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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:49:23 -0700 |
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diff --git a/16658-h/16658-h.htm b/16658-h/16658-h.htm new file mode 100644 index 0000000..723f19c --- /dev/null +++ b/16658-h/16658-h.htm @@ -0,0 +1,6005 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of Piano And Song, by Friedrich Wieck. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */ + .blockquot{margin-left: 5%; margin-right: 10%;} + .sd {margin-left: 10%; font-style: italic;} + .sdi {font-style: normal;} + .pagenum {position: absolute; left: 92%; font-size: 0.7em; color: gray; text-align: right;} /* page numbers */ + .sidenote {width: 20%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em; margin-left: 1em; + float: right; clear: right; margin-top: 1em; + font-size: smaller; background: #eeeeee; border: dashed 1px;} + + .bb {border-bottom: solid 2px;} + .bl {border-left: solid 2px;} + .bt {border-top: solid 2px;} + .br {border-right: solid 2px;} + .bbox {border: solid 2px;} + + .center {text-align: center;} + .right {text-align: right;} + .right5 {text-align: right; margin-right: 5em;} + .right10 {text-align: right; margin-right: 10em;} + .smcap {font-variant: small-caps;} + .toc {font-variant: small-caps;} + .u {text-decoration: underline;} + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em;} + .poem span.i2 {display: block; margin-left: 2em;} + .poem span.i4 {display: block; margin-left: 4em;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Piano and Song, by Friedrich Wieck + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. 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 www.gutenberg.org + + +Title: Piano and Song + How to Teach, How to Learn, and How to Form a Judgment of + Musical Performances + +Author: Friedrich Wieck + +Translator: Mary P. Nichols + +Release Date: September 5, 2005 [EBook #16658] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK PIANO AND SONG *** + + + + +Produced by David Newman, Sigal Alon and the Online +Distributed Proofreading Team at https://www.pgdp.net + + + + + + +</pre> + + + + +<h1><span class="smcap">Piano and Song</span></h1> + +<p class="center"><i>HOW TO TEACH, HOW TO LEARN,</i><br /></p> + +<h6>AND</h6> + +<p class="center">HOW TO FORM A JUDGMENT OF MUSICAL +PERFORMANCES.<br /><br /><br /></p> + +<p class="center">Translated from the German</p> + +<h6>OF</h6> + +<p class="center">FRIEDRICH WIECK.<br /><br /><br /></p> + +<p class="center">BOSTON:<br /> +LOCKWOOD, BROOKS, & COMPANY.<br /> +1875.<br /><br /><br /> +</p><p><a name="Page_-8" id="Page_-8"></a></p> + + + +<p class="center"> +Entered according to Act of Congress, in the year 1875, by<br /> +NOYES, HOLMES, AND COMPANY,<br /> +In the Office of the Librarian of Congress, at Washington.<br /><br /><br /> +<br /> +<i>Cambridge:<br /> +Press of John Wilson and Son.</i><br /> +</p> + +<hr style="width: 65%;" /> +<h2>CONTENTS.</h2> + +<table summary="This table helps format the book's table of contents"> +<tr><td><a href="#TRANSLATORS_PREFACE"><span class="toc">Translator's Preface.</span></a></td> +<td></td></tr> +<tr><td><a href="#PREFACE_TO_THE_FIRST_EDITION"><span class="toc">Preface to the First Edition.</span></a></td> +<td></td></tr> +<tr><td><a href="#CHAPTER_I"><span class="toc">Chapter I. On Elementary Piano-forte Instruction</span></a></td> +<td align="right"><a href="#Page_1">1</a></td></tr> +<tr><td><a href="#CHAPTER_II"><span class="toc">Chapter II. An Evening Entertainment at Herr</span></a></td> +<td align="right"><a href="#Page_17">17</a></td></tr> +<tr><td><a href="#CHAPTER_III"><span class="toc">Chapter III. Many Students of the Piano and Few</span></a></td> +<td align="right"><a href="#Page_24">24</a></td></tr> +<tr><td><a href="#CHAPTER_IV"><span class="toc">Chapter IV. A Conversation with Mrs. Solid, and</span></a></td> +<td align="right"><a href="#Page_31">31</a></td></tr> +<tr><td><a href="#CHAPTER_V"><span class="toc">Chapter V. On the Pedal</span></a></td> +<td align="right"><a href="#Page_59">59</a></td></tr> +<tr><td><a href="#CHAPTER_VI"><span class="toc">Chapter VI. The Soft-Pedal Sentiment</span></a></td> +<td align="right"><a href="#Page_65">65</a></td></tr> +<tr><td><a href="#CHAPTER_VII"><span class="toc">Chapter VII. A Musical Tea-Party at the House of</span></a></td> +<td align="right"><a href="#Page_72">72</a></td></tr> +<tr><td><a href="#CHAPTER_VIII"><span class="toc">Chapter VIII. Singing and Singing-Teachers</span></a></td> +<td align="right"><a href="#Page_85">85</a></td></tr> +<tr><td><a href="#CHAPTER_IX"><span class="toc">Chapter IX. Thoughts on Singing</span></a></td> +<td align="right"><a href="#Page_96">96</a></td></tr> +<tr><td><a href="#CHAPTER_X"><span class="toc">Chapter X. Visit at Mrs. N.'s</span></a></td> +<td align="right"><a href="#Page_121">121</a></td></tr> +<tr><td><a href="#CHAPTER_XI"><span class="toc">Chapter XI. Secrets</span></a></td> +<td align="right"><a href="#Page_128">128</a></td></tr> +<tr><td><a href="#CHAPTER_XII"><span class="toc">Chapter XII. Thoughts on Piano-playing</span></a></td> +<td align="right"><a href="#Page_144">144</a></td></tr> +<tr><td><a href="#CHAPTER_XIII"><span class="toc">Chapter XIII. On Musical Talent</span></a></td> +<td align="right"><a href="#Page_163">163</a></td></tr> +<tr><td><a href="#CHAPTER_XIV"><span class="toc">Chapter XIV. Extravagances in Singing and Piano-playing</span></a></td> +<td align="right"><a href="#Page_173">173</a></td></tr> +<tr><td><a href="#CHAPTER_XV"><span class="toc">Chapter XV. Conclusion</span></a></td> +<td align="right"><a href="#Page_186">186</a></td></tr> +</table> + +<hr style="width: 65%;" /><p><a name="Page_-7" id="Page_-7"></a></p> +<h2><a name="TRANSLATORS_PREFACE" id="TRANSLATORS_PREFACE"></a>TRANSLATOR'S PREFACE.</h2> + + +<p><span class="smcap">Friedrich Wieck</span>, the author of the work a +translation of which is here offered to the public, +was during his long life a distinguished teacher +of music. He died in the autumn of 1873. He +was the father and teacher of the celebrated +pianist, Clara Wieck, now Fr. Dr. Clara Schumann, +widow of the renowned composer Robert +Schumann, who was also a pupil of Wieck. His +second daughter, Fräulein Marie Wieck, is well +known in Germany as an artistic performer on +the piano-forte.</p> + +<p>I have translated this little book, with the belief +that a knowledge of the author's views will be no +less valuable in America than in his own country; +and with the hope that it may find readers who +will be glad to receive the suggestions of so experienced +a teacher.</p> + +<p>In illustration of his method, in addition to the +two Etudes, already published by F. Whistling, +Leipzig, a number of piano exercises, &c., selected +from the literary remains of Wieck, by his daughter<a name="Page_-6" id="Page_-6"></a> +Marie Wieck and his pupil Louis Grosse, are, +it is said, about to be published.</p> + +<p>I have omitted in the translation a few portions +on the composition and management of the opera, +on the giving of concerts, and on the construction +of the piano, thinking that they would be of little +interest or practical value to the general public.</p> + +<p class="right"><span class="smcap">Mary P. Nichols.</span></p> + + + +<hr style="width: 65%;" /><p><a name="Page_-5" id="Page_-5"></a></p> +<h2><a name="PREFACE_TO_THE_FIRST_EDITION" id="PREFACE_TO_THE_FIRST_EDITION"></a>PREFACE TO THE FIRST EDITION.</h2> + + +<p>I here present to the musical public a book +written in a style of my own, not a scientific and +systematically well-arranged treatise. This no +reasonable man would expect of an old music-master, +who, in his long practice in the realm of +tones, could not arrive at learned and too often +fruitless deductions. Nature made me susceptible +to that which is good and beautiful; a correct +instinct and a tolerable understanding have taught +me to avoid the false and the vicious; a desire +for increased knowledge has led me to observe +carefully whatever I met with in my path in life; +and I may say, without hesitation, that I have +endeavored, according to my ability, to fill the position +to which I have been called. This is no +vain boast, but only the justifiable assertion of a +good conscience; and this no man needs to withhold. +For these reasons, I have been unwilling to +refrain from giving to the world a true expression +of my opinions and feelings. I trust they will +meet with a few sympathizing spirits who are<a name="Page_-4" id="Page_-4"></a> +willing to understand my aims; but I shall be still +more happy if, here and there, a music-teacher +will adopt the views here set forth, at the same +time carefully and thoughtfully supplying many +things which it did not enter into my plan to +explain more in detail. Abundant material lay +spread out before me, and even increased upon my +hands while I was writing. Art is indeed so comprehensive, +and every thing in life is so closely connected +with it, that whoever loves and fosters it +will daily find in it new sources of enjoyment and +new incitements to study. The most experienced +teacher of art must be a constant learner.</p> + +<p>I have always held and still hold the opinions +advanced in this work, and I have neglected no +opportunity to impress them upon my pupils.</p> + +<p>I may be allowed to mention here, with some +satisfaction, my daughters Clara and Marie; and, +among numerous other pupils, I speak with equal +pleasure of the estimable Herr Waldemar Heller, +of Dresden, and Prof. E.F. Wenzel, of Leipzig. +I have always enjoyed their affection and gratitude, +and I feel a pride that they continue to defend and +to teach the principles which they have received +from me.</p> + +<p>This is not the first time that I have appeared +as an author. The "Signale für die musikalische<a name="Page_-3" id="Page_-3"></a> +Welt," as well as the "Neue Zeitschrift für Musik," +have published numerous essays from my pen +under various titles. The approval which they +met with, at the time of their appearance, has +induced me to undertake this larger work. Several +of those earlier writings are included in this book, +but in a partially altered form. The frequently +recurring character, the teacher Dominie, originated +with these essays; I need hardly say that he represents +my humble self. Those who are otherwise +unacquainted with me will through him understand +my character, and will moreover see that a man of +such caustic brevity can be, by no means, a master +of polished style. May this last acknowledgment +appease all those critics whose hair is made to +stand on end by my inelegant mode of writing. I +will make no further apology for my style. I have +often availed myself of the dialogue form, because +it was conducive to brevity; not less frequently I +have made use of the form of the epistle and of +personal discourse, as being more congenial to my +individual manner than that of a serious treatise. +I have also undertaken to say something about +singing! A piano-teacher, if he is possessed of +mind and talent, as I suppose him to be, whether +he teaches the elements or occupies himself with +more advanced instruction, should understand the +art of singing; he, at least, should show a warm +<a name="Page_-2" id="Page_-2"></a>interest in it, and should have an earnest love for +it. When I speak in general of singing, I refer to +that species of singing which is a form of beauty, +and which is the foundation for the most refined +and most perfect interpretation of music; and, +above all things, I consider the culture of beautiful +tones the basis for the finest possible touch upon +the piano. In many respects, the piano and singing +should explain and supplement each other. +They should mutually assist in expressing the sublime +and the noble, in forms of unclouded beauty. +My book will make this evident to many; but +whether it will succeed with all, I doubt. Not +a few will even be found who will lay aside my +book with contempt, and who will scorn the zeal +of the "man of the past age." I am quite prepared +for this: it is the fashion at present to undervalue +the old times and their defenders; but I shall continue +to be conservative, until the "men of the +future" shall be able to show me results which +shall excel those of the past, or at least shall equal +them.</p> + +<p>And now I commend my little book to the public, +trusting that it will instruct the willing, correct +the erring, incite the indolent, and chastise those +who wilfully persist in the wrong.</p> + +<p class="right"><span class="smcap">The Author</span>.</p> + + +<hr style="width: 65%;" /><p><a name="Page_0" id="Page_0"></a></p> +<p><span class="pagenum"><a name="Page_1" id="Page_1"></a>[1]</span></p> + + +<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.</h2> + +<h3>ON ELEMENTARY PIANO-FORTE INSTRUCTION.</h3> + + +<p>You ask, my dear friend, for some particular +information about my piano method, especially +with regard to my mode of elementary instruction, +which differs essentially from that in common +use.</p> + +<p>I give you here the main points; and, if you +place confidence in my experience of forty years, +and if you will supply those details which I have +omitted, your own varied experience as a thoughtful, +talented, and earnest piano-teacher will enable +you to understand my theory, from the following +dialogue between my humble self under the title +of Dominie, my friend, and the little Bessie:—</p> + +<p><span class="smcap">Dominie.</span> My dear friend, how have you managed +to make piano-playing so utterly distasteful +to little Susie? and how is it that the instruction +<span class="pagenum"><a name="Page_2" id="Page_2"></a>[2]</span>which you have given her for the last three years +actually amounts to nothing?</p> + +<p><span class="smcap">Friend.</span> Well, I will tell you how I have proceeded. +First I taught her the names of the keys, +that was pretty dull work for her; then I made her +learn the treble notes, which was a difficult matter; +after that I taught her the bass notes, which puzzled +her still more; then I undertook to teach her +a pretty little piece, which she hoped to perform +for the delight of her parents. Of course she constantly +confused the bass and treble notes, she could +not keep time, she always used the wrong fingers +and could not learn it at all. Then I scolded her,—she +only cried; I tried a little coaxing,—that +made her cry worse; finally I put an end to the +piano lessons, and she begged me never to begin +them again; and there you have the whole story.</p> + +<p><span class="smcap">Dominie.</span> You certainly might have begun more +judiciously. How is it possible for a child to climb +a ladder when not only the lower rounds, but a +great many more, are wanting? Nature makes no +leaps, least of all with children.</p> + +<p><span class="smcap">Friend.</span> But did she not begin to climb the +ladder at the bottom?</p> + +<p><span class="smcap">Dominie.</span> By no means. She certainly never +was able to reach the top. I should say, rather, +<span class="pagenum"><a name="Page_3" id="Page_3"></a>[3]</span>that she tumbled down head foremost. To speak +mildly, she began to climb in the middle; and even +then you tried to chase her up, instead of allowing +her, carefully and quietly, to clamber up one step +at a time. Bring me your youngest daughter, +Bessie, and I will show you how I give a first +lesson.</p> + +<p><span class="smcap">Dominie.</span> Bessie, can you say your letters after +me? so,—<i>c</i>, <i>d</i>, <i>e</i>, <i>f</i>.</p> + +<p><span class="smcap">Bessie.</span> <i>c</i>, <i>d</i>, <i>e</i>, <i>f</i>.</p> + +<p><span class="smcap">Dominie.</span> Go on,—<i>g</i>, <i>a</i>, <i>b</i>, <i>c</i>.</p> + +<p><span class="smcap">Bessie.</span> <i>g</i>, <i>a</i>, <i>b</i>, <i>c</i>.</p> + +<p><span class="smcap">Dominie.</span> Once more: the first four again, then +the next four. That's right: now all the eight, +one after the other, <i>c</i>, <i>d</i>, <i>e</i>, <i>f</i>, <i>g</i>, <i>a</i>, <i>b</i>, <i>c</i>.</p> + +<p><span class="smcap">Bessie.</span> <i>c</i>, <i>d</i>, <i>e</i>, <i>f</i>, <i>g</i>, <i>a</i>, <i>b</i>, <i>c</i>.</p> + +<p><span class="smcap">Dominie.</span> (<i>after repeating this several times</i>). +That's good: now you see you have learned something +already. That is the musical alphabet, and +those are the names of the white keys on the +piano-forte. Presently you shall find them out, +and learn to name them yourself. But, first, you +must take notice (I strike the keys in succession +with my finger, from the one-lined <i>c</i> to the highest +treble) that these sounds grow higher and become +sharper one after the other; and in this way (I +<span class="pagenum"><a name="Page_4" id="Page_4"></a>[4]</span>strike the keys from one-lined <i>c</i> to the lowest +bass) you hear that the sounds grow lower and +heavier. The upper half, to the right, is called the +treble; the lower half is the bass. You quite understand +now the difference between the high sharp +tones and the low deep ones? Now we will go +on. What you see here, and will learn to play +upon, is called the key-board, consisting of white +keys and black ones. You shall presently learn +to give the right names both to the white keys and +the black; you see there are always two black keys +and then three black keys together, all the way up +and down the key-board. Now put the fore-finger +of your right hand on the lower one of any of the +two black keys that are together, and let it slip off +on to the white key next below it; now you have +found the key called <i>c</i>; what is the name of the +next key above it? Say the whole musical alphabet.</p> + +<p><span class="smcap">Bessie.</span> <i>c</i>, <i>d</i>, <i>e</i>, <i>f</i>, <i>g</i>, <i>a</i>, <i>b</i>, <i>c</i>.</p> + +<p><span class="smcap">Dominie.</span> Well, then, that key is called <i>d</i>.</p> + +<p><span class="smcap">Bessie.</span> Then this one must be <i>e</i>.</p> + +<p><span class="smcap">Dominie.