed more + popular, the second finer and more earnest—though neither + makes very much noise.</p> + + <p>The <i>Annees de Pelerinage</i> received much attention. + Among the pieces played were, <i>Les Cloches</i>, <i>Chasse + Neige</i>, <i>Eclogue</i>, <i>Cloches de Geneva</i>, + <i>Eroica</i>, <i>Feux Follets</i> and + <i>Ma</i><a name="page240" + id="page240"></a><i>zeppa</i>. Also the big Polonaise in E, + the two Études, <i>Waldesrauschen</i> and + <i>Gnomenreigen</i>; the Mazourka, Valse Impromptu, and the + first Étude, of which last he remarked: "You can all + play this; thirty years have passed since it was composed + and people are only just finding out how fine it is. Such is + the case with many of Liszt's works. We wonder how they ever + could have been considered unmusical. Yet the way some + people play Liszt the hearer is forced to exclaim, 'What an + unmusical fellow Liszt was, to be sure, to write like + that!'</p> + + <p>"Exactness in everything is of the greatest importance," he + was fond of saying. "We must make the piano speak. As in + speaking we use a separate movement of the lips for each word, + so in certain kinds of melody playing, the hand is taken up + after each note. Then, too, we cannot make the piano speak + without very careful use of the pedals."</p> + + <p>The Mazourka of Liszt was recommended as one of the most + delightful of his lighter pieces. The <i>Waldesrauschen</i> + also, was termed charming, an excellent concert number. "Begin + the first figure somewhat louder and slightly slower, then + increase the movement and subdue the tone. <i>Everything + which</i><a name="page241" + id="page241"></a> <i>is to be played softly should be + practised forte."</i></p> + + <p>Of Joachim Raff the Suite Op. 91 held the most important + place. Each number received minute attention, the Giga being + played by Ethelbert Nevin. The <i>Metamorphosen</i> received a + hearing, also the Valse Caprice, Op. 116, of which the master + was particular about the staccato left hand against the legato + right. Then came the Scherzo Op. 74, the Valse Caprice and the + Polka, from Suite Op. 71. Von Bülow described the little + group of notes in left hand of middle section as a place where + the dancers made an unexpected slip on the floor, and suggested + it be somewhat emphasized. "We must make this little + witticism," he said, as he illustrated the passage at the + piano.</p> + + <p>"Raff showed himself a pupil of Mendelssohn in his earlier + compositions; his symphonies will find more appreciation in the + coming century—which cannot be said of the Ocean + Symphony, for instance."</p> + + <p>Of Mendelssohn the Capriccios Op. 5 and 22 were played, also + the Prelude and Fugue in E. Von Bülow deplored the neglect + which was overtaking the works of Mendelssohn, + <a name="page242" + id="page242"></a>and spoke of the many beauties of his piano + compositions. "There should be no sentimentality about the + playing of Mendelssohn's music," he said; "the notes speak + for themselves.</p> + + <p>"The return to a theme, in every song or instrumental work + of his is particularly to be noticed, for it is always + interesting; this Fugue in E should begin as though with the + softest register of the organ."</p> + + <p>The subject of Brahms has been deferred only that it may be + spoken of as a whole. His music was the theme of the second, + and a number of the following lessons. Bülow was a close + friend of the Hamburg master, and kept in touch with him while + in Berlin. One morning he came in with a beaming face, holding + up a sheet of music paper in Beethoven's handwriting, which + Brahms had discovered and forwarded to him. It seemed that + nothing could have given Bülow greater pleasure than to + receive this relic.</p><a name="Dr._William_Mason" + id="Dr._William_Mason"></a> + + <div class="center"> + <img src="images/267.png" + alt="DR. WILLIAM MASON" + title="DR. WILLIAM MASON" /> + + <h5>DR. WILLIAM MASON</h5> + </div> + + <p>The first work taken up in class was Brahms' Variations on a + Handel theme. Von Bülow was in perfect sympathy with this + noble work of Brahms and illumined many passages with clear + explanations. He was very exact about the phrasing, "What + cannot <a name="page243" + id="page243"></a> be sung in one breath cannot be played in + one breath," he said; "many composers have their own terms + for expression and interpretation; Brahms is very exact in + these points—next to him comes Mendelssohn. Beethoven + not at all careful about markings and Schumann extremely + careless. Brahms, Beethoven, and Wagner have the right to + use their own terms. Brahms frequently uses the word + <i>sostenuto</i> where others would use + <i>ritardando</i>."</p> + + <p>Of the Clavier Stücke, Op. 76, Von Bülow said: + "The Capriccio, No. 1 must not be taken too fast. First page is + merely a prelude, the story begins at the second page. How + wonderfully is this melody formed, so original yet so regular. + Compare it with a Bach gigue. Remember, andante does not mean + dragging (<i>schleppando</i>), it means going (<i>gehend</i>)." + To the player who gave the Capriccio, No. 5 he said: "You play + that as if it were a Tarantelle of Stephan Heller's. Agitation + in piano playing must be carefully thought out; the natural + sort will not do at all. We do not want <i>blind</i> agitation, + but <i>seeing</i> agitation (<i>aufregung</i>). A diminuendo of + several measures should be divided into stations, one each for + F, MF, M, P, and PP.<a name="page244" + id="page244"></a> Visit the Zoological Gardens, where you + can learn much about legato and staccato from the + kangaroos."</p> + + <p>The Ballades were taken up in these lessons, and the light + thrown upon their poetical content was often a revelation. The + gloomy character of the <i>Edward Ballade</i>, Op. 10, No. 1, + the source of the Scottish poem, the poetic story, were dwelt + upon. The opening of this first Ballade is sad, sinister and + mysterious, like the old Scotch story. The master insisted on + great smoothness in playing it—the chords to sound like + muffled but throbbing heartbeats. A strong climax is worked up + on the second page, which dies away on the third to a + <i>pianissimo</i> of utter despair. From the middle of this + page on to the end, the descending chords and octaves were + likened to ghostly footsteps, while the broken triplets in the + left hand accompaniment seem to indicate drops of blood.</p> + + <p>The third Ballade also received an illumination from Von + Bülow. This is a vivid tone picture, though without motto + or verse. Starting with those fateful fifths in the bass, it + moves over two pages fitfully gloomy and gay, till at the end + of the second page a descending passage leads to three chords + so full <a name="page245" + id="page245"></a>of grim despair as to impart the atmosphere + of a dungeon. The player was hastily turning the leaf. + "Stop!" cried the excited voice of the master, who had been + pacing restlessly up and down, and now hurried from the end + of the salon. "Wait! We have been in prison—but now a + ray of sunshine pierces the darkness. You must always pause + here to make the contrast more impressive. There is more + music in this little piece than in whole symphonies by some + of the modern composers."</p> + + <p>Both Rhapsodies Op. 79 were played; the second, he said, has + parts as passionate as anything in the + <i>Götterdammerung</i>. Both are fine and interesting + works.</p> + + <p>Again and again the players were counseled to make + everything sound well. Some intervals, fourths for instance, + are harsh; make them as mild as possible. For one can play + correctly, but horribly! Some staccatos should be shaken out of + the sleeve as it were.</p> + + <p>The first time a great work is heard there is so much to + occupy the attention that only a small amount of pleasure can + be derived from it. At the second hearing things are easier and + by the twelfth time one's pleasure is complete. The pianist + must consider the <a name="page246" + id="page246"></a>listener in a first rendering, and endeavor + to soften the sharp discords.</p> + + <p>With a group of five notes, play two and then three—it + sounds more distinguished. Remember that unlearning gives much + more trouble than learning.</p> + <hr style='width: 45%;' /> + + <p>In this brief résumé of the Von Bülow + lessons, the desire has been to convey some of the hints and + remarks concerning the music and its interpretation. The + master's fleeting sentences were hurriedly jotted down during + the lessons, with no thought of their ever being seen except by + the owner. But as Bülow's fame as a teacher became so + great, these brief notes may now be of some value to both + teacher and student.