</span> And now comes <i>f</i>. Anywhere on +the key-board you can find <i>f</i> just as easily, if you +put your finger on the lowest of any three black +keys that are together, and let it slip off on to the +<span class="pagenum"><a name="Page_5" id="Page_5"></a>[5]</span>white key next below it. If you remember where +these two keys, <i>f</i> and <i>c</i>, are, both in the treble and +the bass, you can easily find the names of all the +other keys. Now what is the next key above <i>f</i>?</p> + +<p><span class="smcap">Bessie.</span> <i>g</i>, and then <i>a</i>, <i>b</i>, <i>c</i>.</p> + +<p><span class="smcap">Dominie.</span> Now we will say over several times +the names of the keys, upwards and downwards, +and learn to find them skipping about in any irregular +order. At the end of the lesson we will try +them over once more, and before the next lesson +you will know the names of all the white keys. +You must practise finding them out by yourself; +you can't make a mistake, if you are careful to +remember where the <i>c</i> and the <i>f</i> are.</p> + +<p>I told you that the sounds this way (I strike the +keys upward) grow higher, and this way (I strike them +downwards) they grow lower. So you see no tones +are just alike: one is either higher or lower than +the other. Do you hear the difference? Now +turn round so as not to see the keys; I will strike +two keys, one after the other; now which is the +highest (the sharpest), the first or the second? (I +go on in this way, gradually touching keys nearer +and nearer together; sometimes, in order to puzzle +her and to excite close attention, I strike the lower +one gently and the higher one stronger, and keep +<span class="pagenum"><a name="Page_6" id="Page_6"></a>[6]</span>on sounding them, lower and lower towards the +bass, according to the capacity of the pupil.) I +suppose you find it a little tiresome to listen so +closely; but a delicate, quick ear is necessary for +piano-playing, and by and by it will become easier +to you. But I won't tire you with it any more now, +we will go on to something else. Can you count +3,—1, 2, 3?</p> + +<p><span class="smcap">Bessie.</span> Yes, indeed, and more too.</p> + +<p><span class="smcap">Dominie.</span> We'll see; now keep counting 1, 2, 3, +1, 2, 3, as evenly and regularly as you can. (I lead +her to count steadily, and strike at the same time +a chord in three even quarter-notes.) Now we'll +see if you can count evenly by yourself. (I count +1 of the chord with her, and leave her to count +2 and 3 by herself; or else I count with her at +2, and let her count 1 and 3 alone; but I am +careful to strike the chord promptly and with precision. +Afterwards I strike the chord in eighth-notes, +and let her count 1, 2, 3; in short, I give +the chord in various ways, in order to teach her +steadiness in counting, and to confine her attention. +In the same way I teach her to count 1, 2, +1, 2; or 1, 2, 3, 4, 5, 6; at the same time telling +her that music is sometimes counted in triple time, +and sometimes in 2/4 or 4/4 time.) Now, Bessie, you +<span class="pagenum"><a name="Page_7" id="Page_7"></a>[7]</span>have learned to count very well, and to know the +difference in the tones. It is not every child that +learns this in the first lesson. If you don't get +tired of it, you will some time learn to be a good +player. As soon as you are rested, I will tell you +about something else, that you will have to listen +to very carefully.</p> + +<p><span class="smcap">Bessie.</span> But I like it, and will take pains to listen +just as closely as I can.</p> + +<p><span class="smcap">Dominie.</span> When several tones are struck at the +same time, if they sound well together, they make +what we call a chord. But there are both major +and minor chords: the major chord sounds joyous, +gay; the minor, sad, dull, as you would say; the +former laugh, the latter weep. Now take notice +whether I am right. (I strike the chord of C +major; then, after a short pause, that of C minor; +and try, by a stronger or lighter touch, to make +her listen first to the major and then to the minor +chords. She usually distinguishes correctly; but +it will not do to dwell too long upon these at first, +or to try to enforce any thing by too much talk +and explanation.) Now I will tell you that the +difference in the sounds of these chords is in the +third, counted upwards from the lower note <i>c</i>, and +depends upon whether you take it half a tone higher +<span class="pagenum"><a name="Page_8" id="Page_8"></a>[8]</span>or lower, <i>e</i> or <i>e</i> flat. I shall explain this better to +you by and by, when you come to learn about the +tonic, the third, the fifth or dominant, the octave, +and so on. (It is advantageous and psychologically +correct to touch occasionally, in passing, upon points +which will be more thoroughly taught later. It +excites the interest of the pupil. Thus the customary +technical terms are sometimes made use +of beforehand, and a needful, cursory explanation +given of them.) That is right; you can tell them +pretty well already; now we will repeat once more +the names of the keys, and then we will stop for +to-day. Just see how many things you have learned +in this lesson.</p> + +<p><span class="smcap">Bessie.</span> It was beautiful!</p> + +<p><span class="smcap">Dominie.</span> I hope you will always find it so.</p> + +<p><span class="smcap">Bessie.</span> When may I have another lesson?</p> + +<p><span class="smcap">Dominie.</span> Day after to-morrow; at first, you +must have at least three lessons a week.</p> + +<p><span class="smcap">Bessie.</span> What shall I do in the next lesson?</p> + +<p><span class="smcap">Dominie</span>. I shall repeat all that I have taught +you to-day; but I shall teach you a great deal of it +in a different way, and every time I shall teach it +to you differently, so that it shall always be interesting +to you. In the next lesson we will begin to +play, first on the table, and at last on the piano.<span class="pagenum"><a name="Page_9" id="Page_9"></a>[9]</span> +You will learn to move your fingers lightly and +loosely, and quite independently of the arm, though +at first they will be weak; and you will learn to +raise them and let them fall properly. Besides +that, we will contrive a few exercises to teach you +to make the wrist loose, for that must be learned +in the beginning in order to acquire a fine touch +on the piano; that is, to make the tones sound as +beautiful as possible. I shall show you how to sit +at the piano and how to hold your hands. You +will learn the names of the black keys and the +scale of C, with the half-step from the 3d to the +4th and also that from the 7th to the 8th, which +latter is called the leading note, which leads into +C. (This is quite important for my method, for +in this way the different keys can be clearly explained.) +You will learn to find the chord of C +in the bass and the treble, and to strike them with +both hands together. And then in the third or +fourth lesson, after you know quite perfectly all +that I have already taught you, I will teach you to +play a little piece that will please you, and then you +will really be a player, a pianist.</p> + +<p><span class="smcap">Friend.</span> From whom have you learned all this? +It goes like the lightning-train.</p> + +<p><span class="smcap">Dominie.</span> A great many people can learn <i>what</i> +<span class="pagenum"><a name="Page_10" id="Page_10"></a>[10]</span>is to be taught; but <i>how</i> it is to be taught I have +only found out by devoting my whole mind, with +real love and constant thought, to the musical +improvement and general mental development of +my pupils. The advancement will unquestionably +be rapid, for it proceeds step by step, and one thing +is founded upon another; the pupil learns every +thing quietly, thoughtfully, and surely, without +going roundabout, without any hindrances and +mistakes to be unlearned. I never try to teach +too much or too little; and, in teaching each thing, +I try to prepare and lay the foundation for other +things to be afterwards learned. I consider it very +important not to try to cram the child's memory +with the teacher's wisdom (as is often done in a +crude and harsh way); but I endeavor to excite +the pupil's mind, to interest it, and to let it develop +itself, and not to degrade it to a mere machine. +I do not require the practice of a vague, dreary, +time and mind killing piano-jingling, in which way, +as I see, your little Susie was obliged to learn; +but I observe a musical method, and in doing +this always keep strictly in view the individuality +and gradual development of the pupil. In more +advanced instruction, I even take an interest in +the general culture and disposition of the pupil, +<span class="pagenum"><a name="Page_11" id="Page_11"></a>[11]</span>and improve every opportunity to call forth the +sense of beauty, and continually to aid in the intellectual +development.</p> + +<p><span class="smcap">Friend.</span> But where are the notes all this time?</p> + +<p><span class="smcap">Dominie.</span> Before that, we have a great deal to +do that is interesting and agreeable. I keep constantly +in view the formation of a good technique; +but I do not make piano-playing distasteful to the +pupil by urging her to a useless and senseless +mechanical "practising." I may perhaps teach the +treble notes after the first six months or after sixty +or eighty lessons, but I teach them in my own +peculiar way, so that the pupil's mind may be kept +constantly active. With my own daughters I did +not teach the treble notes till the end of the first +year's instruction, the bass notes several months +later.</p> + +<p><span class="smcap">Friend.</span> But what did you do meanwhile?</p> + +<p><span class="smcap">Dominie.</span> You really ought to be able to answer +that question for yourself after hearing this +lesson, and what I have said about it. I have cultivated +a musical taste in my pupils, and almost +taught them to be skilful, good players, without +knowing a note. I have taught a correct, light +touch of the keys from the fingers, and of whole +chords from the wrist; to this I have added the +<span class="pagenum"><a name="Page_12" id="Page_12"></a>[12]</span>scales in all the keys; but these should not be +taught at first, with both hands together. The +pupil may gradually acquire the habit of practising +them together later; but it is not desirable to +insist on this too early, for in playing the scales +with both hands together the weakness of the +fourth finger is concealed, and the attention distracted +from the feeble tones, and the result is an +unequal and poor scale.</p> + +<p>At the same time, I have in every way cultivated +the sense of time, and taught the division of the +bars. I have helped the pupils to invent little +cadences with the dominant and sub-dominant +and even little exercises, to their great delight and +advantage; and I have, of course, at the same time +insisted on the use of the correct fingering. You +see that, in order to become practical, I begin with +the theory. So, for instance, I teach the pupil to +find the triad and the dominant chord of the +seventh, with their transpositions in every key, +and to practise them diligently; and to make use +of these chords in all sorts of new figures and +passages. But all this must be done without haste, +and without tiring the pupil too much with one +thing, or wearing out the interest, which is all-important.</p> + +<p><span class="pagenum"><a name="Page_13" id="Page_13"></a>[13]</span>After that, I teach them to play fifty or sixty +little pieces, which I have written for this purpose. +They are short, rhythmically balanced, agreeable, +and striking to the ear, and aim to develop gradually +an increased mechanical skill. I require them +to be learned by heart, and often to be transposed +into other keys; in which way the memory, which +is indispensable for piano playing, is unconsciously +greatly increased. They must be learned <i>perfectly</i> +and played well, often, according to the capacity +of the pupil, even finely; in strict time (counting +aloud is seldom necessary) and without stumbling +or hesitating; first slowly, then fast, faster, slow +again, <i>staccato</i>, <i>legato</i>, <i>piano</i>, <i>forte</i>, <i>crescendo</i>, <i>diminuendo</i>, +&c. This mode of instruction I find always +successful; but I do not put the cart before the +horse, and, without previous technical instruction, +begin my piano lessons with the extremely difficult +acquirement of the treble and bass notes. In a +word, I have striven, as a psychologist and thinker, +as a man and teacher, for a many-sided culture. +I have also paid great attention to the art of singing, +as a necessary foundation for piano-playing. +I have devoted some talent, and at least an enthusiastic, +unwearied love to the subject. I have never +stood still; have learned something of teaching +<span class="pagenum"><a name="Page_14" id="Page_14"></a>[14]</span>every day, and have sought always to improve +myself; I have always been something new and +different, in every lesson and with every child; I +have always kept up a cheerful, joyous courage, +and this has usually kindled the same in my pupil, +because it came from the heart. Moreover, I have +never been a man of routine, have never shown +myself a pedant, who is obliged to hold fast to +certain ideas and views.</p> + +<p>I have lived up to the century, and have tried +to understand and to advance the age; have heard +every thing great and fine in music, and have induced +my pupils also to hear it. I have opposed +with determination all the prejudices and false +tendencies of the times, and never have allowed +impatient parents to give advice about my lessons. +I have insisted upon a good and well-tuned instrument +for my pupils, and have endeavored to merit +the love and confidence both of my pupils and +of their parents. In fact, I have devoted myself +thoroughly to my calling, and have been wholly +a teacher, always fixing my eye on the true, the +beautiful, and the artistic; and in this way have +been of service to my pupils.</p> + +<p><span class="smcap">Friend.</span> But how do you find parents who sympathize +with your ideas and with your lofty views?</p> + +<p><span class="pagenum"><a name="Page_15" id="Page_15"></a>[15]</span><span class="smcap">Dominie.</span> I have found that almost all the parents +of my pupils have entered into my views, if +not immediately, at least after they had been present +at a few lessons. In the case of those few who +would not enter into them, I have abandoned the +lessons; but, nevertheless, I have found that my +time has been fully occupied. My friend, do you +not think that views like these will assist in the +training of young and inexperienced teachers, who +are striving for improvement? and do you not think +they will be useful even to those who already possess +general mental culture, and who are animated by +an ardent love for their calling? I especially avoid +giving here any exclusive method, a servile following +of which would be entirely contrary to my intentions, +and, in fact, contrary to my method.</p> + +<p>But as for the rest! Alas, all those who do not +understand me, or who choose to misunderstand +me, those are the worst!—especially the ill-natured +people, the <i>classical</i> people who bray about music, +stride straight to the notes, and have no patience +till they come to Beethoven; who foolishly prate +and fume about my unclassical management, but +at bottom only wish to conceal their own unskilfulness, +their want of culture and of disinterestedness, +or to excuse their habitual drudgery. Lazy +<span class="pagenum"><a name="Page_16" id="Page_16"></a>[16]</span>people without talent I cannot undertake to inspirit, +to teach, and to cultivate.</p> + +<p>This chapter will, almost by itself, point out to +unprejudiced minds my method of giving more +advanced instruction, and will show in what spirit +I have educated my own daughters, even to the +highest point of musical culture, without using the +slightest severity. It will, indeed, cause great vexation +to the ill-minded and even to the polite world, +who attribute the musical position of my daughters +in the artistic world to a tyranny used by me, to +immoderate and unheard-of "practising," and to +tortures of every kind; and who do not hesitate +to invent and industriously to circulate the most +absurd reports about it, instead of inquiring into +what I have already published about teaching, +and comparing it with the management which, +with their own children, has led only to senseless +thrumming.</p> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_17" id="Page_17"></a>[17]</span></p> +<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.</h2> + +<h3>AN EVENING ENTERTAINMENT AT HERR ZACH'S.</h3> + + +<p>DRAMATIS PERSONÆ.</p> + +<p> +<span class="smcap">Herr Zach</span>, <i>formerly a flute-player, not very wealthy.</i><br /> +<span class="smcap">His Wife</span>, <i>of the family of Tz. (rather sharp-tempered).</i><br /> +<span class="smcap">Stock</span>, <i>her son, 17 years old (is studying the piano thoroughly).</i><br /> +<span class="smcap">Mr. Buffalo</span>, <i>music-master of the family.</i><br /> +<span class="smcap">Dominie</span>, <i>piano-teacher (rather gruff).</i><br /> +<span class="smcap">Cecilia</span>, <i>his daughter, 13 years old (shy).</i><br /><br /> +</p> + +<p><span class="smcap">Zach</span> (<i>to Dominie</i>). I regret that I was unable +to attend the concert yesterday. I was formerly +musical myself and played on the flute. Your +daughter, I believe, plays pretty well.</p> + +<p><span class="smcap">Dominie.</span> Well, yes! perhaps something more +than <i>pretty well</i>. We are in earnest about music.</p> + +<p><span class="smcap">Madame</span>, of the Tz. family (<i>envious because Cecilia +received applause for her public performance yesterday, +and because Mr. Buffalo had been unable to +bring out Stock,—all in one breath</i>). When did +your daughter begin to play? Just how old is she +now? Does she like playing? They say you are +very strict, and tie your daughters to the piano-stool. +How many hours a day do you make her +<span class="pagenum"><a name="Page_18" id="Page_18"></a>[18]</span>practise? Don't you make her exert herself too +much? Has she talent? Isn't she sickly?</p> + +<p><span class="smcap">Dominie.</span> Don't you think she looks in good +health, madam,—tall and strong for her years?</p> + +<p><span class="smcap">Madame</span>, of the Tz. family. But perhaps she +might look more cheerful, if she was not obliged to +play on the piano so much.</p> + +<p><span class="smcap">Dominie</span> (<i>bowing</i>). I can't exactly say.</p> + +<p><span class="smcap">Zach</span> (<i>suddenly interrupting, and holding Dominie +by the button-hole</i>). They say you torment and ill-treat +your daughters dreadfully; that the eldest +was obliged to practise day and night. Well, you +shall hear my Stock play this evening, who, some +time, by the grace of God, is to take the place +of Thalberg in the world. Now give me your +opinion freely (of course, I was only to praise): we +should like very much to hear what you think +about his playing, though perhaps Mr. Buffalo may +not agree with you.</p> + +<p class="sd">(Mr. Buffalo is looking through the music-case +and picking out all the Etudes, by listening +to which Dominie is to earn his supper.)</p> + +<p><span class="smcap">Dominie</span> (<i>resigned and foreseeing that he shall be +bored</i>). I have heard a great deal of the industry +of your son, Stock. What are you studying now, +Mr. Stock?</p> + +<p><span class="pagenum"><a name="Page_19" id="Page_19"></a>[19]</span><span class="smcap">Stock</span> (<i>in proud self-consciousness, rather Sophomoric</i>). +I play six hours a day, two hours scales +with both hands together, and four hours Etudes. +I have already gone through the first book of +Clementi and four books of Cramer. Now I am +in the Gradus ad Parnassum: I have already studied +the right fingering for it.</p> + +<p><span class="smcap">Dominie.</span> Indeed, you are very much in earnest: +that speaks well for you, and for Mr. Buffalo. But +what pieces are you studying with the Etudes? +Hummel, Mendelssohn, Chopin, or Schumann?</p> + +<p><span class="smcap">Stock</span> (<i>contemptuously</i>). Mr. Buffalo can't bear +Chopin and Schumann. Mr. Buffalo lately played +through Schumann's "Kinderscenen," that people +are making such a talk about. My mamma, who +is also musical, and used to sing when papa played +the flute, said, "What ridiculous little things are +those? Are they waltzes for children? and then +the babyish names for them! He may play such +stuff to his wife, but not to us."</p> + +<p><span class="smcap">Dominie.</span> Well, these "Kinderscenen" <i>are</i> curious +little bits for grown-up men's hands. Your +mother is right, they are too short: there certainly +ought to be more of them. But they are +not waltzes!</p> + +<p><span class="smcap">Stock.</span> Indeed, I am not allowed to play waltzes +<span class="pagenum"><a name="Page_20" id="Page_20"></a>[20]</span>at all. My teacher is very thorough: first, I shall +have to dig through all the Gradus ad Parnassum; +and then he is going to undertake a concerto of +Beethoven's with me, and will write the proper +fingering over it. I shall play that in public; and +then, as he and my aunt say, "I shall be the death +of you all."</p> + +<p><span class="smcap">Mr. Buffalo</span> (<i>who has overheard him, steps up</i>). +Now, Herr Dominie, how do you like my method? +Perhaps you have a different one? Nevertheless, +that shan't prevent our being good friends. Certainly, +if any thing is to be accomplished in these +times, it is necessary to keep at work,—that is +my doctrine. But Stock, here, has unusual patience +and perseverance. He has worked through all +Cramer's 96 Etudes in succession without grumbling. +He was wretched enough over them; but +his papa bought him a saddle-horse to ride round +on every day, and he revived in the fresh air.</p> + +<p class="sd">(Herr Zach with his wife and an old aunt are +playing cards in the further room.)</p> + +<p><span class="smcap">Dominie.</span> But do you not combine the study +of musical pieces with the study of exercises, in +order that the cultivation of the taste may go hand +in hand with mechanical improvement?</p> + +<p><span class="smcap">Mr. Buffalo.</span> My dear friend, you are too narrow-minded +<span class="pagenum"><a name="Page_21" id="Page_21"></a>[21]</span>there,—you make a mistake: taste +must come of itself, from much playing and with +years. Your Cecilia played the two new waltzes, +and the Nocturne of Chopin, and Beethoven's trio +very nicely. But then that was all drilled into her: +we could tell that well enough by hearing it,—Stock +and I.</p> + +<p><span class="smcap">Dominie.</span> Did it sound unnatural to you,—mannered? +and did you think it wooden, dry, +dull?</p> + +<p><span class="smcap">Mr. Buffalo.</span> Not exactly that; but the trouble +was it sounded <i>studied</i>. The public applauded, +it is true; but they don't know any thing. Stock +and I thought—</p> + +<p><span class="smcap">Dominie.</span> Do you not think that the taste for +a beautiful interpretation may be early awakened, +without using severity with the pupil? and that +to excite the feeling for music, to a certain degree, +even in early years, is in fact essential? The +neglect of this very thing is the reason that we +are obliged to listen to so many players, who really +have mechanically practised themselves to death, +and have reduced musical art to mere machinery,—to +an idle trick of the fingers.</p> + +<p><span class="smcap">Mr. Buffalo.</span> That's all nonsense. I say teach +them the scales, to run up and down the gamut!<span class="pagenum"><a name="Page_22" id="Page_22"></a>[22]</span> +Gradus ad Parnassum's the thing! Classical, classical! +Yesterday you made your daughter play +that Trill-Etude by Carl Meyer. Altogether too +fine-sounding! It tickles the ear, to be sure, +especially when it is played in such a studied +manner. <i>We</i> stick to Clementi and Cramer, and +to Hummel's piano-school,—the good old school. +You have made a great mistake with your eldest +daughter.</p> + +<p><span class="smcap">Dominie.</span> The world does not seem to agree +with you.</p> + +<p><span class="smcap">Madame</span>, of the Tz. family (<i>has listened and lost +a trick by it, steps up quickly, and says maliciously</i>). +You must agree that she would have played better, +if you had left her for ten years with Cramer and +Clementi. We don't like this tendency to Schumann +and Chopin. But what folly to talk! One +must be careful what one says to the father of such +a child! It is quite a different thing with us. Mr. +Buffalo is bound to our Stock by no bond of affection. +He follows out his aim without any hesitation +or vanity, and looks neither to the right nor +to the left, but straightforward.</p> + +<p><span class="smcap">Dominie.</span> I beg your pardon, madam: you may +be right,—from your point of view. We must be +<span class="pagenum"><a name="Page_23" id="Page_23"></a>[23]</span>a little indulgent with sensitive people. But will +not your son play to us?</p> + +<p class="sd">(Stock plays two Etudes of Clementi, three of +Cramer, and four from the Gradus, but did +not even grow warm over them. The horse +his father gave him has made him quite +strong.)</p> + +<hr style='width: 45%;' /> + +<p>I may be asked, "But how did Stock play?" +How? I do not wish to write a treatise: my +plan is only to give hints and suggestions. I am +not writing in the interest of Stock, Buffalo, +& Co.</p> + +<p>After the playing, we went to supper: the oysters +were good, but the wine left a little sharp taste. +My timid daughter did not like oysters; but she +ate a little salad, and at table listened instead of +talking.</p> + +<p>A few innocent anecdotes were related at table +about horses and balls and dogs and Stock's future. +On taking leave, Madame said condescendingly to +Cecilia, "If you keep on, my dear, one of these +days you will play very nicely."</p> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_24" id="Page_24"></a>[24]</span></p> +<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.</h2> + +<h3>MANY STUDENTS OF THE PIANO AND FEW +PLAYERS.</h3> + + +<p class="center"><i>(A Letter addressed to the Father of a Piano Pupil).</i></p> + +<p>It is a pity that you have no sons, for a father +takes great delight in his sons; but I agree with +you, when you say that, if you had one, you would +rather he should break stones than pound the +piano. You say you have many friends who rejoice +in that paternal felicity, and whose sons, +great and small, bright and dull, have been learning +the piano for three years or more, and still can +do nothing. You are doubtless right; and, further, +they never will learn any thing. You ask, Of what +use is it to man or boy to be able to stammer +through this or that waltz, or polonaise or mazurka, +with stiff arms, weak fingers, a stupid face, and +lounging figure? What gain is it to art? You +say, Is not time worth gold, and yet we are offered +lead? And the poor teachers torment themselves +and the boys, abuse art and the piano; and at the +end of the evening, in despair, torment their own +<span class="pagenum"><a name="Page_25" id="Page_25"></a>[25]</span>wives, after they have all day long been scolding, +cuffing, and lamenting, without success or consolation. +You speak the truth. I have had the same +experience myself, though not to the same degree, +and though I did not bring home to my wife a +dreary face, but only a good appetite. But I did +not give myself up to lamentation over piano-teaching. +I gathered up courage and rose above +mere drudgery. I reflected and considered and +studied, and tried whether I could not manage +better, as I found I could not succeed with the +boys; and I have managed better and succeeded +better, because I have hit upon a different way, +and one more in accordance with nature than that +used in the piano schools. I laid down, as the first +and most important principle, the necessity for +"the formation of a fine touch," just as singing-teachers +rely upon the culture of a fine tone, in +order to teach singing well. I endeavored, without +notes, to make the necessary exercises so interesting +that the attention of the pupils always increased; +and that they even, after a short time, took great +pleasure in a sound, tender, full, singing tone; an +acquirement which, unfortunately, even many <i>virtuosos</i> +do not possess. In this way, we made an +opening at the beginning, not in the middle: we +<span class="pagenum"><a name="Page_26" id="Page_26"></a>[26]</span>harnessed the horse <i>before</i> the wagon. The pupil +now obtained a firm footing, and had something +to enjoy, without being tormented at every lesson +with dry matters to be learned, the advantage of +which was not obvious to him, and the final aim +of which he did not perceive. Until a correct +touch has been acquired, it is of no use to talk +about a fine singing tone. How can we expect +to arouse an interest by mere toneless tinkling, +while stiff, inflexible fingers are struggling with +the notes; while the pupil sees only his inability +to do any thing right, and receives nothing but +blame from the teacher; while, at the same time, +so much is to be kept in mind, and he must be +required to observe the time, and to use the right +fingers? Poor, stupid children! Later, after teaching +the notes, I did not fall into the universal error +of selecting pieces which were either too difficult, +or such as, though purely musical, were not well +adapted to the piano; but I chose short, easy pieces, +without prominent difficulties, in the correct and +skilful performance of which the pupil might take +pleasure. Consequently, they were studied carefully, +slowly, willingly, and with interest, which +last is a great thing gained; for the pupil rejoiced +in the anticipation of success. The struggle over +<span class="pagenum"><a name="Page_27" id="Page_27"></a>[27]</span>single difficult places destroys all pleasure, palsies +talent, creates disgust, and, what is worse, it tends +to render uncertain the confirmation of the faculty +already partially acquired,—of <i>bringing out a fine +legato tone, with loose and quiet fingers and a +yielding, movable wrist, without the assistance of +the arm</i>.</p> + +<p>You suppose that talent is especially wanting, +and not merely good teachers; for otherwise, with +the zealous pursuit of piano-playing in Saxony, we +should produce hundreds who could, at least, play +correctly and with facility, if not finely. Here you +are mistaken: we have, on the contrary, a great +deal of musical talent. There are, also, even in the +provincial cities, teachers who are not only musical, +but who also possess so much zeal and talent for +teaching that many of their pupils are able to play +tolerably well. I will add further, that the taste +for music is much more cultivated and improved, +even in small places, by singing-societies and by +public and private concerts, than was formerly the +case. We also have much better aids in instruction +books, études, and suitable piano pieces; but +still we find everywhere "jingling" and "piano-banging," +as you express it, and yet no piano-playing.</p> + +<p><span class="pagenum"><a name="Page_28" id="Page_28"></a>[28]</span>Let us consider this aspect of the subject a little +more closely. In the first place, the proper basis +for a firm structure is wanting. The knowledge +of the notes cannot afford a proper basis, except +in so far as it is of service in the execution of a +piece. Of what use are the notes to a singer, if +he has no attack, and does not understand the +management of the voice? of what use to the +piano-learner, if he has no touch, no tone on +the piano-forte. Is this to be acquired by playing +the notes? But how then is it to be learned?</p> + +<p>One thing more. Owing to an over-zeal for +education, children are kept in school from seven +to ten hours in a day, and then they are required +to work and commit to memory in their free hours, +when they ought to be enjoying the fresh air. But +when are they then to have their piano lessons? +After they have escaped from the school-room, +and consequently when the children are exhausted +and their nerves unstrung. What cruelty! Instead +of bread and butter and fresh air, piano +lessons! The piano ought to be studied with +unimpaired vigor, and with great attention and +interest, otherwise no success is to be expected. +Besides this, much writing, in itself, makes stiff, +inflexible fingers. But when is the child to find +<span class="pagenum"><a name="Page_29" id="Page_29"></a>[29]</span>time for the necessary practice of the piano lessons? +Well, in the evening, after ten o'clock for refreshment, +while papa and mamma are in bed! And +now, after the school-days are happily over, and the +children have possibly retained their red cheeks, +then their occupations in life lay claim to their +time; or, if they are girls, they are expected to +busy themselves with embroidery, knitting, sewing, +crochet, making clothes, house-work, tea parties, +and alas! with balls; and now, too, comes the time +for lovers. Do you imagine that the fingers of +pupils sixteen years old can learn mechanical +movements as easily as those of children nine +years old? In order to satisfy the present demands +in any degree, the technique should be +settled at sixteen. Under all these circumstances, +we find the best teachers become discouraged, and +fall into a dull routine, which truly can lead to no +success.</p> + +<p>In conclusion, I beg you to invite the piano +teacher, Mr. Strict, to whom you have confided +the instruction of your only daughter, Rosalie, to +pay me a visit, and I will give him particular directions +for a gradual development in piano-playing, +up to Beethoven's op. 109 or Chopin's F minor +concerto. But I shall find him too fixed in his +<span class="pagenum"><a name="Page_30" id="Page_30"></a>[30]</span>own theories, too much of a composer, too conceited +and dogmatic, and not sufficiently practical, +to be a good teacher, or to exert much influence; +and, indeed, he has himself a stiff, restless, clumsy +touch, that expends half its efforts in the air. He +talks bravely of études, scales, &c.; but the question +with regard to these is <i>how they are taught</i>. +The so-called practising of exercises, without having +previously formed a sure touch, and carefully +and skilfully fostering it is not much more useful +than playing pieces. But I hear him reply, +with proud and learned self-consciousness: "Music, +music! Classical, classical! Spirit! Expression! +Bach, Beethoven, Mendelssohn!" That is just the +difficulty. Look at his pupils, at his pianists! +See how his children are musically stifled, and hear +his daughter sing the classical arias composed by +himself! However, it is all musical! Farewell.</p> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_31" id="Page_31"></a>[31]</span></p> +<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.</h2> + +<h3>A CONVERSATION WITH MRS. SOLID, AND FOUR +LESSONS TO HER DAUGHTER.</h3> + + +<p><span class="smcap">Mrs. Solid.</span> I should be glad to understand how +it is that your daughters are able to play the +numerous pieces which I have heard from them +so correctly and intelligently, without bungling +or hesitation, and with so much expression, and +the most delicate shading; in fact, in such a masterly +manner. From my youth upwards, I have +had tolerable instruction. I have played scales and +études for a long time; and have taken great pleasure +in studying and industriously practising numerous +compositions of Kalkbrenner and Hummel, +under their own direction. I have even been +celebrated for my talent; but, nevertheless, I never +have had the pleasure of being able to execute any +considerable piece of music to my own satisfaction +or that of others; and I fear it will be the same +with my daughter Emily.</p> + +<p><span class="smcap">Dominie.