</p> + + <p>If it were only possible to create a picture of that Berlin + music-room, with its long windows opening out to a green + garden—the May sunshine streaming in; the two grand + pianos in the center, a row of anxious, absorbed students about + the edge of the room—and the short figure of the little + Doctor, pacing up and down the polished floor, or seating + himself at one piano now and then, to illustrate his + instruction. This mental picture is the lifelong possession of + each of those players who were so <a name="page247" + id="page247"></a>fortunate as to be present at the sessions. + It can safely be affirmed, I think, that the principles of + artistic rectitude, of exactness and thorough musicianship + which were there inculcated, ever remained with the members + of that class, as a constant incentive and inspiration.</p> + <hr style="width: 65%;" /> + <a name="page248" + id="page248"></a> + + <h2> + <a name="HINTS_ON_INTERPRETATION_FROM_TWO_AMERICAN_TEACHERS" + id="HINTS_ON_INTERPRETATION_FROM_TWO_AMERICAN_TEACHERS"></a>HINTS + ON INTERPRETATION FROM TWO AMERICAN TEACHERS</h2> + + <h3>WILLIAM H. SHERWOOD AND DR. WILLIAM MASON</h3> + + <h4>WILLIAM H. SHERWOOD</h4> + + <p>While a young student the opportunity came to attend a + Summer Music School, founded by this eminent pianist and + teacher. He had surrounded himself with others well known for + their specialties in voice, violin and diction; but the + director himself was the magnet who attracted pianists and + teachers from the four corners of the land.</p> + + <p>Perhaps the most intimate way to come in touch with a famous + teacher, is to study with him during the summer months, in some + quiet, retired spot. Here the stress of the metropolis, with + its rush and drive, its exacting hours, its remorseless round + of lesson giving, is exchanged for the freedom of rural life. + Hours may still be exact, but a part of each day, or of each + week, is given over to <a name="page249" + id="page249"></a> relaxation, to be spent in the open, with + friends and pupils.</p> + + <p>It was under such conditions that I first met Mr. Sherwood. + I had never even heard him play, and was glad the session + opened with a piano recital. His playing delighted me; he had + both power and delicacy, and his tone impressed me as being + especially mellow and fine. There was deep feeling as well as + poetry in his reading of both the Chromatic Fantaisie of Bach, + and the Chopin Fantaisie in F minor which were on the program. + This opinion was strengthened at each subsequent hearing, for + he gave frequent recitals and concerts during the season.</p> + + <p>My summer study with Mr. Sherwood consisted mainly in + gaining ideas on the interpretation of various pieces. Many of + these ideas seem to me beautiful and inspiring, and I will set + them down as fully as I can from the brief notes jotted down at + the time. I trust I may be pardoned a few personal references, + which are sometimes necessary to explain the situation.</p> + + <p>With advanced students Mr. Sherwood gave great attention to + tone study and interpretation, even from the first lesson. He + laid much stress on the use of slow, gentle <a name="page250" + id="page250"></a>motions in practise and in playing; on the + spiritualization of the tones, of getting behind the notes + to find the composer's meaning. He had, perhaps, a more + poetic conception of piano playing than any master I have + known, and was able to impart these ideas in clear and + simple language.</p> + + <p>The first composition considered was Schumann's + Nachtstück, the fourth of the set. He had a peculiar way + of turning the hand on the middle finger, as on a pivot, for + the extended chords, at the same time raising the whole outer + side of the hand, so that the fifth finger should be able to + play the upper melody notes round and full. In the middle + section he desired great tenderness and sweetness of tone. + "There are several dissonances in this part," he said, "and + they ought to be somewhat accented—suspensions I might + call them. In Bach and Handel's time, the rules of composition + were very strict—no suspensions were allowed; so they + were indicated where it was not permitted to write them."</p> + + <p>Chopin's étude in sixths came up for analysis. "This + study needs a very easy, quiet, limpid touch—the motions + all gliding and sliding rather than pushing and forceful. I + would advise playing it at first <i>pianissimo</i>; + <a name="page251" + id="page251"></a>the wrist held rather low, the knuckles + somewhat high, and the fingers straightened. In preparation + for each pair of notes raise the fingers and let them + down—not with a hard brittle touch, if I may use the + word, but with a soft, velvety one. A composition like this + needs to be idealized, spiritualized, taken out of everyday + life. Take, for instance, the Impromptu Op. 36, Chopin; the + first part of it is something like this étude, soft, + undulating—smooth as oil. There is something very + uncommon, spiritual, heavenly, about the first page of that + Impromptu—very little of the earth, earthy. The second + page is in sharp contrast to the first, it comes right down + to the hard, everyday business of life—it is full of + harsh, sharp tones. Well, the idea of that first page we get + in this study in sixths. I don't want the bare tones that + stand there on the printed page; I want them + spiritualized—that is what reveals the artist. In the + left hand the first note should have a clear, brittle + accent, with firm fifth finger, and the double sixths played + with the creeping, clinging movement I have indicated. If I + should practise this étude for half an hour, you + might be surprised at the effects I could produce. Perhaps + it might take ten hours, but in the end I <a name="page252" + id="page252"></a>am confident I could produce this floating, + undulating effect. I heard Liszt play nearly all these + études at one time; I stood by and turned the pages. + In this étude he doubled the number of sixths in each + measure; the effect was wonderful and beautiful.</p> + + <p>"The Chopin Octave study, number 22, needs firm, quiet + touch, elevating the wrist for black keys (as Kullak explains) + and depressing it for white keys. The hand must be well arched, + the end fingers firm and strong, and the touch very pressing, + clinging, and grasping. You always want to cling whenever there + is any chance for clinging in piano playing. The second part of + this étude should have a soft, flowing, poetic touch in + the right hand, while the left hand part is well brought out. + The thumb needs a special training to enable it to creep and + slide from one key to another with snake-like movements.</p> + + <p>"Rubinstein's Barcarolle in G major. The thirds on the first + page are very soft and gentle. I make a good deal of extra + motion with these thirds, raising the fingers quite high and + letting them fall gently on the keys. The idea of the first + page of this barcarolle is one of utter quietness, + colorlessness; one is alone on the water; the evening is quiet + and still; <a name="page253" + id="page253"></a>not a sound breaks the hushed silence. The + delicate tracery of thirds should be very soft, + thin—like an airy cloud. The left hand is soft too, + but the first beat should be slightly accented, the second + not; the first is positive, the second negative. Herein lies + the idea of the barcarolle, the ebb and flow, the undulation + of each measure.</p> + + <p>"Begin the first measure very softly, the second measure a + trifle louder, the third louder still, the fourth falling off + again. As you stand on the shore and watch the great waves + coming in, you see some that are higher and larger than others; + so it is here. The concluding passage in sixths should + diminish—like a little puff of vapor that ends + in—nothing. On the second page we come upon something + more positive; here is a tangible voice speaking to us. The + melody should stand out clear, broad, beautiful; the + accompanying chords should preserve the same ebb and flow, the + advancing and receding wave-like movement. The exaggerated + movement I spoke of a moment ago, I use in many ways. Any one + can hit the piano, with a sharp, incisive touch; but what I + refer to is the reaching out of the fingers for the notes, the + passing of the hand in the air and the final gentle fall on + <a name="page254" + id="page254"></a>the key, not in haste to get there, but + with confidence of reaching the key in time. If you throw a + stone up in the air it will presently fall back again with a + sharp thud; a bird rising, hovers a moment and descends + gently. This barcarolle is not at all easy; there is plenty + of work in it for flexible hands; it is a study in + <i>pianissimo</i>—in power controlled, held back, + restrained."</p> + + <p>Taking up the Toccatina of Rheinberger, Mr. Sherwood said: + "I like this piece, there is good honest work in it; it is very + effective, and most excellent practise. You ought to play this + every day of the year. It is written in twelve-eighths, which + give four beats to the measure, but I think that gives it too + hard and square a character. I would divide each measure into + two parts and slightly accent each. Though your temperament is + more at home in the music of Chopin and Schumann, I recommend + especially music of this sort, and also the music of Bach; + these give solidity and strength to your conception of musical + ideas."