</span> In order to give a satisfactory answer +to your question, I will lay before you a few of my +<span class="pagenum"><a name="Page_32" id="Page_32"></a>[32]</span>principles and opinions in respect to musical culture, +with special reference to piano-playing. Educated +ladies of the present time make greater pretensions +and greater demands than formerly in regard to +music and musical execution; and consequently +their own performances do not usually correspond +with their more or less cultivated taste for the +beautiful, which has been awakened by their careful +general education. Thus they are aware that +they are not able to give satisfaction, either to themselves +or to others; and from this arises a want of +that confidence in their own powers, which should +amount almost to a consciousness of infallibility, +in order to produce a satisfactory musical performance. +This confidence has its foundation in a full, +firm, clear, and musical touch, the acquisition of +which has been, and is still, too much neglected by +masters and teachers. A correct mechanical facility +and its advanced cultivation rest upon this basis +alone; which, moreover, requires special attention +upon our softly leathered pianos, which are much +more difficult to play upon than the old-fashioned +instruments. It is a mistake to suppose that a +correct touch, which alone can produce a good +execution, will come of itself, through the practice +of études and scales. Even with masters, it is +<span class="pagenum"><a name="Page_33" id="Page_33"></a>[33]</span>unusual to meet with a sound, fine, unexceptionable +touch, like that of Field and Moscheles, and +among the more recent that of Thalberg, Chopin, +Mendelssohn, and Henselt.</p> + +<p>I will speak now of the selection of pieces. Our +ladies are not contented to play simple music, which +presents few difficulties and requires no involved +fingering; and from which they might gradually +advance by correct and persevering study to more +difficult pieces. They at once seize upon grand +compositions by Beethoven, C.M. von Weber, +Mendelssohn, Chopin, and others, and select also, +for the sake of variety, the bravoura pieces of Liszt, +Thalberg, Henselt, &c. How can they expect to +obtain a command of such pieces, when their early +education was insufficient for our exalted demands +in mechanical skill, and their subsequent instruction +has also been faulty and without method?</p> + +<p>If you were to request me to supply in some +degree your own deficiencies, before I proceed to +the further education of your daughter, I should +not begin with the wisdom of our friend Mr. Buffalo: +"Madam, you must every day practise the +major and minor scales, in all the keys, with both +hands at once, and also in thirds and in sixths; +and you must work three or four hours daily at +<span class="pagenum"><a name="Page_34" id="Page_34"></a>[34]</span>études of Clementi, Cramer, and Moscheles; otherwise, +your playing will never amount to any thing."</p> + +<p>Such advice has frequently been given by +teachers like Mr. Buffalo, and is still daily insisted +on; but we will, for the present, set such +nonsense aside. I shall, in the first place, endeavor +to improve your touch, which is too thin, feeble, +and incorrect; which makes too much unnecessary +movement, and tries to produce the tone in the air, +instead of drawing it out with the keys. This will +not require a long time, for I have well-formed, +young hands to work upon, with skilful fingers in +good condition. I will employ, for this purpose, +several of the short exercises mentioned in my first +chapter, and shall require them to be transposed +into various keys, and played without notes, in +order that you may give your whole attention to +your hands and fingers. Above all things, I wish +you to observe how I try to bring out from the +piano the most beautiful possible tone, with a quiet +movement of the fingers and a correct position of +the hand; without an uneasy jerking of the arm, +and with ease, lightness, and sureness. I shall certainly +insist upon scales also, for it is necessary to +pay great care and attention to passing the thumb +under promptly and quietly, and to the correct, +<span class="pagenum"><a name="Page_35" id="Page_35"></a>[35]</span>easy position of the arm. But I shall be content +with the practice of scales for a quarter of an hour +each day, which I require to be played, according +to my discretion, <i>staccato</i>, <i>legato</i>, fast, slow, <i>forte</i>, +<i>piano</i>, with one hand or with both hands, according +to circumstances. This short time daily for scale-practice +is sufficient, provided, always, that I have +no stiff fingers, or unpractised or ruined structure +of the hand to educate. For very young beginners +with weak fingers, the scales should be practised +only <i>piano</i>, until the fingers acquire strength.</p> + +<p>I should continue in this way with you for two +weeks, but every day with some slight change. +After a short time, I would combine with this practice +the study of two or three pieces, suitably arranged +for the piano; for example, Mozart's minuet +in E flat, arranged by Schulhoff, and his drinking-song, +or similar pieces. We will, at present, have +nothing to do with Beethoven. You are, perhaps, +afraid that all this might be tedious; but I have +never been considered tedious in my lessons. I +wish you, for the present, not to practise any +pieces or exercises except in my presence, until a +better touch has been thoroughly established. You +must also give up entirely, for a time, playing your +previous pieces; for they would give you opportunity +<span class="pagenum"><a name="Page_36" id="Page_36"></a>[36]</span>to fall again into your faulty mode of playing. +I shall also soon put in practice one of my maxims +in teaching; viz., that, merely for the acquisition of +mechanical facility, all my pupils shall be in the +habit of playing daily some appropriate piece, that +by its perfect mastery they may gain a fearless +confidence. They must regard this piece as a companion, +friend, and support. I wish you to learn to +consider it a necessity every day, before practising +or studying your new piece of music, to play this +piece, even if it is done quite mechanically, two or +three times, first slowly, then faster; for without +ready, flexible fingers, my teaching and preaching +will be valueless.</p> + +<p><span class="smcap">Mrs. Solid.</span> But what pieces, for instance?</p> + +<p><span class="smcap">Dominie.</span> For beginners, perhaps one or two of +Hünten's Etudes Melodiques; a little later, one of +Czerny's very judicious Etudes from his opus 740; +and for more advanced pupils, after they are able to +stretch easily and correctly, his Toccata, opus 92,—a +piece which my three daughters never give +up playing, even if they do not play it every day. +They practise pieces of this description as a remedy +for mechanical deficiencies, changing them +every three or four months. In the selection of +these, I aim especially at the practice of thirds, +<span class="pagenum"><a name="Page_37" id="Page_37"></a>[37]</span>trills, stretches, scales, and passages for strengthening +the fourth finger; and I choose them with +reference to the particular pieces, sonatas, variations, +concertos, &c., which they are at the time +studying. Likewise, in the choice of the latter, +I pursue a different course from that which the +teachers alluded to above and others are accustomed +to follow; though I hope my management +is never pedantic, but cautious, artistic, and psychologic. +It is easy to see that many teachers, by +giving lessons continually, particularly to pupils +without talent, are led, even with the best intentions, +to fall into a mere routine. We find them +often impatient and unsympathetic, especially in +the teaching of their own compositions; and again, +by their one-sided opinions and capricious requirements, +by devoting attention to matters of small +importance, and by all sorts of whimsicalities, they +contract the intellectual horizon of their pupils, and +destroy their interest in the lessons.</p> + +<p><span class="smcap">Mrs. Solid.</span> Your careful mode of proceeding +is certainly extremely interesting and convincing; +but allow me to request an answer to various objections +and considerations which are now and then +brought forward, particularly by teachers.</p> + +<p><span class="smcap">Dominie.</span> To that I am quite accustomed. The +<span class="pagenum"><a name="Page_38" id="Page_38"></a>[38]</span>good and the beautiful never obtain uncontested +recognition. No one has ever offered any new +improvement, and fearlessly spoken the truth, +without being attacked, defamed, and despised, or +entirely misunderstood. Our age can show many +proofs of this; for example, let us remember +homœopathy and magnetism. Clara Wieck was +not appreciated in Leipzig until she had been admired +in Paris; nor Marie Wieck, because she +does not play exactly as her sister Clara does. The +same is the case with my present book, which +relentlessly treads upon the incredible follies and +lamentable errors of the times. I am quite prepared +for opposition of any kind.</p> + +<p><span class="smcap">Mrs. Solid.</span> I should like to suggest to you +that there are other teachers who have given themselves +a great deal of trouble, and who are very +particular; but it is not their good fortune to have +daughters like yours to educate.</p> + +<p><span class="smcap">Dominie.</span> Have given themselves a great deal +of trouble? What do you mean by that? If they +do not take pains in the right way, or at the right +time and place, it is all labor in vain. Of what use +is mere unskilful, stupid industry? For instance, +when a teacher, in order to correct a stiff use of +the fingers and wrist, and the general faulty touch +<span class="pagenum"><a name="Page_39" id="Page_39"></a>[39]</span>of his pupil, gives some wonderful étude or a piece +with great stretches and arpeggios for the left +hand, and gives himself unwearied trouble over it, +it is a proof of abundant painstaking; but it is labor +thrown away, and only makes the imperfect mode +of performance the worse.</p> + +<p>And now with regard to my daughters. It has +been their fortune to have had me for a father and +teacher: they certainly have talent, and I have +been successful in rousing and guiding it. Envy, +jealousy, pride, and offended egotism have tried as +long as possible to dispute this; but at last the +effort is abandoned. They say that it requires no +art to educate such talent as theirs, that it almost +"comes of itself." This assertion is just as false +and contrary to experience as it is common, even +with educated and thoughtful people, who belong +to no clique. Lichtenburg says: "It is just those +things upon which everybody is agreed that should +be subjected to investigation." Well, I have made +a thorough investigation of these accusations, with +regard to my three daughters, and all the talented +pupils whom I have been able to educate for good +amateurs, and, according to circumstances, for good +public performers. The great number of these suffices +for my justification. I must add, still further, +<span class="pagenum"><a name="Page_40" id="Page_40"></a>[40]</span>that it is exactly the "great talents" for singing, or for +the piano, who require the most careful, thoughtful, +and prudent guidance. Look around at the multitude +of abortive talents and geniuses! Talented +pupils are just the ones who have an irresistible +desire to be left to their own discretion; they esteem +destruction by themselves more highly than +salvation by others.</p> + +<p><span class="smcap">Mrs. Solid.</span> But it is said that you have been +able to educate only your three daughters, and +none others for public performers.</p> + +<p><span class="smcap">Dominie.</span> Madam, you cannot be serious. If +I were to declaim Leporello's list, you might justly +consider it an exaggeration; but if, instead of replying +to you, I should urge you to read what I +have written on the subject, or if I should present +your daughter Emily to you, after three or four +years, as a superior performer, you might pardon +my vanity and my ability. I do not possess any +magic wand, which envy and folly could not impute +to me as an offence. Nevertheless, unless circumstances +were very adverse, I have, at all events, +been able in a short time to accomplish for my +pupils the acquisition of a good, or at least an +improved, musical touch; and have thus laid a +foundation, which other teachers have failed to do +<span class="pagenum"><a name="Page_41" id="Page_41"></a>[41]</span>by their method, or rather want of method. But +you have something else on your mind?</p> + +<p><span class="smcap">Mrs. Solid.</span> You anticipate me. I was educated +in Berlin, and in that capital of intelligence a taste +prevails for opposition, negation, and thorough +criticism. How can you educate artists and <i>virtuosos</i>, +when you yourself are so little a <i>virtuoso</i>? +You are not even a composer or learned contrapuntist. +A teacher of music wins much greater +consideration, if he himself plays concertos and +composes pretty things, and if he can calculate +and give vent to his genius in double and triple +fugues, and in inverse and retrograde canons. You +cannot even accompany your pupils with the violin +or flute, which is certainly very useful and +improving.</p> + +<p><span class="smcap">Dominie.</span> The egotist is seldom capable of giving +efficient instruction: that lies in the nature of +the case. Even a child will soon perceive whether +the teacher has a sole eye to its interest, or has +other and personal aims in view. The former +bears good fruits, the latter very doubtful ones. +I will say nothing about the stand-point of those +egotistical teachers whose first aim is to bring +themselves into prominence, and who at the same +time are perhaps travelling public performers and +<span class="pagenum"><a name="Page_42" id="Page_42"></a>[42]</span>composers. They are, it may be, chiefly occupied +with double and triple fugues (the more inverted +the more learned), and they consider this knowledge +the only correct musical foundation. At the +same time, they often possess a touch like that +of your brother, Mr. Strict, mentioned in my third +chapter, and are utterly devoid of true taste and +feeling. While pursuing their fruitless piano lessons, +which are quite foreign to their customary +train of thought, they regard their occupation only +as a milch cow; and they obtain the money of +sanguine parents, and sacrifice the time of their +pupils. You may try such agreeable personages +for yourself: I could wish you no greater punishment.</p> + +<p>And now I will speak of the violin and the flute. +I have never availed myself of those expedients; +it is a method which I have never learned. I will +describe for your amusement a few interesting +incidents, which I had an opportunity to witness +in a not inconsiderable city, while on a journey +with my daughters. The teacher with the flute +was a gentle, quiet, mild musician; he was on +very good terms with his pupil, and indulged in +no disputes; every thing went on peaceably, without +passion, and "in time." They both twittered +<span class="pagenum"><a name="Page_43" id="Page_43"></a>[43]</span>tenderly and amicably, and were playing, in celebration +of the birthday of an old aunt who was +rather hard of hearing, a sonata by Kuhlau, which +was quite within the power of both. The old aunt, +who, of course, could hear but little of the soft, flute +tones, and the light, thin, modest, square piano, +kept asking me: "Is not that exquisite? what do +you think of it?" I nodded my head and praised +it, for the music was modest and made no pretension.</p> + +<p>I will pass next to the violin. The possessor +of this was a type of presumption, vulgarity, and +coarseness, and understood how to make an impression +on his pupils and their parents by the +assumption of extraordinary ability. He consequently +enjoyed a certain consideration. He was, +moreover, a good musician, and played the violin +tolerably in accompanying the piano, in Beethoven's +opus 17 and 24. In this portrait you have a specimen +of the violinist as a piano teacher. Of course +he understood nothing of piano-playing, and took +no interest in Wieck's rubbish about beauty of +tone; he cared only for Beethoven. He now and +then tried to sprawl out a few examples of fingering, +in a spider-like fashion; but they were seldom +successful. His pupils also possessed the peculiar +<span class="pagenum"><a name="Page_44" id="Page_44"></a>[44]</span>advantage of playing "in time," when they did not +stick fast in the difficult places. At such times +he always became very cross and severe, and talked +about "precision;" in that way instilling respect. +His pupils did not jingle, but they had a peculiarly +short, pounding touch; and floundered about among +the keys with a sort of boldness, and with resolute, +jerking elbows. They certainly had no tone, but +the violin was therefore heard the better; and +after each performance we might have heard, "Am +I not the first teacher in Europe?"</p> + +<p><span class="smcap">Mrs. Solid.</span> You certainly have shown up two +ridiculous figures.</p> + +<p><span class="smcap">Dominie.</span> True; but I leave it to every one to +make themselves ridiculous.</p> + +<p><span class="smcap">Mrs. Solid.</span> I am very glad that you have +furnished me here with the criticisms of which I +stand in need; for I might otherwise have been +in danger of supplying you with an example at the +next soirée, perhaps at the banker's, Mr. Gold's. +But, as I should like to hear your answer, I will +listen to, and report to you, what is said in a +certain though not very numerous clique, who are +opposed to you and your labors.</p> + +<p><span class="smcap">Dominie.</span> Those people would act more wisely, +if they were to study my writings; in which I will +<span class="pagenum"><a name="Page_45" id="Page_45"></a>[45]</span>make any corrections, if there is any thing that I +can add to them, for the advantage of truth, right, +and beauty.