</p> + + <p>We went through the Raff Suite, Op. 94. "The Preludio is + very good," he said; "I like it. The Menuetto is, musically, + the least strong of any of the numbers, but it has a certain + elegance, and is the most popular of them <a name="page255" + id="page255"></a>all. The Romanza is a great favorite of + mine, it is very graceful, flowing and melodious. The + concluding Fugue is a fine number; you see how the theme is + carried from one hand to the other, all twisted about, in a + way old Bach and Handel never thought of doing. I consider + this Raff fugue one of the best examples of modern fugue + writing."</p> + + <p>Mr. Sherwood was fond of giving students the Josef + Wieniawski Valse, for brilliancy. "There are many fine effects + which can be made in this piece; one can take liberties with + it—the more imagination you have the better it will go. I + might call it a <i>stylish</i> piece; take the Prelude as + capriciously as you like; put all the effect you can into it. + The Valse proper begins in a very pompous style, with right + hand very staccato; all is exceedingly coquettish. On the fifth + page you see it is marked <i>amoroso</i>, but after eight + measures the young man gives the whole thing away to his + father! The beginning of the sixth page is very <i>piano</i> + and light—it is nothing more than a breath of smoke, an + airy nothing. But at the <i>poco piu lento</i>, there is an + undercurrent of reality; the two parts are going at the same + time—the hard, earthly part, with accents, and the + spiritual, thin as air. To realize these qualities + <a name="page256" + id="page256"></a>in playing is the very idealization of + technic."</p> + + <p>The Chopin-Liszt <i>Maiden's Wish</i>, was next considered. + "The theme here is often overlaid and encrusted with the + delicate lace-like arabesques that seek to hide it; but it must + be found and brought out. There is so much in being able to + find what is hidden behind the notes. You must get an insight + into the inner idea; must feel it. This is not technic, not + method even; it is the spiritualization of playing. There are + pieces that will sound well if the notes only are played, like + the little F minor Moment Musicale of Schubert; yet even in + this there is much behind the notes, which, if brought out, + will make quite another thing of the piece.</p> + + <p>"Schumann's Andante, for two pianos, should have a very + tender, caressing touch for the theme. The place where the + four-sixteenths occur, which make rather a square effect, can + be softened down. On the second page, be sure and do not accent + the grace notes; let the accent come on the fifth finger every + time. For the variation containing chords, use the grasping + touch, which might be described as a certain indrawing of force + in the end of the finger, as though taking a long breath. The + variation in triplets seems at <a name="page257" + id="page257"></a>first sight almost a caricature, a + burlesque on the theme, but I don't think that Schumann had + any such idea. On the contrary he meant it as a very sweet, + gentle, loving thought. The last page has something + ethereal, ideal about it; it should be breathed out, growing + fainter and fainter to the end.</p> + + <p>"The G minor Ballade, of Chopin, begins slowly, with much + dignity. The opening melody is one of sadness, almost gloom. + The <i>a tempo</i> on second page contains four parts going on + at the same time. At the <i>piu forte,</i> care must be taken + to have the outer side of the hand well raised, and moved from + the wrist. The idea here is one of great agitation and unrest. + The fifth page needs great power and the legato octaves well + connected and sustained. The feeling of unrest is here + augmented until it becomes almost painful, and not until the + <i>animato</i> does a restful feeling come. This should be + played lightly and delicately, the left hand giving the rhythm. + The <i>presto</i> demands great power and dash. Let the wrist + be low when beginning the chords, raise it after the first and + let it fall after the second. Always accent the second chord. + Begin the final double runs slowly and increase in speed and + tone. So, too, with <a name="page258" + id="page258"></a>the octaves, begin slowly and increase in + power and fire."</p> + + <p>Numerous other compositions were analyzed, but the ones + already quoted stand out in memory, and give some idea of Mr. + Sherwood's manner of teaching.</p> + + <h4>DR. WILLIAM MASON</h4> + + <p>Years after the foregoing experiences I had the privilege of + doing some work with the dean of all American piano masters, + Dr. William Mason. I had spent several years in European study, + with Scharwenka, Klindworth and von Bülow, and had + returned to my own land to join its teaching and playing force. + My time soon became so largely occupied with teaching that I + feared my playing would be entirely pushed to the wall unless I + were under the guidance of some master. With this thought in + mind, I presented myself to Dr. Mason.</p> + + <p>"You have studied with Sherwood," he began. "He has + excellent ideas of touch and technic. Some of these ideas came + from me, though I don't wish to claim too much in the matter. + Sherwood has the true piano touch. Very few pianists have it; + Klindworth did not have it, nor von Bülow, nor even Liszt, + en<a name="page259" + id="page259"></a>tirely, for he as well as the others, + sought for a more orchestral manner of playing. Sherwood has + this touch; Tausig had it, and de Pachmann and Rubinstein + most of all. It is not taught in Germany as it should be. + The best American teachers are far ahead in this respect; in + a few years the Europeans will come to us to learn these + things." (This was Sherwood's idea also.)</p> + + <p>The first composition played to Dr. Mason was the G minor + Rhapsodie of Brahms, with which, as it happened, he was + unfamiliar. I played the entire piece through without + interruption, and he seemed pleased.</p> + + <p>"You have a beautiful tone—a really beautiful tone, + and you play very artistically; much of this must be natural to + you, you could not have acquired it. You also have an + excellently trained hand. I may say that in my forty years of + teaching I have never had any one come to me with a better + position, or more natural and normal condition. Now, what do + you think I can do for you?"</p> + + <p>I explained that I needed some new ideas in my teaching, and + wished to keep up my own practise.</p> + + <p>"I will explain my theories to you, and we will then study + some compositions together.</p> + + <p>"<a name="page260" + id="page260"></a>There is everything in knowing how to + practise, but it is something that cannot be taught. I + played in public ten years before I found out the + secret.</p> + + <p>"Practise slowly and in sections. Not only must all the + notes be there, they must be dwelt on. There must be a firm and + rock-like basis for piano playing; such a foundation can only + be laid by patient and persevering slow practise. If the player + has not the control over his fingers to play a piece slowly, he + certainly cannot play it fast. Slow practise—one + difficulty at a time—one hand at a time; Napoleon's + tactics, 'one division at a time,' applies to music study. + Above all do not hurry in fugue playing, a universal fault. + Bach needs a slower trill than modern music. Chords are not to + be played with percussion but with pressure. The main things in + piano playing are tone and sentiment. When you take up a new + piece, practise a few measures slowly, till you know them, then + play faster; take the next few measures in the same way; but at + first do not practise the whole piece through at once.</p> + + <p>"Just as in life every experience of great joy or great + grief leaves one better or more callous, so every time you + practise you have <a name="page261" + id="page261"></a>either advanced or gone back. Right + playing, like good manners in a well-trained child, becomes + habitual from always doing right. As we are influenced for + good or evil by those we associate with, so are we + influenced by the character and quality of the tones we make + and hear. Be in earnest; put your heart, your whole soul, + your whole self into your playing."</p> + + <p>Among other pieces we studied together was the Schumann + sonata in F minor, the <i>Eusebius Sonata</i>—a glorious + work! In the opening movement the left hand should be very + serious and ponderous, with the hand and fingers held close to + the keys; using arm weight. The melody in octaves in right hand + is beseeching, pleading, imploring. In many places the touch is + very elastic. The second movement begins very softly, as though + one heard something faintly in the distance, and did not quite + know what it was, but thought it might be music. The accents in + this movement are to be understood in a comparative degree, and + are not as strong as the marks seem to indicate. The Scherzo is + extremely pompous and is to be played with heavy accents and a + great deal of vim and go; the chords with the utmost freedom + and dash. One must use the <a name="page262" + id="page262"></a>"letting-go" principle, which Paderewski + has to perfection.