</p> + +<p>And now allow me, Miss Emily, since you are +pretty well advanced, and are not quite spoiled, to +show you in a few lessons how to study these variations +by Herz (Les Trois Graces, No. 1, on a theme +from "The Pirates"). They are not easy; but I +will teach them in a way that shall not weary you +or give you a distaste for them. I have intentionally +chosen these variations, because they do not lay +claim to great musical interest; and, consequently, +their mode of performance, their execution, gives +them their chief value. Moreover, they possess +the disadvantage for teaching that they are of unequal +difficulty, and require, therefore, the more +skill on the part of the teacher to compensate for +this.</p> + +<p><i>First Lesson.</i> Miss Emily, these are very clear, +graceful variations, which require an extremely nice, +delicate execution; and, especially, a complete mechanical +mastery of their various difficulties. Although +these variations may seem to you too easy, +I am governed in the selection of them by the +maxim that "what one would learn to play finely +must be below the mechanical powers of the pupil."<span class="pagenum"><a name="Page_46" id="Page_46"></a>[46]</span> +The theme of the Italian song, which is the basis +of these variations, is very well chosen, and you +must take great pains to execute it as finely as +possible, and to produce a singing effect upon the +piano-forte. After the piece is thoroughly learned, +you will be greatly aided in the production of this +imitation of singing by the careful and correct use +of the pedal which raises the dampers. The theme +does not offer great mechanical difficulties; but it +requires a loose, broad, full, and yet tender touch, +a good <i>portamento</i>, and a clear and delicately shaded +delivery; for you must remember that "in the performance +of a simple theme the well-taught pupil +may be recognized."</p> + +<p><span class="smcap">Emily.</span> But you do not begin at the beginning: +there is an introduction to the piece.</p> + +<p><span class="smcap">Dominie.</span> Perhaps we shall take that at the +last: I can't tell yet when. A great many things +in my instruction will seem to you misplaced: it +may be that the final result will restore to me the +approval which I desire.</p> + +<p><span class="smcap">Emily.</span> Do you always give such a preliminary +description before you begin a piece with a pupil?</p> + +<p><span class="smcap">Dominie</span>. I like to do so; for I wish to create +an interest in the piece, and to state in connection +my principles and views about music and piano-playing. +<span class="pagenum"><a name="Page_47" id="Page_47"></a>[47]</span>Now we will try the theme, first quite +slowly; and then the first easy variation, with the +last bars at the end of it, which introduce the theme +once more, and which should be played very clearly +and smoothly. We will then take from the introduction +only the right hand, and study the most +appropriate fingering for it. I never write this +out fully; but only intimate it here and there, in +order not to interfere with the spontaneous activity +of the learner. We will also take a few portions +for the left hand from the finale. In these you +must carefully observe the directions which are +given for its performance, and try to execute every +thing correctly and clearly; for a careless bass is +prejudicial to the very best playing in the treble.</p> + +<p>My lesson is now at an end; for we have taken +up a good deal of time at the beginning with the +scales, and passing the thumb under correctly, +with the different species of touch, and the appropriate +exercises for these. I do not wish you yet +to practise the first variation with both hands together, +for you do not yet strike the skipping bass +evenly enough and with sufficient precision; and +you might accustom yourself to inaccuracies, especially +as your left hand has, as usual, been neglected, +and is inferior to the right in lightness and rapidity. +<span class="pagenum"><a name="Page_48" id="Page_48"></a>[48]</span>We shall find this a hindrance; for the object is +not to practise much, but to practise correctly. +Therefore play these passages first slowly, then +quicker, at last very fast; then slow again, sometimes +<i>staccato</i>, sometimes <i>legato</i>, <i>piano</i>, and also +moderately loud; but never when the hands and +fingers are fatigued, therefore not too continuously; +but many times in the course of the day, and always +with fresh energy. At present, you need not play +<i>fortissimo</i>, or with the pedal: for in that way you +might be led into a tramping style, with a weak, +stiff touch, and a habit of striking at the keys with +straight fingers; and that I do not like. We will +look for the true and the beautiful in a very different +treatment of the piano; and, first of all, in a +clear, unaffected, healthy performance, free from +any forced character.</p> + +<p><i>Second Lesson.</i> Transposition of the triads and +dominant chord in their three positions, and in +various kinds of measure; and practice of these, +with careful attention to a correct touch and loose +wrist; cadences on the dominant and sub-dominant; +practice of the skipping bass in the theme, +and in the first and third variations, with practice +in striking and leaving the chords, observing carefully +the precise value of the notes. You must +<span class="pagenum"><a name="Page_49" id="Page_49"></a>[49]</span>attend also to striking them not too forcibly or +too feebly, and take special care with regard to +the fourth and fifth fingers, which do not easily +give the tone with so full a sound as the other +three fingers. Now we will try the theme with +both hands together, and consider the correct expression, +and likewise the <i>piano</i> and <i>forte</i>, as well +as the nicest <i>crescendo</i> and <i>diminuendo</i>. We will +then take the first easy variation, of which you +have already acquired a mastery: we will play it +exactly <i>a tempo</i> and with the bass chords, which +should usually be given <i>staccato</i>, and which must be +played with delicacy and flexibility; but it will be +well for you to practise first the bass part once +alone, in order that you may hear whether all the +tones sound evenly. Now the first variation will +go pretty well with both hands together; with +increasing mastery of it, the requisite shading in +the right hand can be produced. As your right +hand is not yet tired, play to me now several times, +first slowly and then faster, the passages which I +gave you from the introduction. When the right +hand becomes a little fatigued, take a portion from +the finale for the left hand. You may also try +over the adagio; but I recommend for your special +practice the part for the right hand in the third +<span class="pagenum"><a name="Page_50" id="Page_50"></a>[50]</span>variation. You cannot make a mistake about it, +if you do not try to play it too fast, and if you +carefully observe the fingering indicated. Now I +will play the theme to you, as nearly as possible as +I heard the famous tenor Rubini sing it. You see +I place the fingers gently upon the keys and avoid +raising them too high, in order not to injure the +nice connection of the tones, and to produce a +singing tone as far as possible. At the end of the +lesson you will play the theme to me once more.... +I perceive you play it with too much embarrassment, +and not freely enough. It will go still +better two days hence, if you play it frequently +during that time, slowly, and become quite accustomed +to it. In addition, you will practise industriously +every thing which we have gone through, +especially the first variation; but you must always +do it with interest, and never with weariness. Of +course you will practise <i>without notes</i> all the little +exercises for the touch, and for the fourth and fifth +fingers, and the cadences.</p> + +<p><i>Third Lesson.</i> Other little exercises; trills, scales +with shading for one hand alone and for both together; +the skipping basses, &c. We will begin +to-day with the bass part of the second variation. +You observe that often there are even eighth notes +<span class="pagenum"><a name="Page_51" id="Page_51"></a>[51]</span>in the treble, while in the bass there are even triplet +eighth notes. In order to play these properly +together, even with only mechanical correctness, +it is necessary that the left hand shall acquire a +perfectly free and independent movement, and shall +bring out the bass with perfect ease. You must +pay special attention to any weak notes, and accustom +yourself not to give the last triplet, in each +bar, and the last note of this triplet, too hurriedly, +too sharply, or with too little tone. Notice how +much difficulty this equal playing of the triplets +occasions to the right hand, which moves in even +eighth notes. While you play the left hand, I will +play the right: you must listen as little as possible +to my playing, and preserve your own independence. +You must learn to play this variation entirely by +yourself with both hands together; but we must +not be too much in a hurry about it, and must give +time to it. All restless urging, all hurry, leads to +inaccuracies in playing. You have learned enough +for to-day; but you may play the other variations, +with the whole finale, straight through, that you +may not get into the habit of stopping at the difficult +passages which you have already learned.</p> + +<p><i>Fourth Lesson.</i> New exercises for striking +stretches, and for the extension of the hand and +<span class="pagenum"><a name="Page_52" id="Page_52"></a>[52]</span>fingers; but this must be done prudently, that the +sound touch, which is always of the first importance, +shall not be endangered. Besides this, the +repetition of the exercises learned in the preceding +lessons; but all to be played with a certain +shading and delicacy. We will to-day begin at +the beginning, with the introduction. I will now +make amends for my want of regularity, and show +you that I can begin at the beginning, like other +people; but all in good time. To-day, in those +portions of which you have acquired a mastery, +we will give particular attention to the expression, +and to the correct use of the pedal. If what I suggest +to you with regard to the shading at any place +does not entirely correspond to your understanding +of the piece, or to your feeling, you must at once +express your difference of opinion, and ask me for +the reason of my view. You, perhaps, do not like +to play this place <i>crescendo</i>, but <i>diminuendo</i>. Very +well; only play it finely in your own way; it will +also sound very well so. I proposed the <i>crescendo</i> +there, because the feeling grows more intense; +perhaps, in the next lesson, you will acknowledge +that I was right. This place I should play a very +little slower, though without a striking <i>ritardando</i>; +then a little faster here; do you think it ought to +<span class="pagenum"><a name="Page_53" id="Page_53"></a>[53]</span>be played <i>crescendo</i> or <i>diminuendo</i>? We must try +in this variation to present nicely shaded little +pictures. Here you might use more energy and +decision. This place you should play merely with +a correct mechanical execution, but without special +expression; for we require shadow, in order that +the succeeding idea, eminently suggestive of the +theme, shall be brought out with more brilliancy. +In general, the whole must be made to sound natural, +without musical pretension, and as if it were +the production of the moment; and should not +create a distorted, overdrawn effect, or exhibit +modern affectation.</p> + +<p>Each piece that I undertake to teach you will +give me an opportunity to talk to you a great deal +about the correct expression in playing, and about +its innumerable beauties, shades, and delicacies; +while I shall pay constant attention to the production +of a beautiful singing tone. The next piece +will be Chopin's Notturno in E flat; for your touch +has already gained in fulness, and is now unobjectionable.</p> + +<p>This is the tyranny with regard to correct execution, +which stupidity and folly have taxed me with +having exercised towards my daughters. "Expression +must come of itself!" How cheap is this +<span class="pagenum"><a name="Page_54" id="Page_54"></a>[54]</span>lazy subterfuge of the followers of routine, and of +teachers wanting in talent! We see and hear a +great many <i>virtuosos</i>, old and young, with and without +talent, renowned and obscure. They either +play in an entirely mechanical manner and with +faulty and miserable touch, or else, which is less +bearable, they strut with unendurable affectation +and produce musical monstrosities. In order to +conceal their indistinct mode of execution, they +throw themselves upon the two pedals, and are +guilty of inconceivable perversions.</p> + +<p>But let us proceed with your instruction. You +already play your piece intelligently, with interest +and enthusiasm, and without any of the modern, +empty affectations. If any other passage should +occur to you at the <i>fermata</i> in the second part, +which shall lead appropriately to the dominant, +try it; and combine it, perhaps, with that which +is written. You may make two passing shakes +upon the four final sixteenth notes; but you must +play them very distinctly and clearly, and the last +one weaker than the first, in order to give it a +delicate effect, as is done by singers. With light +variations of this kind, it is allowable to introduce +various ornaments, provided they are in good taste +and nicely executed. The case is quite different in +<span class="pagenum"><a name="Page_55" id="Page_55"></a>[55]</span>the performance of the compositions of Beethoven, +Mozart, Weber, and others, where reverence for the +composer requires a stricter interpretation, although +even this is sometimes carried to a point of exaggeration +and pedantry. Now try the first variation +once more. That is better: you already play the +skipping bass with more precision, more briskly +and evenly. We begin to perceive the correct +speaking tone in the bass, and a certain delicacy +and freedom in the treble. You need not play +both hands together in the second variation, which +is the most difficult, until the next lesson. To-day +you may first play the bass alone, while I play the +treble; and afterwards we will change parts, and +you can play the treble while I play the bass. But +we will not go farther than the fourth variation. +I have not much more to say about this piece. We +will begin next a beautiful Etude by Moscheles, +which I recommend highly to you, in order to +strengthen and give facility to the fourth and fifth +fingers: this may be your companion and friend +during the next two or three months.</p> + +<p><span class="smcap">Mrs. Solid.</span> Your very careful mode of instruction +assures me that Emily will acquire a mastery +of these variations, and will learn to perform them +finely.</p> + +<p><span class="pagenum"><a name="Page_56" id="Page_56"></a>[56]</span><span class="smcap">Dominie.</span> She will be able, after a week or two, +to execute this piece with understanding and confidence, +and to play it to her own satisfaction and +that of others; while her awakened consciousness +of its beauties and of her ability to interpret it +will preserve her interest for it.</p> + +<p>The objection is quite untenable "that children +lose their pleasure in a piece, if they are obliged +to practise it until they know it." Do people suppose +that it gives more pleasure, when the teacher +begins in a stupid, helpless way, and tries to make +the pupil swallow several pieces at once, while +he continually finds fault and worries them, than +when the pupil is enabled to play a few short, +well-sounding exercises, with perfect freedom and +correctness, and to take delight in his success? +or when afterwards, or perhaps at the same time, +he is conscious that he can play one piece nicely +and without bungling, while it is all accomplished +in a quiet and pleasant manner?</p> + +<p><span class="smcap">Mrs. Solid.</span> Do you pursue the same course +with longer and more difficult pieces?</p> + +<p><span class="smcap">Dominie.</span> Certainly, on the same principle.</p> + +<p><span class="smcap">Mrs. Solid.</span> But, if you are so particular about +every piece, and always take so much pains to improve +the touch, it will be a long time before Emily +<span class="pagenum"><a name="Page_57" id="Page_57"></a>[57]</span>will be able to execute several long pieces and can +learn other new ones beside.</p> + +<p><span class="smcap">Dominie.</span> Do you wish your daughter to learn +to jingle on the piano, in order to become musical? +or shall she grow more musical by learning to play +finely? I am sure the latter is your wish, as it is +mine: otherwise, you would be contented with an +ordinary teacher. You must consider that, when +she has made a beginning, by learning to play one +piece thoroughly and quite correctly, the following +pieces will be learned more and more quickly; for +she will have acquired a dexterity in playing, as +you may observe with yourself and with every one. +To be able to drum off fifty pieces in an imperfect +manner does not justify the expectation that the +fifty-first piece will be learned more easily or better; +but to attain a perfect mastery of four or five +pieces gives a standard for the rest.</p> + +<p>In this way, and by mechanical studies, such +as I have begun with Emily, the greatest ease in +reading at sight is gradually developed, in which +all my pupils excel, when they have remained long +enough under my instruction, and in which my +daughters are pre-eminent. But for this it is necessary +to continue to study single pieces, industriously +and artistically, and with great exactness; for +<span class="pagenum"><a name="Page_58" id="Page_58"></a>[58]</span>otherwise the practice of reading at sight, which +often amounts to a passion, leads very soon to +slovenliness in piano-playing and to more or less +vulgar machine-music.</p> + +<p><span class="smcap">Mrs. Solid.</span> I am more and more convinced +that a style of instruction which is illogical, intermittent, +superficial, and without method, can lead +to no good result, or at least to nothing satisfactory, +even with extraordinary talents; and that +the unsound and eccentric manifestations and caricatures +of art, which cause the present false and +deplorable condition of piano-playing, are the consequence +of such a prevalent mode of instruction.