</p> + + <p>We next took up the Grieg Concerto; the Peter's edition of + this work has been corrected by the composer. At the first + lesson, Dr. Mason accompanied on a second piano, and seemed + pleased with the work I had done, making no corrections, except + to suggest a somewhat quicker tempo. "Not that I would do + anything to impair your carefulness and accuracy, but you must + take a risk, and from the beginning, too. I am reminded of the + young man who has been very carefully brought up. When the time + comes for him to strike out and take his chance in life, he + holds back and is afraid, while another with more courage, + steps in and takes away his opportunity."</p> + + <p>We discussed the slow movement at great length. "Note in + this movement the slow, dreamy effect that can be made at the + ending of the second solo, and the artistic use of the pedal in + the following chords. The third movement must have great swing + and 'go'; the octave passage cadenza should be practised in + rhythmical groups, and the final Andante must be fast."</p> + + <p>The third time we played the concerto I had + <a name="page263" + id="page263"></a>it well in hand. Dr. Mason accompanied as + only he could do, and at the close praised me on the way I + had worked it up, and the poetry and fire I was able to put + into it. Who could help playing with fire and enthusiasm + when led by such a master!</p> + + <p>Dr. Mason was a most inspiring teacher, quick to note and + praise what was good, and equally vigilant in correcting what + was blameworthy. His criticisms were of the utmost value, for + he had such wide experience, and such a large acquaintance with + music and musicians. Best of all he was a true artist, always + ready to demonstrate his art for the benefit of the pupil, + always encouraging, always inspiring.</p> + <hr style="width: 65%;" /> + <a name="page264" + id="page264"></a> + + <h2><a name="VITAL_POINTS_IN_PIANO_PLAYING" + id="VITAL_POINTS_IN_PIANO_PLAYING"></a>VITAL POINTS IN PIANO + PLAYING</h2> + + <h3>COMPOSITE PRINCIPLES DEDUCED FROM TALKS WITH EMINENT + PIANISTS AND TEACHERS</h3> + + <h3>SECTION I</h3> + + <p>How things are done, how others do them, and the reasons for + the doing of them in one way and not in another, used to occupy + my thoughts back as far as I can remember. As a child I was + fond of watching any one doing fine needlework or beautiful + embroidery, and tried to imitate what I saw, going into + minutest details. This fondness for exactness and detail, when, + applied to piano study, led me to question many things; to + wonder why I was told to do thus and so, when other people + seemed to do other ways; in fact I began to discover that every + one who played the piano played it in a different fashion. Why + was there not one way?</p> + + <p>One memorable night I was taken to hear Anton Rubinstein. + What a marvelous instrument the piano was, to be sure, when its + <a name="page265" + id="page265"></a>keys were moved by a touch that was at one + moment all fire and flame, and the next smooth as velvet or + soft and light as thistle-down. What had my home piano in + common with this wonder? Why did all the efforts at piano + playing I had hitherto listened to sink into oblivion when I + heard this master? What was the reason of it all?</p> + + <p>More artists of the piano came within my vision, Mehlig, + Joseffy, Mason, and others. As I listened to their performances + it was brought to me more clearly than ever that each master + played the piano in the manner which best suited himself; at + the same time each and every player made the instrument utter + tones and effects little dreamed of by the ordinary learner. + What was the secret? Was it the manner of moving the keys, the + size of hand, the length of finger, or the great strength + possessed by the player? I had always been taught to play + slowly and carefully, so that I should make no mistakes; these + great pianists had wonderful fearlessness; Rubinstein at least + did not seem to care whether or not he hit a few wrong notes + here and there, if he could only secure the speed and effect + desired. Whence came his fearless velocity, his tremendous + power?<a name="page266" + id="page266"></a></p> + + <h3>ESSENTIALS OF PIANISM</h3> + + <p>Little by little I began to realize the essentials of + effective piano playing were these: clear touch, intelligent + phrasing, all varieties of tone, all the force the piano would + stand, together with the greatest delicacy and the utmost + speed. These things the artists possessed as a matter of + course, but the ordinary student or teacher failed utterly to + make like effects, or to play with sufficient clearness and + force. What was the reason?</p> + + <p>In due course I came under the supervision of various piano + pedagogues. To the first I gave implicit obedience, endeavoring + to do exactly as I was told. The next teacher said I must begin + all over again, as I had been taught "all wrong." I had never + learned hand position nor independence of fingers—these + must now be established. The following master told me finger + independence must be secured in quite a different fashion from + the manner in which I had been taught, which was "all wrong." + The next professor said I must bend the finger squarely from + the second joint, and not round all three joints, as I had been + doing. This so-called fault took several months to + correct.<a name="page267" + id="page267"></a></p> + + <p>To the next I am indebted for good orthodox (if somewhat + pedantic) ideas of fingering and phrasing, for which he was + noted. The hobby of the next master was slow motions with soft + touch. This course was calculated to take all the vim out of + one's fingers and all the brilliancy out of one's playing in + less than six months. To the next I owe a comprehension of the + elastic touch, with devitalized muscles. This touch I practised + so assiduously that my poor piano was ruined inside of a year, + and had to be sent to the factory for a new keyboard. The next + master insisted on great exactness of finger movements, on + working up velocity with metronome, on fine tone shading and + memorizing.</p> + + <h3>THE DESIRE FOR REAL KNOWLEDGE</h3> + + <p>Such, in brief, has been my experience with pedagogues and + teachers of the piano. Having passed through it (and in passing + having tried various so-called and unnamed methods) I feel I + have reached a vantage ground upon which I can stand and look + back over the course. The desire to know the experience of the + great artists of the keyboard is as strong within me as ever. + What did they not have to go through to master their + instrument?<a name="page268" + id="page268"></a> And having mastered it, what do they + consider the vital essentials of piano technic and piano + playing? Surely they must know these things if any one can + know them. They can tell, if they will, what to do and what + to avoid, what to exclude as unnecessary or unessential and + what to concentrate upon.</p> + + <p>The night Rubinstein's marvelous tones fell upon my childish + ears I longed to go to him, clasp his wonderful hands in my + small ones and beg him to tell me how he did it all. I now know + he could not have explained how, for the greater the + genius—the more spontaneous its expression—the less + able is such an one to put into words the manner of its + manifestation. In later years the same impulse has come when + listening to Paderewski, Hofmann and others. If they could only + tell us exactly what is to be done to master the piano, what a + boon it would be to those who are awake enough to profit by and + follow the directions and experiences of such masters.</p> + + <p>In recognition of the strength of this desire, months after + a half-forgotten wish had been expressed by me, came a request + by <i>Musical America</i> to prepare a series of interviews + with the world famed pianists who were visiting our shores, and + also with prominent teachers <a name="page269" + id="page269"></a>who were making good among us, and who were + proving by results attained that they were safe and + efficient guides.</p> + + <h3>SEARCHING FOR TRUTH</h3> + + <p>Never was an interesting and congenial labor undertaken with + more zest. The artists were plied with questions which to them + may have seemed prosaic, but which to the interrogator were the + very essence of the principles of piano technic and piano + mastery. It is not a light task for an artist to sit down and + analyze his own methods. Some found it almost impossible to put + into language their ideas on these subjects. They had so long + been concerned with the highest themes of interpretation that + they hardly knew how the technical effects were produced, nor + could they put the manner of making them into words. They could + only say, with Rubinstein, "I do it this way," leaving the + questioner to divine how and then to give an account of it. + However, with questions leading up to the points I was anxious + to secure light upon, much information was elicited.</p> + + <p>One principle was ever before me, namely the Truth. I + desired to find out the truth about each subject and then + endeavored to <a name="page270" + id="page270"></a>set down what was said, expressed in the + way I felt would convey the most exact meaning. In + considering the vital points or heads under which to group + the subjects to be considered, the following seem to cover + the ground pretty thoroughly:</p> + + <p>1. Artistic piano technic; how acquired and retained. 2. How + to practise. 3. How to memorize. 4. Rhythm and tone color in + piano playing.</p> + <hr style="width: 65%;" /> + + <h2><a name="SECTION_II" + id="SECTION_II"></a>SECTION II</h2> + + <h3><i>Hand Position, Finger Action, and Artistic + Touch</i></h3> + + <h3>WHAT TECHNIC INCLUDES</h3> + + <p>When we listen to a piano recital by a world-famous artist, + we think—if we are musicians—primarily of the + interpretation of the compositions under consideration. That + the pianist has a perfect technic almost goes without saying. + He must have such a technic to win recognition as an artist. He + would not be an artist without a great technic, without + <a name="page271" + id="page271"></a>a complete command over the resources of + the instrument and over himself.</p> + + <p>Let us use the word technic in its large sense, the sense + which includes all that pertains to the executive side of piano + playing. It is in this significance that Harold Bauer calls + technic "an art in itself." Mme. Bloomfield Zeisler says: + "Piano technic includes so much! Everything goes into it: + arithmetic, grammar, diction, language study, poetry, history + and painting. In the first stages there are rules to be + learned, just as in any other study. I must know the laws of + rhythm and meter to be able to punctuate musical phrases and + periods. Pupils who have long since passed the arithmetic stage + have evidently forgotten all about fractions and division, for + they do not seem to grasp the time values of notes and groups + of notes used in music; they do not know what must be done with + triplets, dotted notes and so on. Thus you see technic includes + a multitude of things; it is a very wide subject."</p> + + <h3>HAND POSITION</h3> + + <p>The first principle a piano teacher shows his pupil is that + of hand position. It has been my effort to secure a definite + expression on this point from various artists. Most of them + <a name="page272" + id="page272"></a>agree that an arched position with rounded + finger joints is the correct one. It was Paderewski who + said, "Show me how the player holds his hands at the piano, + and I will tell you what kind of player he is"—showing + the Polish pianist considers hand position of prime + importance.</p> + + <p>"I hold the hand arched and very firm,"—Ernest + Schelling.</p> + + <p>"The hand takes an arched position, the finger-tips forming + a curve on the keys, the middle finger being placed a little + farther in on the key than is natural for the first and + fifth."—Katharine Goodson.</p> + + <p>"The hand is formed on the keys in its five-finger position, + with arched knuckles."—Ethel Leginska.</p> + + <p>"The hand is formed in an arched position, with curved + fingers, and solidified."—Carl Roeder.</p> + + <p>"The hand, in normal playing position, must stand up in well + arched form, with fingers well rounded."—Thuel + Burnham.</p> + + <p>"I first establish an arched hand position, with firm + fingers."—Edwin Hughes.</p> + + <p>"I teach arched hand position."—Alexander Lambert.</p> + + <p>"<a name="page273" + id="page273"></a>One must first secure an arched hand, with + steady first joints of the fingers."—Eleanor + Spencer.</p> + + <p>"The first thing to do for a pupil is to see that the hand + is in correct position; the knuckles will be somewhat elevated + and the fingers properly rounded."—Bloomfield + Zeisler.</p> + + <p>"A pupil must first form the arch of the hand and secure + firm finger joints. I form the hand away from the piano, at a + table."—Agnes Morgan.</p> + + <p>Leschetizky teaches arched hand position, with rounded + fingers, and all who have come under his instruction advocate + this form. It is the accepted position for passage playing. A + few pianists, notably Alfred Cortôt and Tina Lerner, play + their passage work with flat fingers, but this, in Miss + Lerner's case, is doubtless caused by the small size of the + hand.</p> + + <p>It is clear from the above quotations, and from many other + opinions which could be cited, that the authorities agree the + hand should be well arched, the end of the finger coming in + contact with the key; furthermore there should be no weakness + nor giving in at the nail joint.<a name="page274" + id="page274"></a></p> + + <h3>FINGER ACTION</h3> + + <p>The question of lifting the fingers seems to be one on which + various opinions are held. Some pianists, like Godowsky for + instance, will tell you they do not approve of raising the + fingers—that the fingers must be kept close to the keys. + It is noticeable, however, that even those who do not speak + favorably of finger action, use it themselves when playing + passages requiring distinctness and clearness. Other players + are rather hazy on the subject, but these are generally persons + who have not gone through the routine of teaching.</p> + + <p>The accepted idea of the best teachers is that at the + beginning of piano study positive finger movements must be + acquired; finger action must be so thoroughly grounded that it + becomes second nature, a very part of the player, something he + can never forget nor get away from. So fixed should it become + that no subsequent laxity, caused by the attention being wholly + centered on interpretation can disturb correct position, + condition, or graceful, plastic movement.</p> + + <p>"For passage work I insist on finger action; the fingers + must be raised and active to insure proper development. I think + one certainly <a name="page275" + id="page275"></a>needs higher action when practising technic + and technical pieces than one would use when playing the + same pieces before an audience."—Clarence Adler.</p> + + <p>Alexander Lambert speaks to the point when he says: "I teach + decided finger action in the beginning. Some teachers may not + teach finger action because they say artists do not use it. But + the artist, if questioned, would tell you he had to acquire + finger action in the beginning. There are so many stages in + piano playing. The beginner must raise his fingers in order to + acquire finger development and a clear touch. In the middle + stage he has secured enough finger control to play the same + passages with less action, yet still with sufficient clearness, + while in the more or less finished stages the passage may be + played with scarcely any perceptible motion, so thoroughly do + the fingers respond to every mental requirement."</p> + + <p>It is this consummate mastery and control of condition and + movement that lead the superficial observer to imagine that the + great artist gives no thought to such things as position, + condition and movements. Never was there a greater mistake. The + finest perfection of technic has been acquired with painstaking + <a name="page276" + id="page276"></a>care, with minute attention to exacting + detail. At some period of his career, the artist has had to + come down to foundation principles and work up. Opinions may + differ as to the eminence of Leschetizky as a teacher, but + the fact remains that many of the pianists now before the + public have been with him at one time or another. They all + testify that the Viennese master will have nothing to do + with a player until he has gone through a course of rigorous + preparation spent solely in finger training, and can play a + pair of Czerny études with perfect control and + effect.</p> + + <h3>ARTISTIC TOUCH</h3> + + <p>One of the greatest American teachers of touch was Dr. + William Mason, who made an exhaustive study of this subject. + His own touch was noted for its clear, bell-like, elastic + quality. He remarked on one occasion, in regard to playing in + public: "It is possible I may be so nervous that I can hardly + walk to the piano; but once I have begun to play I shall hold + the audience still enough to hear a pin drop, simply by the + beauty of my touch and tone." Dr. Mason's touch specialties + were "pressure" and "elastic" or "drawing-off" touches. He + found these gave <a name="page277" + id="page277"></a>both weight and crisp lightness to the + tones.</p> + + <p>Mr. Tobias Matthay, of London, has given much time and + thought to the study of touch and key mechanism. He says: "The + two chief rules of technic, as regards the key are: Always feel + how much the key resists you, feel how much the key + <i>wants</i> for every note. Second, always listen for the + moment each sound begins, so that you may learn to direct your + effort to the sound only and not to the key bed. It is only by + making the hammer end of the key move that you can make a + sound. The swifter the movement, the louder the sound. The more + gradual the movement the more beautiful the quality of sound. + For brilliant tone, you may hit the string by means of the key, + but do not, by mistake, hit the key instead."