</p> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_59" id="Page_59"></a>[59]</span></p> +<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.</h2> + +<h3>ON THE PEDAL.</h3> + + +<p>I have just returned exhausted and annihilated +from a concert, where I have been hearing +the piano pounded. Two grand bravoura +movements have been thundered off, with the +pedal continually raised; and then were suddenly +succeeded by a soft murmuring passage, during +which the thirteen convulsed and quivering bass +notes of the <i>fortissimo</i> were all the time resounding. +It was only by the aid of the concert +programme that my tortured ears could +arrive at the conclusion that this confusion of +tones was meant to represent two pieces by +Döhler and Thalberg.</p> + +<p>Cruel fate that invented the pedal! I mean the +pedal which raises the dampers on the piano. A +grand acquisition, indeed, for modern times! Good +heavens! Our piano performers must have lost +their sense of hearing! What is all this growling +and buzzing? Alas, it is only the groaning of the +<span class="pagenum"><a name="Page_60" id="Page_60"></a>[60]</span>wretched piano-forte, upon which one of the modern +<i>virtuosos</i>, with a heavy beard and long hanging +locks, whose hearing has deserted him, is +blustering away on a bravoura piece, with the +pedal incessantly raised,—with inward satisfaction +and vain self-assertion! Truly time brings into +use a great deal that is far from beautiful: does, +then, this raging piano revolutionist think it beautiful +to bring the pedal into use at every bar? +Unhappy delusion.</p> + +<p>But enough of this serious jesting. Hummel +never used the pedal. He was an extremist; and, +in his graceful, clear, elegant, neat, though not +grand playing, often lost fine effects, which would +have been produced by the correct and judicious +use of the pedal; particularly on the instruments +of Stein, Brodmann, Conrad Graff, and others then +in use, which were usually lightly leathered, and +had a thin, sharp tone. The use of the pedal, of +course always allowing it to fall frequently with +precision, was especially desirable in the upper +treble, in cases where the changes of the harmony +were not very frequent; for the tone of those +instruments, although sweet and agreeable, had +not much depth, and the action had but little +strength and elasticity. But on our instruments, +<span class="pagenum"><a name="Page_61" id="Page_61"></a>[61]</span>frequently too softly leathered, which have a full +tone, and are so strong and penetrating, especially +in the bass, it is enough to endanger one's sense +of hearing to be subjected to such a senseless, +incessant, ridiculous, deafening use of the pedal; +frequently, moreover, combined with a hard, stiff +touch, and an unsound, incorrect technique. A +musical interpretation in any degree tolerable is +out of the question. You cannot call that art, it +cannot even be called manual labor: it is a freak +of insanity!</p> + +<p>A few words to the better sort of players. The +foot-piece to the right on the piano-forte raises the +dampers, and in that way makes the tones resound +and sing, and takes from them the dryness, shortness, +and want of fulness, which is always the +objection to the piano-forte, especially to those +of the earlier construction. This is certainly an +advantage; the more the tone of the piano-forte +resembles singing, the more beautiful it is. But, +in order not to injure the distinctness and detract +from the clear phrasing of the performance, a +very skilful and prudent use of the pedal is +necessary in rapid changes of harmony, particularly +in the middle and lower portion of the instrument.</p> + +<p><span class="pagenum"><a name="Page_62" id="Page_62"></a>[62]</span>You all use the pedal too much and too often, +especially on large, fine concert pianos of the new +construction, which, with their heavy stringing, +have in themselves a fuller, more vibrating tone; +at least you do not let it fall frequently enough, +and with precision. You must listen to what you +are playing. You do not play for yourselves alone; +frequently you play to hearers who are listening +for the first time to the pieces you are performing. +Try a few passages without pedal,—for instance, +those in which the changes of the harmony succeed +each other rapidly, even in the highest treble,—and +see what repose, what serene enjoyment, what +refreshment is afforded, what delicate shading is +brought out. Or at first listen, and try to feel it in +the playing of others; for your habit is so deeply +rooted that you no longer know when and how +often you use the pedal. Chopin, that highly +gifted, elegant, sensitive composer and performer, +may serve as a model for you here. His widely +dispersed, artistic harmonies, with the boldest and +most striking suspensions, for which the fundamental +bass is essential, certainly require the frequent +use of the pedal for fine harmonic effect. +But, if you examine and observe the minute, critical +directions in his compositions, you can obtain +<span class="pagenum"><a name="Page_63" id="Page_63"></a>[63]</span>from him complete instruction for the nice and +correct use of the pedal.</p> + +<p>By way of episode to my sorrowful lecture on +the pedal, we will take a walk through the streets +some beautiful evening. What is it that we hear +in almost every house? Unquestionably it is +piano-playing; but what playing! It is generally +nothing but a continual confusion of different +chords, without close, without pause; slovenly +passages, screened by the raised pedal; varied +by an empty, stiff, weak touch, relying upon the +pedal for weight. We will escape into the next +street. Oh, horrors! what a thundering on this +piano, which, by the way, is sadly out of tune! +It is a grand—that is, a long, heavy—étude, with +the most involved passages, and a peculiar style +of composition, probably with the title "On the +Ocean," or "In Hades," or "Fancies of the Insane;" +pounded off with the pedal raised through +the most marvellous changes of harmonies. Finally, +the strings snap, the pedal creaks and moans; +conclusion,—<i>c</i>, <i>c</i> sharp, <i>d</i>, <i>d</i> sharp resound together +through a few exhausted bars, and at last +die away in the warm, soft, delicious air. Universal +applause from the open windows! But who +is the frantic musician who is venting his rage or +<span class="pagenum"><a name="Page_64" id="Page_64"></a>[64]</span>this piano? It is a Parisian or other travelling +composer, lately arrived with letters of recommendation, +who has just been giving a little rehearsal +of what we may expect to hear shortly in a concert +at the "Hôtel de Schmerz."</p> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_65" id="Page_65"></a>[65]</span></p> +<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.</h2> + +<h3>THE SOFT-PEDAL SENTIMENT.</h3> + + +<p>You exclaim: "What is that?—a sentiment +for the soft pedal! a sentiment of any kind in our +times! most of all, a musical sentiment! I have +not heard of such a thing in a concert-room for a +long time!"</p> + +<p>When the foot-piece to the left on the piano +is pressed down, the key-board is thereby moved +to the right; so that, in playing, the hammers +strike only two of the three strings, in some +pianos only one. In that way the tone is made +weaker, thinner, but more singing and more tender. +What follows from this? Many performers, +seized with a piano madness, play a grand bravoura +piece, excite themselves fearfully, clatter up and +down through seven octaves of runs, with the pedal +constantly raised,—bang away, put the best piano +out of tune in the first twenty bars,—snap the +strings, knock the hammers off their bearings, +perspire, stroke the hair out of their eyes, ogle +<span class="pagenum"><a name="Page_66" id="Page_66"></a>[66]</span>the audience, and make love to themselves. Suddenly +they are seized with a sentiment! They +come to a <i>piano</i> or <i>pianissimo</i>, and, no longer +content with one pedal, they take the soft pedal +while the loud pedal is still resounding. Oh, +what languishing! what soft murmuring, and what +a sweet tinkling of bells! what tenderness of feeling! +what a soft-pedal sentiment! The ladies fall +into tears, enraptured by the pale, long-haired young +artist.</p> + +<p>I describe here the period of piano mania, which +has just passed its crisis; a period which it is +necessary to have lived through, in order to believe +in the possibility of such follies. When, in +the beginning of this century, the piano attained +such conspicuous excellence and increased power, +greater technical skill could not fail to be called +out; but, after a few years, this degenerated into +a heartless and worthless dexterity of the fingers, +which was carried to the point of absurdity and +resulted in intellectual death. Instead of aiming to +acquire, before all things, a beautiful, full tone on +these rich-sounding instruments, which admit of +so much and such delicate shading, essential to +true excellence of performance, the object was +only to increase mechanical facility, and to cultivate +<span class="pagenum"><a name="Page_67" id="Page_67"></a>[67]</span>almost exclusively an immoderately powerful +and unnatural touch, and to improve the fingering +in order to make possible the execution of passages, +roulades, finger-gymnastics, and stretches, +which no one before had imagined or considered +necessary. From this period dates the introduction +of <i>virtuoso</i> performances with their glittering +tawdriness, without substance and without music, +and of the frightful eccentricities in art, accompanied +by immeasurable vanity and self-conceit,—the +age of "finger-heroes." It is indeed a melancholy +reflection, for all who retain their senses, +that this charlatanry is made the solitary aim of +numberless ignoble performers, sustained by the +applause of teachers and composers equally base. +It is sad to see how, engaged in artificial formalisms +and in erroneous mechanical studies, players +have forgotten the study of tone and of correct +delivery, and that few teachers seek to improve +either themselves or their pupils therein. Otherwise +they would see and understand that, on a +good piano, such as are now to be found almost +everywhere, it is possible with correct playing, +founded on a right method, to play, without external +aids, <i>forte</i>, <i>fortissimo</i>, <i>piano</i>, <i>pianissimo</i>,—in +a word, with every degree of shading, and with at +<span class="pagenum"><a name="Page_68" id="Page_68"></a>[68]</span>least formal expression; and that this style of +playing, with the requisite mechanical skill, sounds +far more pure, and is more satisfactory than when +a feeling is affected through the crude, unskilful, +and absurd use of the pedal, especially of the soft +pedal of which we are now speaking. This affectation +only gives one more proof of our unhealthy, +stupid, and unmusical infancy in piano performances. +A good-natured public, drummed up and +brought together by patient persuasion and by +urgent recommendations, of which <i>virtuosos</i> can +obtain an abundance (for the tormented cities +which they have visited cannot otherwise get rid +of them), attend these concerts and listen to dozens +of such inexperienced piano-players. One plays +exactly like another, with more or less faulty +mechanical execution; and none of them are able, +with all their thumping and caressing of the keys, +to bring out from the instrument a broad, healthy, +full, and beautiful tone, delicately shaded and distinct +even to the softest <i>pp.</i> But, instead of this, +they fall into a pedal sentiment; <i>i.e.</i>, they play with +outside pretension, and with intrinsic emptiness.</p> + +<p>You unworthy performers, who have so disgusted +the artistic public with piano-playing that +they will no longer listen to fine, intelligent, sensible +<span class="pagenum"><a name="Page_69" id="Page_69"></a>[69]</span>artists, whose dignity does not permit them +to force themselves into the concert-hall, or to drag +people into it from the streets! you base mortals, +who have exposed this beautiful art to +shame! I implore you to abandon the concert +platform, your battle-field! Hack at the piano no +longer! Find positions on a railroad or in a factory. +There you may perhaps make yourselves +useful; while by the lessons you give (for it usually +comes to that, after you have travelled all over the +world) you will only ruin our young people, now +growing up with promising talent for piano-playing, +and will produce successors like yourselves, +but not artists.</p> + +<p>I must whisper one thing more in your ear. I +will say nothing about simple truthfulness, about +tenderness and sincerity of feeling, or wholesome +refinement, about poetry, inspiration, or truly impassioned +playing. But, if your ears are not already +too much blunted, you should be able to discover, +at least in a very few minutes, on any instrument, +unless it is of the worst sort, or has already been +battered to pieces by you, how far you can carry +the <i>pianissimo</i> and <i>fortissimo</i>, and still preserve +the tone within the limits of beauty and simplicity. +You will thus be able to interpret a piece with +<span class="pagenum"><a name="Page_70" id="Page_70"></a>[70]</span>at least superficial correctness, without mortally +wounding a cultivated ear by exaggerations and +by maltreatment of the instrument and its two +pedals.</p> + +<p>This style of playing has nevertheless found +its numerous defenders and admirers in our century, +which has made every thing possible. This +senseless enslavement and abuse of the piano has +been said to be "all the rage;" a fine expression +of our piano critics to justify insane stamping and +soft-pedal sentimentality.</p> + +<p>How far what I have here said relates to our +modern errors in singing, and how far it may be +applied to them, I leave to the intelligence of +my readers and to my explanations in subsequent +chapters.</p> + +<p>To return to my theme: I have still one word +on this subject for rational players. Even they +use the soft pedal too much and too often, and at +unsuitable places; for instance, in the midst of a +piece, without any preparatory pause; in melodies +which require to be lightly executed; or in rapid +passages which are to be played <i>piano</i>. This is +especially to be noticed with players who are +obliged to use instruments of a powerful tone +and stiff, heavy action, on which it is difficult to +<span class="pagenum"><a name="Page_71" id="Page_71"></a>[71]</span>insure a delicate shading in <i>piano</i> and <i>forte</i>. For +this reason, a sensible and experienced teacher, +whose sole aim is the true and the beautiful, +should make the attainment of an elastic touch +and well-grounded style of playing an indispensable +requirement. I prefer that the soft pedal +should be used but seldom, and, if the pedal which +raises the dampers is used at the same time, it +must be only with the greatest nicety. The soft +pedal may be used in an echo; but should be +preceded by a slight pause, and then should be +employed throughout the period, because the ear +must accustom itself gradually to this tender, +maidenly, sentimental tone. There must again +be a slight pause before the transition to the usual +more masculine tone, with the three strings. The +soft pedal is, moreover, most effective in slow movements +with full chords, which allow time to bring +out the singing tone, in which consists the advantage +of the stroke of the hammers on two strings +alone.</p> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_72" id="Page_72"></a>[72]</span></p> +<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.</h2> + +<h3>A MUSICAL TEA-PARTY AT THE HOUSE OF JOHN +SPRIGGINS.</h3> + + +<p>I once more introduce my readers to the scenes +of my active, musical life, with an invitation to +accompany me to a musical tea-party. My object +is, in a short and entertaining manner, to remove +very common prejudices; to correct mistaken ideas; +to reprove the followers of mere routine; to oppose +to malicious cavilling the sound opinions of an experienced +teacher; to scourge dogmatic narrow-mindedness; +and in this way to advance my method +of instruction.</p> + +<hr style='width: 45%;' /> + +<p>DRAMATIS PERSONÆ.</p> + +<p> +<span class="smcap">John Spriggins</span> <i>(jovial and narrow-minded, a member of +an ancient musical family).</i><br /> +<span class="smcap">Mrs. Spriggins</span> <i>(irritable, envious, and malicious).</i><br /> +<span class="smcap">Lizzie</span>, <i>their daughter, 13, years old (lively and pert).</i><br /> +<span class="smcap">Shepard</span>, <i>her piano-teacher (very laborious).</i><br /> +<span class="smcap">Dominie</span>, <i>a piano-master (very stern).</i><br /> +<span class="smcap">Emma</span>, <i>his daughter, a pianist (silent and musical).</i><br /><br /> +</p> + +<p><span class="smcap">Mrs. Spriggins</span> (<i>to Dominie</i>). So this is your +daughter who is to give a concert to-morrow? She +<span class="pagenum"><a name="Page_73" id="Page_73"></a>[73]</span>is said to have less talent than your eldest daughter. +With her, they say, nothing requires any labor.</p> + +<p><span class="smcap">Dominie.</span> You must ask my eldest daughter +herself about that. I have hitherto held the opinion +that both of them played correctly, musically, +and perhaps finely, and yet both differently: that +is the triumph of a musical education. But this +cheap comparative criticism is already too thoroughly +worn out. Pray what else have you on +your mind?</p> + +<p><span class="smcap">Mrs. S.</span> Have you not yet sent your younger +daughter to school? They say your eldest could +neither read nor write at fourteen years of age.</p> + +<p><span class="smcap">Dominie.