</p> + + <p>Thuel Burnham, a pupil of Mason and Leschetizky, has welded + the ideas of these two masters into his own experience, and + simplifies the matter of piano touch as follows:</p> + + <h3>MELODY AND COLORATURA HANDS</h3> + + <p>"The position and condition of the hand varies according to + the character of the music and the quality of tone you wish to + produce. If you give out a melody, you want a full, + <a name="page278" + id="page278"></a>luscious tone, the weight of arm on the + key, everything relaxed and a clinging, caressing pressure + of finger. Here you have the 'Melody Hand,' with + outstretched, flat fingers. On the contrary, if you wish + rapid passage work, with clear, bright, articulate touch, + the hand must stand up in well-arched, normal playing + position, with fingers well rounded and good finger action. + Here you have the 'Technical' or 'Coloratura Hand.'"</p> + + <p>The distinction made by Mr. Burnham clears up the + uncertainty about arched hand and articulate touch, or low hand + and flat fingers. Both are used in their proper place, + according to the demands of the music. The player, however, who + desires a clean, reliable technic, should first acquire a + coloratura hand before attempting a melody hand.</p> + + <h2><a name="SECTION_III" + id="SECTION_III"></a>SECTION III</h2> + + <h3><i>The Art of Practise</i></h3> + + <p>We have seen that if the pianist hopes to perfect himself in + his art he must lay the foundation deep down in the + fundamentals of hand position, body condition, correct finger + <a name="page279" + id="page279"></a>movements and in careful attention to the + minutest details of touch and tone production.</p> + + <p>The remark is often heard, from persons who have just + listened to a piano recital: "I would give anything in the + world to play like that!" But would they even give the + necessary time, to say nothing of the endless patience, + tireless energy and indomitable perseverance which go to the + making of a virtuoso.</p> + + <p>How much time does the artist really require for study? + Paderewski owns to devoting <i>all</i> his time to it during + the periods of preparation for his recital tours. At certain + seasons of the year most of the artists give a large portion of + each day to the work. Godowsky is an incessant worker; Burnham + devotes his entire mornings to piano study; Germaine Schnitzer + gives six hours daily to her work, and if interrupted one day + the lost time is soon made up. Eleanor Spencer "practises all + her spare time," as she quaintly puts it. A professional + pianist must give a number of hours each day to actual practise + at the keyboard, besides what is done away from it. The work is + mentally going on continually, whether one really sits at the + instrument or not.</p> + + <p><a name="page280" + id="page280"></a>The point which most concerns us is: How + shall one practise so as to make the most of the time and + accomplish the best results? What études, if any, + shall we use, and what technical material is the most useful + and effectual?</p> + + <p>Wilhelm Bachaus, whose consummate technic we have so often + admired, says: "I am old-fashioned enough to still believe in + scales and arpeggios. Some of the players of the present day + seem to have no use for such things, but I find them of great + importance. This does not necessarily mean that I go through + the whole set of keys when I practise the scales. I select a + few at a time and work at those. I start with ridiculously + simple forms—just the thumb under the hand and the hand + over the thumb—a few movements each way, but these put + the hand in trim for scales and arpeggios. I practise the + latter about half an hour a day. I have to overhaul my technic + once or twice a week to see that everything is in order. Scales + and arpeggios come in for their share of criticism. I practise + them in various touches, but oftener in <i>legato</i>, as that + is more difficult and also more beautiful than the others. I + practise technic, when possible, an hour a day, including + Bach."</p> + + <p><a name="page281" + id="page281"></a>Sigismond Stojowski considers that scales + and arpeggios must form a part of the daily routine.</p> + + <p>Thuel Burnham says: "Of my practise hours at least one is + given to technic, scales, arpeggios, octaves, chords, and Bach! + I believe in taking one selection of Bach and perfecting + it—transposing it in all keys and polishing it to the + highest point possible. So with études, it is better to + perfect a few than to play <i>at</i> so many."</p> + + <h3>THE PIANIST A MECHANIC</h3> + + <p>Edwin Hughes, the American pianist and teacher in Munich, + remarks: "Technic is the mechanical part of music making; to + keep it in running order one must be constantly tinkering with + it, just as the engine driver with his locomotive or the + chauffeur with his automobile. Every intelligent player + recognizes certain exercises as especially beneficial to the + mechanical well-being of his playing; from these he will plan + his daily schedule of technical practise."</p> + + <p>Teresa Carreño asserts she had in the beginning many + technical exercises which her teacher wrote out for her, from + difficult passages taken from the great composers. There + <a name="page282" + id="page282"></a>were hundreds of them, so many that it took + just three days to go the rounds. She considers them + invaluable, and constantly uses them in her own practise and + in her teaching. Each exercise must be played in all keys + and with every possible variety of touch and tone.</p> + + <p>Paderewski gives much time daily to pure technic practise. + He has been known to play scales and arpeggios in a single key + for three quarters of an hour at a stretch. These were played + with every variety of touch, velocity, dynamic shading and so + on.</p> + + <p>It is seen from the instances quoted that many great + pianists believe in daily technic practise, or the study of + pure technic apart from pieces. Many more testify that scales, + chords, arpeggios and octaves constitute their daily bread. + Some have spoken to me especially of octave practise as being + eminently beneficial. They feel these things are essential to + the acquiring of a fine technic, and keeping it up to concert + pitch.</p> + + <p>Some artists are partial to certain technical studies. + Bachaus highly recommends those of Brahms, for instance. All + artists use Bach in connection with their technic practise; in + fact the works of Bach may be considered to em<a name="page283" + id="page283"></a>body pure technic principles, and pianists + and teachers consider them a daily necessity.</p> + + <h3>INVENTING EXERCISES</h3> + + <p>Together with their studies in pure technic alone, the + artists invent exercises out of the pieces they study, either + by playing passages written for both hands with one hand, by + turning single notes into octaves, by using more difficult + fingering than necessary, thus bringing into use the weaker + fingers, changing the rhythm, and in numerous other ways + increasing the effort of performance, so that when the passage + is played as originally written, it shall indeed seem like + child's play.</p> + + <p>Another means to acquire technical mastery is through + transposition. One would think Bach's music difficult enough + when performed as written, but the artists think nothing of + putting it through the different keys. Burnham relates that + during early lessons with Dr. Mason, that master gave him a + Bach Invention to prepare, casually remarking it might be well + to memorize it. The simple suggestion was more than sufficient, + for the ambitious pupil presented himself at the next lesson + with not only that particular Invention learned + <a name="page284" + id="page284"></a>by heart, but likewise the whole set! De + Pachmann, in his eagerness to master the technic and + literature of the piano, says that when a Bach Prelude and + Fugue was on one occasion assigned him by his teacher, he + went home and learned the whole twenty-four, which he was + able to play in every key for the next lesson!</p> + + <h3>SLOW PRACTISE</h3> + + <p>The question is often put to artists: "Do you deem it + necessary to work for velocity, or do you practise the + composition much at the required speed?" Many pianists practise + very slowly. This was William H. Sherwood's custom. Harold + Bauer believes velocity to be inherent in the individual, so + that when the passage is thoroughly comprehended it can be + played at the necessary rate of speed. Bachaus testifies he + seldom works for velocity, saying that if he masters the + passage he can play it at any required tempo. "I never work for + velocity as some do," he remarks. "I seldom practise fast, for + it interferes with clearness. I prefer to play more slowly, + giving the greatest attention to clearness and good tone. By + pursuing this course I find that when I need velocity I have + it."</p> + + <p><a name="page285" + id="page285"></a>Clarence Adler counsels pupils always to + begin by practising slowly—faster tempo will develop + later, subconsciously. Velocity is only to be employed after + the piece has been thoroughly learned, every mark of + expression observed, all fingering, accents and dynamic + marks mastered. "You would scarcely believe," he adds, "how + slowly I practise myself."</p> + + <h3>A FEW EXCEPTIONS</h3> + + <p>There are very few exceptions to the general verdict in + favor of technic practise apart from pieces. Godowsky asserts + he never practises scales. Bauer cares little for pure technic + practise, believing the composition itself contains sufficient + material of a technical nature.</p> + + <p>Whether or not these brilliant exceptions merely prove the + rule, the thoughtful student of the piano must decide for + himself. He has already discovered that modern piano playing + requires a perfect technic, together with the personal equation + of vigorous health, serious purpose and many-sided mentality. + Mme. Rider-Possart says: "Technic is something an artist has to + put in the background as something of secondary importance, yet + if he does <a name="page286" + id="page286"></a>not possess it he is nowhere." The student + will not overlook the fact that to acquire the necessary + technical control he must devote time and thought to it + outside of piece playing. He must understand the principles + and follow out a certain routine in order to secure the best + results in the quickest and surest way. While each one must + work out his own salvation, it is an encouragement to know + that even the greatest artists must toil over their technic, + must keep eternally at it, must play slowly, must memorize + bit by bit. The difference between the artist and the + talented amateur often lies in the former's absolute + concentration, perseverance and devotion to the highest + ideals.</p> + + <h2><a name="SECTION_IV" + id="SECTION_IV"></a>SECTION IV</h2> + + <h3><i>How to Memorize</i></h3> + + <p>At the present stage of pianistic development, an artist + does not venture to come before the public and "use his notes." + No artist who values his reputation would attempt it. + Everything must be performed from memory—solos, + concertos, even accompaniments. The pianist must know every + note of the music <a name="page287" + id="page287"></a>he performs. The star accompanist aspires + to the same mastery when he plays for a famous singer or + instrumentalist. We also have the artist conductor, with + opera, symphony or concerto at his finger-tips. Hans von + Bülow, who claimed that a pianist should have more than + two hundred compositions in his repertoire, was himself + equally at home in orchestral music. He always conducted his + Meiningen Orchestra without notes.</p> + + <p>Let us say, then, that the present-day pianist ought to have + about two hundred compositions in his repertoire, all of which + must be played without notes. The mere fact of committing to + memory such a quantity of pages is no small item in the + pianist's equipment. The problem is to discover the best means + of memorizing music quickly and surely. Here again we are + privileged to inquire of the artist and of the artist teacher. + His knowledge and experience will be practical, for he has + evolved it and proved it over and over again.</p> + + <p>It is a well-known fact that Leschetizky advises memorizing + away from the instrument. This method at once shuts the door on + all useless and thoughtless repetition employed by so many + piano students, who repeat a passage endlessly, to avoid + thinking it out. Then they <a name="page288" + id="page288"></a>wonder why they cannot commit to memory! + The Viennese master suggests that a short passage of two or + four measures be learned with each hand alone, then tried on + the piano. If not yet quite fixed in consciousness the + effort should be repeated, after which it may be possible to + go through the passage without an error. The work then + proceeds in the same manner throughout the composition.</p> + + <h3>ONE YEAR'S MEMORIZING</h3> + + <p>A player who gives five or six hours daily to study, and who + has learned how to memorize, should be able to commit one page + of music each day. This course, systematically pursued, would + result in the thorough assimilation of at least fifty + compositions in one year. This is really a conservative + estimate, though at first glance it may seem rather large. If + we cut the figure in half, out of consideration for the + accumulative difficulties of the music, there will still remain + twenty-five pieces, enough for two programs and a very + respectable showing for a year's study.</p> + + <p>It may be that Leschetizky's principle of memorizing will + not appeal to every one. The player may find another path to + the goal, one <a name="page289" + id="page289"></a>more suited to his peculiar temperament. + Or, if he has not yet discovered the right path, let him try + different ways till he hits upon one which will do the work + in the shortest and most thorough manner. All masters agree + that analysis and concentration are the prime factors in the + process of committing music to memory.</p> + + <p>Michael von Zadora, pianist and teacher, said to me + recently: "Suppose you have a difficult passage to learn by + heart. The ordinary method of committing to memory is to play + the passage over and over, till the fingers grow accustomed to + its intervals. That is not my manner of teaching. The only way + to master that passage is to analyze it thoroughly, know just + what the notes are, the sequences of notes, if you will, their + position on the keyboard, the fingering, the positions the + hands must take to play these notes, so that you know just + where the fingers have to go before you put them on the keys. + When you thus thoroughly understand the passage or piece, have + thought about it, lived with it, so that it is in the blood, we + might say, the fingers can play it. There will be no difficulty + about it and no need for senseless + repetitions."<a name="page290" + id="page290"></a></p> + + <h3>PHRASE BY PHRASE</h3> + + <p>Most of the artists agree that memorizing must be done + phrase by phrase, after the composition has been thoroughly + analyzed as to keys, chords, and construction. This is + Katharine Goodson's way, and also Eleanor Spencer's and Ethel + Leginska's, three of Leschetizky's pupils now before the + public. "I really know the composition so thoroughly that I can + play it in another key just as well as the one in which it is + written, though I do not always memorize it each hand alone," + says Miss Goodson. "I first play the composition over a few + times to become somewhat familiar with its form and shape," + says Eleanor Spencer, "then I begin to analyze and study it, + committing it by phrases, or ideas, one or two measures at a + time. I do not always take the hands alone, unless the passage + is very intricate, for sometimes it is easier to learn both + hands together." Germaine Schnitzer avers that she keeps at a + difficult passage until she really knows it perfectly, no + matter how long it takes. "What is the use of going on," she + says, "until you are absolutely sure of the work in hand."</p> + + <p>It is plain from the opinions already cited + <a name="page291" + id="page291"></a>and from many I have heard expressed that + the artists waste no time over useless repetitions. They + fully realize that a piece is not assimilated nor learned + until it is memorized. When they have selected the + composition they wish to learn, they begin at once to + memorize from the start. The student does not always bring + to his work this definiteness of aim; if he did, much + precious time would be saved. The ability to memorize ideas + expressed in notes grows with use, just as any other + aptitude grows with continued effort.</p> + + <p>Instead, then, of playing <i>with</i> a piece, why do you + not at once begin to make it your own? Look at the phrases so + intently that they become as it were, photographed on your + mind. Ruskin said: "Get the habit of looking intently at + words." We might say the same of notes. Look at the phrase with + the conviction that it can be remembered after a glance or two. + It is only an indication of indolence and mental inertness to + look continually at the printed page or passage and keep on + playing it over and over, without trying to fix it indelibly in + the mind.</p> + + <p>In my work as teacher I constantly meet students, and + teachers too, who do little or no memorizing. Some do not even + approve of it, <a name="page292" + id="page292"></a>though it is difficult to conceive how any + one in his right mind can disapprove knowing a thing + thoroughly. The only way to know it thoroughly is to know it + by heart.