</span> My daughters always have a private +teacher in the house, in connection with whom I +instruct them in music, in order that their literary +education shall occupy fewer hours, and that they +shall have time left for exercise in the open air +to invigorate the body; while other children are +exhausted with nine hours a day at schools and +institutes, and are obliged to pay for this with the +loss of their health and the joyousness of youth.</p> + +<p><span class="smcap">Mrs. S.</span> It is very well known that your daughters +are obliged to play the whole day long.</p> + +<p><span class="smcap">Dominie.</span> And not all night too? You probably +might explain their skill in that way. I am +<span class="pagenum"><a name="Page_74" id="Page_74"></a>[74]</span>astonished that you have not heard that too, since +you have picked up so many shocking stories about +me and my daughters.</p> + +<p><span class="smcap">Mrs. S.</span> (<i>dismisses the subject, and asks suddenly</i>). +Now just how old is your daughter Emma?</p> + +<p><span class="smcap">Dominie.</span> She is just sixteen years and seven +weeks old.</p> + +<p><span class="smcap">Mrs. S.</span> Does she speak French?</p> + +<p><span class="smcap">Dominie.</span> Oui, elle parle Français, and in musical +tones, too,—a language which is understood +all over the world.</p> + +<p><span class="smcap">Mrs. S.</span> But she is so silent! Does she like +to play?</p> + +<p><span class="smcap">Dominie.</span> You have given her no opportunity +to speak, she is certainly not forth-putting. For +the last two years she has taken great pleasure in +playing.</p> + +<p><span class="smcap">Mrs. S.</span> You acknowledge, then, that formerly +you had to force her to it?</p> + +<p><span class="smcap">Dominie.</span> In the earlier years of her natural +development, as she was a stranger to vanity and +other unworthy motives, she certainly played, or +rather pursued her serious studies, chiefly from +obedience and habit. Does your daughter of thirteen +years old always practise her exercises without +being required to do so? Does she like to go +<span class="pagenum"><a name="Page_75" id="Page_75"></a>[75]</span>to school every day? Does she always sew and +knit without being reminded of it?</p> + +<p><span class="smcap">Mrs. S.</span> (<i>interrupting</i>). Oh, I see you are quite +in love with your daughters! But they say you +are terribly strict and cruel in the musical education +of your children; and, in fact, always.</p> + +<p><span class="smcap">Dominie.</span> Do you suppose I do this from affection? +or do you infer it, because they have proved +artists, or because they look so blooming and +healthy, or because they write such fine letters, +or because they have not grown crooked over +embroidery, or because they are so innocent, unaffected, +and modest? or—</p> + +<p><span class="smcap">Mrs. S.</span> (<i>irritably</i>). We will drop that subject. +But I must give you one piece of good advice. Do +not make your daughter Emma exert herself too +much, as you have done with your eldest daughter.</p> + +<p><span class="smcap">Dominie.</span> If that is so, Mrs. Spriggins, it seems +to have agreed with her very well.</p> + +<p><span class="smcap">Mrs. S.</span> (<i>vehemently</i>). But she would have been +better—</p> + +<p><span class="smcap">Dominie.</span> If she had not played at all? That +I can't tell exactly, as I said yesterday. Well, you +are satisfied now with Emma's state of health?</p> + +<p><span class="smcap">Mrs. S.</span> It is of no use to advise such people +as you.</p> + +<p><span class="pagenum"><a name="Page_76" id="Page_76"></a>[76]</span><span class="smcap">Dominie.</span> I have always devoted myself to my +business as a teacher, and have daily taken counsel +with myself about the education of my daughters, +and of other pupils whom I have formed for +artists; and, it must be acknowledged, I have done +so with some ability.</p> + +<p><span class="smcap">Mrs. S.</span> (<i>not attending to him, but turning to +Emma</i>). But does it not make your fingers ache +to play such difficult music?</p> + +<p><span class="smcap">Dominie.</span> Only when her teacher raps her on +the knuckles, and that I never do.</p> + +<p class="sd">(Emma looks at the parrot which is hanging in +the parlor, and strokes the great bull-dog.)</p> + +<p><span class="smcap">John Spriggins</span> (<i>entering with his daughter +Lizzie</i>). Herr Dominie, will you be so good as +to hear our daughter Lizzie play, and advise us +whether to continue in the same course. Music +is, in fact, hereditary in our family. My wife played +a little, too, in her youth, and I once played on the +violin; but my teacher told me I had no talent for +it, no ear, and no idea of time, and that I scraped +too much.</p> + +<p><span class="smcap">Dominie.</span> Very curious! He must have been +mistaken!</p> + +<p><span class="smcap">John S.</span> But I always was devotedly fond of +music. My father and my grandfather, on our +<span class="pagenum"><a name="Page_77" id="Page_77"></a>[77]</span>estate, often used to play the organ for the organist +in church, and the tenants always knew when +they were playing. My father used often to tell +that story at table. Ha, ha! It was very droll!</p> + +<p><span class="smcap">Dominie.</span> Curious!</p> + +<p><span class="smcap">John S.</span> Well, to return to my violin. I gave +it up after a year, because it seemed rather +scratchy to me, too.</p> + +<p><span class="smcap">Dominie.</span> Curious! Probably your ear and +your taste had become more cultivated.</p> + +<p><span class="smcap">John S.</span> Afterwards, when I accepted an office, +my wife said to me, "My dear, what a pity it is +about your violin." So I had it restrung, and took +a teacher. It seems as if it were only yesterday.</p> + +<p><span class="smcap">Dominie</span> (<i>casting down his eyes,—the servant +brings ice</i>). That was very curious!</p> + +<p><span class="smcap">John S.</span> But the government horn-player +thought he could not get on in duets with me.</p> + +<p><span class="smcap">Dominie.</span> Curious! So you were obliged to +play only solos? But to return to your daughter. +Will you be good enough to play me something, +Miss Lizzie?</p> + +<p><span class="smcap">Mrs. S.</span> (<i>condescendingly, in a low voice</i>). She +is a little timid and embarrassed at playing before +your daughter Emma.</p> + +<p><span class="smcap">Emma.</span> You really need not be so.</p> + +<p><span class="pagenum"><a name="Page_78" id="Page_78"></a>[78]</span><span class="smcap">Mrs. S.</span> Bring "Les Graces" by Herz, and +Rosellen's "Tremolo."</p> + +<p><span class="smcap">Lizzie.</span> But, mamma, I have forgotten that +piece by Herz, and I have not learned the "Tremolo" +very well yet. That is always the way +with me. Mr. Shepard says I may console myself: +it was always the same with his other scholars. +He says I shall finally make my way. But Mr. +Shepard is so strict. Are you very strict, Herr +Dominie?</p> + +<p><span class="smcap">Mrs. S.</span> Why, my child, you have heard me +say so before. Herr Dominie is the very strictest—but +(<i>playfully</i>) he will not acknowledge it.</p> + +<p><span class="smcap">Dominie.</span> There is one thing you must allow, +Mrs. Spriggins,—that my pupils always take pleasure +in my lessons; and that must be the case +because their progress is evident and gives them +delight, and every thing is developed in the most +natural way.</p> + +<p><span class="smcap">Mrs. S.</span> (<i>less sharply</i>). We won't discuss that; +but how are your daughters able to play so many +pieces to people, and moreover without notes, if +they have not been obliged to practise all day +long, and if you have not been very cruel with +them, while my Lizzie cannot play a single thing +without bungling?</p> + +<p><span class="pagenum"><a name="Page_79" id="Page_79"></a>[79]</span><span class="smcap">Dominie.</span> Allow me, madam, it must be the +fault of Mr. Shep—</p> + +<p><span class="smcap">Mrs. S.</span> No, no! you must excuse me, but we +don't permit any reflections on our Mr. Shepard: +he is very particular and unwearied.</p> + +<p><span class="smcap">Dominie.</span> It does not depend entirely upon +that, but—</p> + +<p><span class="smcap">John S.</span> Upon my honor, it is marvellous to see +how talented pupils always seem to flock to <i>you</i>. +It is easy to teach such! Ha, ha! You must not +forget, however, that my grandfather played on +the organ. Now, Lizzie, sit down and play something.</p> + +<p class="sd">(She chooses a cavatina from "The Pirates," with +variations. The introduction begins with <span class="sdi">e</span> +flat in unison. Lizzie strikes <span class="sdi">e</span> in unison and +the same in the bass, and exclaims: "There, +mamma, didn't I tell you so? I don't remember +it now." Mr. Shepard enters, steps up +hastily, and puts her finger on <span class="sdi">e</span> flat.)</p> + +<p><span class="smcap">Shepard.</span> Pardon me, Herr Dominie, I will +only set her going: it makes her a little confused +to play before such connoisseurs; she loses her +eyesight. Don't you see, Lizzie, there are three +flats in the signature?</p> + +<p><span class="smcap">John S.</span> Courage now! Aha! Lizzie can't +<span class="pagenum"><a name="Page_80" id="Page_80"></a>[80]</span>get at the pedal, the bull-dog is lying over it. +John, take him out.</p> + +<p class="sd">(After the removal of the bull-dog, Lizzie plays as +far as the fourth bar, when she strikes <span class="sdi">c</span> sharp +instead of <span class="sdi">c</span>, and stops.)</p> + +<p><span class="smcap">Mrs. S.</span> Never mind, begin again. Herr Dominie +is pleased to hear that: he has gone through it all +with his own children.</p> + +<p class="sd">(Lizzie begins again at the beginning, and goes +on to the eighth bar, where she sticks fast.)</p> + +<p><span class="smcap">Shepard.</span> Don't make me ashamed of you, +Lizzie. Now begin once more: a week ago it +went quite tolerably.</p> + +<p class="sd">(Lizzie begins once more, and plays or rather +scrambles through it, as far as the eighteenth +bar; but now it is all over with her, and she +gets up.)</p> + +<p><span class="smcap">Dominie.</span> Skip the introduction, it is too difficult: +begin at once on the theme.</p> + +<p><span class="smcap">John S.</span> (<i>to his wife</i>). We will go away and +leave the gentlemen alone. By and by, gentlemen, +we will talk about it further over a cup of tea.</p> + +<p class="sd">(Lizzie refuses to play.)</p> + +<p><span class="smcap">Dominie.</span> Mr. Shepard, let Lizzie play a few +scales or some chords; a few finger exercises, or +some easy dance without notes.</p> + +<p><span class="pagenum"><a name="Page_81" id="Page_81"></a>[81]</span><span class="smcap">Shepard.</span> She has nothing of that kind ready. +You see I always take up one piece after another, +and have each one played as well as I can; she +repeats the difficult parts, I write the proper fingering +over them, and am very particular that she does +not use the wrong fingers. I have taken a great +deal of pains, and quite worn myself out over the +lessons. Lizzie does the same, and practises her +pieces two hours a day; but—but—</p> + +<p class="sd">(Lizzie goes away with Emma.)</p> + +<p><span class="smcap">Dominie</span>. Mr. Shepard, with the best intentions +in the world, you will never accomplish your end. +Even if Miss Lizzie is only to play as an amateur, +and is not intended for any thing higher, for which +in fact she has not sufficient talent, you must pay +some attention beforehand to the acquirement of +a correct tone, and get rid of this robin-red-breast +touch; and you must then endeavor, by scales and +exercises of every kind, to give to her hands and +fingers so much firmness, decision, and dexterity, +that she can master her pieces, at least with a +certain distinct tone and a tolerable touch. You +are not less in error in the choice of her pieces, +which are far too difficult,—a fault of most teachers, +even with the most skilful pupils. The pieces which +your pupils are to execute should be below their +<span class="pagenum"><a name="Page_82" id="Page_82"></a>[82]</span>mechanical powers; for, otherwise, the struggle with +difficulties robs the player of all confidence in the +performance, and gives rise to stumbling, bungling, +and hurry. The mechanical powers should be cultivated +by studies and exercises, in preference to +pieces, at least to those of certain famous composers, +who do not write in a manner adapted to +the piano; or who, at any rate, regard the music +as of more importance than the player. This may +apply even to Beethoven, in the higher grade of +composition; for his music is full of danger for the +performer. The only course which can ever lead +to a sure result, without wearying both pupil and +parent, and without making piano-playing distasteful, +is first to lay a foundation in mechanical power, +and then to go on with the easier pieces by Hünten +and Burgmüller. If you try to produce the mechanical +dexterity essential for piano performance +by the study of pieces, except with the most careful +selection, you will waste a great deal of time +and deprive the pupil of all pleasure and interest; +and the young Lizzie will be much more interested +in the hope of a husband than in the satisfaction +of performing a piece which will give pleasure to +herself and her friends. There can be no success +without gradual development and culture, without +<span class="pagenum"><a name="Page_83" id="Page_83"></a>[83]</span>a plan, without consideration and reflection,—in +fact, without a proper method. How can there +be any good result, if the pupil has to try at the +same time to play with a correct touch, with the +proper fingering, in time, with proper phrasing, +to move the fingers rightly, to gain familiarity +with the notes, and to avoid the confusion between +the treble and the bass notes,—and in fact has +to struggle with every thing at once? And what +vexations! what loss of time without success!</p> + +<p class="sd">(Shepard listened with attention, and a light +seemed to dawn upon him.)</p> + +<p class="sd">(Dominie and Shepard go in to tea.)</p> + +<p><span class="smcap">Mrs. S.</span> Well, gentlemen, have you come to +any conclusion? Is not Lizzie a good pupil? +She is obliged to practise two hours every day, +however tired she may be. Do you think we +should continue in the same course, Herr Dominie?</p> + +<p><span class="smcap">Shepard.</span> Herr Dominie has called my attention +to some points which will be of use to me.</p> + +<p><span class="smcap">Dominie.</span> Only a few trifles.</p> + +<p><span class="smcap">John S.</span> After tea will not Miss Emma play +to us?</p> + +<p><span class="smcap">Emma.</span> The piano is very much out of tune, +some of the keys stick, the action is too light, and +<span class="pagenum"><a name="Page_84" id="Page_84"></a>[84]</span>the instrument generally is not calculated for the +successful execution of any thing.</p> + +<p><span class="smcap">John S.</span> I beg your pardon: it was considered +by everybody a very fine instrument when we +bought it, sixteen years ago. We had a great +bargain in it at the time, for we purchased it of a +neighbor who had improved it very much by use. +Mr. Shepard will confirm what I say, Miss.</p> + +<p class="sd">(Emma bows her head thoughtfully, and looks at +Shepard suspiciously.)</p> + +<p><span class="smcap">John S.</span> My violin has very much improved +during the last twenty years. On my honor, if +Lizzie were a boy, she should learn to play on +the violin, to keep it in the family. Ha, ha, ha!</p> + +<p><span class="smcap">Dominie.</span> That would be curious!</p> + +<p class="sd">(Dominie wishes to take leave with his daughter.)</p> + +<p><span class="smcap">Mrs. S.</span> (<i>condescendingly</i>). I hope you will come +to see us again soon. The next time Lizzie will +play you Rosellen's "Tremolo;" and Miss Emma +must play us a piece too.</p> + +<p><span class="smcap">Dominie.</span> You are extremely kind! (<i>Takes leave.</i>)</p> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_85" id="Page_85"></a>[85]</span></p> +<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII.</h2> + +<h3>SINGING AND SINGING-TEACHERS.</h3> + + +<p class="center"><i>(A Letter to a Young Lady Singer.)</i></p> + +<p><span class="smcap">My dear Miss</span> ——, —You are endowed with +an admirable gift for singing, and your agreeable +though not naturally powerful voice has vivacity +and youthful charm, as well as a fine tone: you +also possess much talent in execution; yet you +nevertheless share the lot of almost all your sisters +in art, who, whether in Vienna, Paris, or Italy, find +only teachers who are rapidly helping to annihilate +the opera throughout Europe, and are ruling +out of court the simple, noble, refined, and true +art of singing. This modern, unnatural style of +art, which merely aspires to superficial effects, +and consists only in mannerisms, and which must +ruin the voice in a short time, before it reaches +its highest perfection, has already laid claim to +you. It is scarcely possible to rescue your talent, +unless, convinced that you have been falsely +guided, you stop entirely for a time, and allow +your voice to rest during several months, and then, +<span class="pagenum"><a name="Page_86" id="Page_86"></a>[86]</span>by correct artistic studies, and with a voice never +forced or strong, often indeed weak, you improve +your method of attack by the use of much less +and never audible breathing, and acquire a correct, +quiet guidance of the tones. You must also +make use of the voice in the middle register, and +strengthen the good head-tones by skilfully lowering +them; you must equalize the registers of the +voice by a correct and varied use of the head-tones, +and by diligent practice of <i>solfeggio</i>. You +must restore the unnaturally extended registers +to their proper limits; and you have still other +points to reform. Are you not aware that this +frequent tremulousness of the voice, this immoderate +forcing of its compass, by which the chest-register +is made to interfere with the head-tones, +this coquetting with the deep chest-tones, this +affected, offensive, and almost inaudible nasal +<i>pianissimo</i>, the aimless jerking out of single tones, +and, in general, this whole false mode of vocal +execution, must continually shock the natural +sentiment of a cultivated, unprejudiced hearer, as +well as of the composer and singing-teacher? +What must be the effect on a voice in the middle +register, when its extreme limits are forced in +such a reckless manner, and when you expend as +<span class="pagenum"><a name="Page_87" id="Page_87"></a>[87]</span>much breath for a few lines of a song as a correctly +educated singer would require for a whole +aria? How long will it be before your voice, +already weakened, and almost always forced beyond +the limits of beauty, shall degenerate into a +hollow, dull, guttural tone, and even into that +explosive or tremulous sound, which proclaims +irremediable injury? Is your beautiful voice and +your talent to disappear like a meteor, as others +have done? or do you hope that the soft air of Italy +will in time restore a voice once ruined? I fall +into a rage when I think of the many beautiful +voices which have been spoiled, and have dwindled +away without leaving a trace during the last forty +years; and I vent my overflowing heart in a brief +notice of the many singing-teachers, whose rise +and influence I have watched for twenty years +past.