</p> + + <h3>CONSTANT REPAIRS NECESSARY</h3> + + <p>A repertoire once committed must be constantly kept in + repair. The public player, in his seasons of study, generally + has a regular system of repetition, so that all compositions + can be gone over at least once a week. One artist suggests that + the week be started with the classics and concluded with modern + compositions and concerted numbers. Thus each day will have its + allotted task. The pieces are not merely to be played over, but + really overhauled, and all weak places treated to a dose of + slow, careful practise, using the printed pages. Artists on + tour, where consecutive practise is difficult or unattainable, + always carry the printed notes of their repertoire with them, + and are ceaselessly studying, repairing, polishing their + phrases, thinking out their effects.</p> + + <p>To those who wish to become pianists, I would say: "Keep + your memory active through constant use. Be always learning by + heart; do it systematically, a little at a + time.<a name="page293" + id="page293"></a> So it will be daily progress. So your + repertoire is built!"</p> + + <h3>SECTION V</h3> + + <h2><a name="SECTION_V" + id="SECTION_V"></a>SECTION V</h2> + + <h3><i>Rhythm and Tone Color in Piano Playing</i></h3> + + <p>How shall two such opposites as rhythm and tone color be + connected, even in name, some will ask. One belongs to the + mechanical side of piano playing, while the other appertains to + the ideal, the poetic, the soulful. The two subjects, however, + are not so wide apart as might at first appear; for the beauty + and variety of the second depends largely upon the mastery of + the first. You must play rhythmically before you can play + soulfully; you must first be able to keep time before you can + attempt to express color and emotion through any fluctuation of + rhythm. One depends on the other, therefore time and rhythm + come first; when these are well under control, not before, we + can go further and enter the wider field of tonal variety.</p> + + <p>Rhythm is one of the pianist's most important assets, + something he cannot do without. It might be said that the + possession of a well-developed rhythmic sense is one point in + which <a name="page294" + id="page294"></a>the artist differs greatly from the + amateur. The latter thinks nothing of breaking the rhythm at + any time and place that suits his fancy; while the artist is + usually conscientious about such matters, because his time + sense is more highly developed. A perfect time sense is + often inherent in the artist, a part of the natural gift + which he has cultivated to such a high state of achievement. + It may be he has never had any difficulty with this + particular point in piano playing, while the amateur has + constantly to struggle with problems of time and rhythm.</p> + + <h3>THE METRONOME</h3> + + <p>When the subject of using such a mechanical aid as the + metronome to cultivate rhythmic sense, is broached to the + executive artist, it does not always meet with an assenting + response. With such bred-in-the-bone sense of time as the + artist commands, it is little wonder he takes no great interest + in mechanical time-beating. Josef Hofmann's censure of the + metronome was probably due to his inborn rhythmic and artistic + sense; yet his words have doubtless had their effect on many + students, who, lacking his sense of rhythm, would have been + greatly benefited by its use.</p> + + <p><a name="page295" + id="page295"></a>Godowsky, when asked his opinion of the + metronome, replied: "I assuredly approve of its use; I have + even devoted a chapter to the metronome in the + <i>Progressive Series</i>, my great work on piano playing." + Edwin Hughes remarks: "If pupils have naturally a poor sense + of rhythm, there is no remedy equal to practising with the + metronome, using it daily until results are evident, when + there can be a judicious letting up of the discipline. The + mechanical sense of rhythm, the ability to count and to + group the notes of a piece correctly, can be taught to any + person, if one has the patience; but for the delicate + rhythmic <i>nuances</i> required by a Chopin Mazourka or a + Viennese Valse, a special rhythmic gift is necessary."</p> + + <p>Artists and teachers who have come under Leschetizky's + influence and use his principles, are generally in favor of the + metronome, according to their own testimony. The fact is, they + as teachers often find such deficiency in their pupils on the + subject of time sense and accuracy in counting, that they are + forced to institute strict measures to counteract this lack of + rhythmic comprehension.</p> + + <p>Granting, then, that the correct use, not the abuse, of the + metronome is of great assistance <a name="page296" + id="page296"></a>in establishing firm rhythmic sense, let us + turn our thought to the fascinating subject of—</p> + + <h3>TONE COLOR</h3> + + <p>When De Pachmann affirmed that he uses certain fingers to + create certain effects, the idea was thought to be one of the + eccentric pianist's peculiar fancies. Other players, however, + have had the same thought, and have worked along the same + line—the thought that on the fingering used depends the + quality of tone. For instance you might not play an expressive + melody with a consecutive use of the fifth finger, which is + called a "cold finger" by Thuel Burnham. He would use instead + the third, a "warm finger," to give out a soulful melody.</p> + + <h3>TONAL VARIETY</h3> + + <p>The pianist who desires to play effectively, must + continually strive for variety of tone, for tonal coloring. + These can be studied in scales, chords, arpeggios and other + technical forms. The singer seeks to make a tone of resonant + color, not a straight, flat tone; the pianist, on his part, + endeavors to give color and variety to his playing in the same + way. Harold Bauer thinks variety must be secured by the + contrast of one tone with another. Even a <a name="page297" + id="page297"></a>very harsh tone may be beautiful in its + right place, owing to its relation to other tones, and its + ability to express an idea. To render the playing expressive + by the contrast of light and shade, by tonal gradations, by + all varieties of touch, by all the subtleties of + <i>nuance</i>, is a great art, and only the most gifted ever + master it in its perfection. These are the things that + enchant us in Paderewski's performance, and in the tonal + coloring of Gabrilowitsch. Hofmann's playing is a marvel of + atmosphere and color; such playing is an object lesson to + students, a lesson in variety of light and shade, the + shifting of exquisite tonal tints.</p> + + <p>The sensitive musician is highly susceptible to color + effects in nature, in art or in objects about him. Certain + colors attract him, for he sees an affinity between them and + the tonal effects he strives to produce. Other colors repel, + perhaps for the opposite reason. Brilliant red is a warlike + color, and finds analogous expression in such pieces as + Chopin's Polonaise <i>Militaire</i>, and MacDowell's Polonaise. + We cannot help seeing, feeling the color red, when playing such + music. Soft pink and rose for love music, tender blues and + shades of gray for nocturnes and night pieces are some of the + affinities of tone and color. Warm shades of <a name="page298" + id="page298"></a>yellow and golden brown suggest an + atmosphere of early autumn, while delicate or vivid greens + give thoughts of spring and luscious summer. Certain pieces + of Mozart seem to bring before us the rich greens of a + summer landscape; the Fantaisie in C minor, and the + Pastorale Varie are of this type.</p> + + <p>Arthur Hochman says: "Colors mean so much to me; some are so + beautiful, the various shades of red for instance, then the + golden yellows, rich warm browns, and liquid blues. We can make + as wonderful combinations in tone color as ever painter put + upon canvas. To me dark red speaks of something tender, + heart-searching, mysterious. On the other hand the shades of + yellow express gaiety and brightness."</p> + + <p>It has been said that a pianist should study color effects + in order to express them in his playing. He can do this to + special advantage at the theater or opera, where he can see + unrolled before him the greatest possible variety in light and + shade, in colors, and in the constantly changing panorama of + action and emotion.</p> + + <p>The pianist can receive many ideas of tone color when + listening to a great singer, and watching the infinite tonal + gradations <a name="page299" + id="page299"></a>produced on the "greatest of all + instruments," the human voice.</p> + + <p>In short the pianist draws from many sources the experience, + the feeling and emotion with which he strives to inspire the + tones he evokes from his instrument. The keener his + perceptions, the more he labors, suffers, and <i>lives</i>, the + more he will be able to express through his chosen + medium—the piano!</p> + + <p> </p> + + <p> </p> + +<hr class="full" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK PIANO MASTERY***</p> +<p>******* This file should be named 15604-h.txt or 15604-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="https://www.gutenberg.org/dirs/1/5/6/0/15604">https://www.gutenberg.org/1/5/6/0/15604</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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