</p> + +<p>The so-called singing-teachers whom we usually +find, even in large cities and in musical institutions, +I exempt from any special criticism, for they +would not be able to understand my views. They +permit soprano voices to sing scales in all the five +vowels at once; begin with <i>c</i> instead of <i>f</i>; allow a +long holding of the notes, "in order to bring out +the voice," until the poor victim rolls her eyes +<span class="pagenum"><a name="Page_88" id="Page_88"></a>[88]</span>and grows dizzy. They talk only of the fine chest-tones +which must be elicited, will have nothing to +do with the head-tones, will not even listen to them, +recognize them, or learn to distinguish them. Their +highest principle is: "Fudge! we don't want any +rubbish of Teschner, Miksch, and Wieck. Sing in +your own plain way: what is the use of this murmuring +without taking breath? For what do you +have lungs if you are not to use them? Come, +try this aria: 'Grâce,' 'grâce!' Produce an effect! +Down on your knees!"</p> + +<p>There are again others who allow screaming,—"the +more the better,"—in order to produce power +and expression in the voice, and to make it serviceable +for public performances. They may, indeed, +require the singing of <i>solfeggio</i>, and prattle about +the requisite equality of the tones; and they consequently +make the pupil practise diligently and +strongly on the two-lined <i>a</i>, <i>b</i> flat, <i>b</i>, where kind +Nature does not at first place the voice, because +she has reserved for herself the slow and careful +development of it. As for the unfortunate gasping +medium voices, which are still less docile, and +which sigh in the throat, and after all can only +speak, such teachers postpone the cultivation of +these to the future, or else they exclaim in a satisfied +<span class="pagenum"><a name="Page_89" id="Page_89"></a>[89]</span>way, "Now we will sing at sight! Hit the +notes! Let us have classical music!" Of these, +also, I forbear to speak.</p> + +<p>And as for the singing-teachers, whose business +it is to educate the voice for "the opera of the +future," I am really unable to write about them. +In the first place, I know nothing about "the +future," the unborn; and, in the second place, I +have more than enough to do with the present.</p> + +<p>And now I come to those who honestly wish to +teach better, and who in a measure do so. But +even they are too pedantic: with prejudiced views, +they pursue one-sided aims. Without looking +around to the right or to the left or forwards, and +without daily learning, reflecting, and striving, they +run in a groove, always ride their particular hobby, +cut every thing after one pattern, and use up the +time in secondary matters, in incredible trifles. +For the formation of a fine tone, not a minute +should be lost, particularly with lady singers, who +are not strong, and usually cannot or ought not to +sing more than twenty days in a month, and who +surely ought to be allowed to use their time in +a reasonable manner. Moreover, these are the +teachers whom it is most difficult to comprehend. +Though they use only seven tones, they are +<span class="pagenum"><a name="Page_90" id="Page_90"></a>[90]</span>plunged in impenetrable mysteries, in incomprehensible +knowledge and a multitude of so-called +secrets, out of which, indeed, nothing can ever +be brought to light. For this, however, they do +not consider themselves to blame, not even their +hobby-horses; but, as they say, "the higher +powers." We will, for once, suppose that three-fourths +of the measures which they are accustomed +to employ in their treatment of the voice +and of the individual are good and correct (the +same is true of many piano-teachers); but the +remaining fourth is sufficient to ruin the voice, or +to prevent its proper development, and therefore +nothing correct is to be gained. There are other +teachers who never can get beyond the formation +of the tone, and are lost in the pursuit of <i>perfection</i>,—that +"terrestrial valley of tears." Truly a +beautiful country, but which is only to be found in +Paradise!</p> + +<p>Others, instead of thinking, "I will try for the +present to do better than others have done," so +harass and torment the poor mortal voices with +their aim at perfect equality and perfect beauty of +tone, the result often is that every thing becomes +unequal and far from beautiful. Some teachers +make their pupils so anxious and troubled that, +<span class="pagenum"><a name="Page_91" id="Page_91"></a>[91]</span>owing to their close attention to the tone, and the +breath, and the pronunciation, they sing their +songs in an utterly wooden manner, and so in +fact they, too, are lost in optimism and in tears; +whereas, for singing, a happy confidence in the +ability to succeed is essential. Others pursue an +opposite course, and are guilty of worse faults, as +you will see if you look around. Some of them +have no standard of perfection, but use up the +time in an exchange of ideas with their pupils, +with mysterious and conceited "ifs" and "buts." +They are very positive, but only within the narrow +circle of their own ideas. They make no advance +in a correct medium path. Some allow pupils to +practise only <i>staccato</i>, and others only <i>legato</i>, aiming +thereby at nobody knows what. Some allow +them to sing too loud, others too feebly; some philosophize +earnestly about beauty in the voice, and +others grumble about unpleasantness in the same; +some are enthusiastic about extraordinary talents, +others fret about the want of talent; some have +a passion for making all the sopranos sing alto, +others do just the reverse; some prefer a shadowy, +others a clear voice. They all rest their opinions +upon the authority of some famous screaming-master +who has written a singing-system. Upon +<span class="pagenum"><a name="Page_92" id="Page_92"></a>[92]</span>like authority, some cultivate chiefly the deep +tones, because it is very fine, and "creates an +effect," for soprano voices to be able suddenly to +sing like men, or rather to growl, and because it +is the fashion in Paris. Others, on the contrary, +pride themselves upon the head-tones; but they +are none of them willing to pay much attention +to the medium voices: that is too critical and too +delicate a matter, and requires too much trouble, +for the modern art of singing. As a last resort, +they bethink themselves of kind Nature, and lay +the blame upon her.</p> + +<p>Well, I will say no more upon this point, but +will proceed. Have I not already, in my piano +instructions, insisted on the importance of a gradual +and careful use of every proper expedient to +extend, strengthen, beautify, and preserve the +voice? I am thought, however, to infringe upon +the office of the singing-masters, who hold their +position to be much more exalted than that of +the poor piano-teacher. Still, I must be allowed to +repeat that voices are much more easily injured +than fingers; and that broken, rigid voices are +much worse than stiff, unmanageable fingers, unless, +after all, they amount to the same thing. I +demand of singing-teachers that they show themselves +<span class="pagenum"><a name="Page_93" id="Page_93"></a>[93]</span>worthy of their position, and allow no more +voices to go to destruction, and that they give us +some satisfactory results. I believe in fact, in my +homely simplicity, that the whole thing may be +accomplished without any mystery, without trading +in secrets or charlatanry; without the aid of modern +anatomical improvement, or rather destruction, +of the worn-out throat, through shortening or +increasing the flexibility of the palate, through the +removal of the unnecessary glands or by attempts +to lengthen the vocal passage, or by remedying a +great many other things in which Nature has +made a mistake, and on which special doctors for +the voice, in Paris and London, are now employed.</p> + +<p>We supply the want of all these by the following +little rule:—</p> + +<p>Three trifles are essential for a good piano or +singing-teacher,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0"><i>The finest taste,</i><br /></span> +<span class="i0"><i>The deepest feeling,</i><br /></span> +<span class="i0"><i>The most delicate ear,</i><br /></span> +</div></div> + +<p>and, in addition, the requisite knowledge, energy, +and some practice. <i>Voilà tout!</i> I cannot devote +myself to the treatment of the throat, for which I +have neither time not fitness; and my lady singers +<span class="pagenum"><a name="Page_94" id="Page_94"></a>[94]</span>are so busy with the formation of true tone, and +in attention to the care and preservation of their +voices, that they only wish to open their mouths +for that object, and not for anatomical purposes. +In piano-playing also, I require no cutting of the +interdigital fold, no mechanical hand-support, no +accelerator for the fingers or stretching machine; +and not even the "finger-rack" invented and used, +without my knowledge, by a famous pupil<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> of +mine, for the proper raising of the third and fourth +fingers.</p> + +<p>My dear young lady, if the Creator has made the +throat badly for singing, he alone is responsible. +I cannot come to his assistance by destroying the +throat with lunar caustic, and then reconstructing +it. If the throat is really worn out, may it not +perhaps be owing to the teacher, and to his mistaken +management?</p> + +<p>Nature does many things well, and before the +introduction of this modern fashion of singing produced +many beautiful voices: has she all at once +become incapable of doing any thing right?</p> + +<p><span class="pagenum"><a name="Page_95" id="Page_95"></a>[95]</span>We will, then, simply return to the <i>three trifles</i> +above-mentioned; and in these we will live and +work "with all our heart, with all our soul, and +with all our mind."</p> + + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_96" id="Page_96"></a>[96]</span></p> +<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX.</h2> + +<h3>THOUGHTS ON SINGING.</h3> + + +<p>Our vocal composers, followed by many singing-teachers +and singing institutions, have almost banished +from music the true art of singing; or, at +least, have introduced an unnatural, faulty, and +always disagreeable mode of delivery, by which +the voice has been destroyed, even before it has +attained its full development. The consideration +of this fact induces me to communicate some portions +from my journal, and to unite with them a +few opinions of the noted singing-master, Teschner, +of Berlin.</p> + +<hr style='width: 45%;' /> + +<p>Must we again and again explain to German +composers that, though we do not require them to +compose in Italian, they ought, at least, to learn +to write in German in a manner suited for singing? +otherwise, in their amazing ignorance and infatuation, +they will wear out the powers of opera singers, +and torture the public, apparently without a suspicion +<span class="pagenum"><a name="Page_97" id="Page_97"></a>[97]</span>that it is possible to write both grand and +light operas with true, characteristic German thoroughness. +Even German opera requires a constant +attention to the right use of the voice, and a +methodical, effective mode of singing. It tolerates +no murderous attacks on single male and female +voices, or on the full opera company; it is opposed +to that eager searching after superficial effect, +which every sincere friend of the opera must lament.</p> + +<p>Is it, then, so difficult to obtain the requisite +knowledge of the human voice, and to study the +scores of Gluck, Haydn, Mozart, Rossini, Bellini, +and Donizetti with a special regard to this? Do +our vocal composers make too great a sacrifice to +their creative genius in making a study of those +things which are essential? You consider it +mortifying to inquire of those who understand +singing, and you are sensitive about any disturbance +of your vain over-estimate of your own +powers; but you are not ashamed to cause the +destruction of man's noblest gift,—the human +voice! If taste, feeling, and a fine ear are, and +always must be, the chief requirements in composing +for the great public, I ask you how you can lay +claim to these three trifles, when you constantly +violate them?</p> + +<p><span class="pagenum"><a name="Page_98" id="Page_98"></a>[98]</span><span class="smcap">Composer.</span> If Mrs. N. had executed my aria to-day +in as earnest and masterly a style, and with as +agreeable a voice, as she did that of Rossini yesterday, +she would have given as much satisfaction; +for it is much more interesting and expressive +both musically and harmonically, and written with +more dramatic effect.</p> + +<p><span class="smcap">Singer.</span> You make a mistake, and you always +will do so, as long as you consider the study of the +voice as of secondary importance, or, in fact, pay +no attention whatever to it. The latter aria, which +is composed with a regard to the voice, and to the +employment of its most agreeable tones, puts me +into a comfortable mood, and gives me a feeling +of success; yours, on the contrary, into one of dissatisfaction +and anticipation of failure. Of what +importance is the musical value of a composition, +if it can only be sung with doubtful success, and if +the voice is obliged to struggle with it, instead of +having it under control? You attach less importance +to the free, agreeable exercise of the voice +than does the unanimous public. I do not wish to +excite compassion, but to give pleasure by a beautifully +developed style of singing. You pay some +attention to adaptability to the piano or the violin: +why are you usually regardless of fitness for the +voice?</p> + +<p><span class="pagenum"><a name="Page_99" id="Page_99"></a>[99]</span>Critics have often asked, Why does Jenny Lind +sing so coolly? why does she not sing grand, passionate +parts? why does she not select for her performances +some of the later German or even Italian +operas? why does she always sing Amina, Lucia, +Norma, Susanna, &c.? In reply to these and similar +questions, I will ask, Why does she wish always +to remain Jenny Lind? why does she endeavor to +preserve her voice as long as possible? why does +she select operas in which she may use her pure, +artistic, refined mode of singing, which permits no +mannerism, no hypocritical sentiment, and which +possesses an ideal beauty? why does she choose +operas in which she can give the most perfect possible +image of her own personality? why operas in +which she may allow the marvellous union of her +powers of song to shine conspicuously, without +doing violence to her voice and forcing its tones, +or casting doubt upon her lofty, noble, and beautiful +art? why does she first regard the singing, and only +afterwards the music, or both united? This is the +answer to the same questions which are likewise +asked about Henrietta Sontag and all great singers. +Even the passionate Schröder-Devrient seldom +made an exception to this rule, although she +was not independent of the theatres.</p> + +<p><span class="pagenum"><a name="Page_100" id="Page_100"></a>[100]</span>These questions should be an urgent warning +to our young female singers not to sacrifice themselves +to any of the modern screaming operas, +unsuited for singing; but to preserve and watch +over their voices, and to guard them from immoderate, +continued, and often inartistic exertion; in +fact, to sing always in the voice-register with +which nature has endowed them, and never to +shriek; to renounce the present, fashionable, so-called +"singing effects," and the modern scene-screaming, +as Jenny Lind and Henrietta Sontag +have always done. Then their voices would remain +useful for the opera, as was formerly the case, +from ten to twenty years; and they would not have +to mourn, as is too common, after a very short time, +a feeble, broken voice and departed health.</p> + +<p>Let Jenny Lind and Henrietta Sontag be placed +as the finest models before our young, gifted, ambitious +singers. They are to be regarded as miraculous +phenomena; especially in our times, when the +modern style of singing has, for reasons difficult +to justify, so widely deviated from the old school +which was so fruitful in brilliant results,—that +of Pistocchi, Porpora, and Bernacchi. What could +show more clearly the destructiveness of our present +opera style than the sublime beauty of their +<span class="pagenum"><a name="Page_101" id="Page_101"></a>[101]</span>singing, combined with their noble, refined, sound +voices, such as may perhaps still be found among +you?</p> + +<hr style='width: 45%;' /> + +<p>The managers of our theatres are in want of +tenor singers who can act. They should consider +that tenors who have any voices left have never +learned to act, and tenors who are able to act +no longer have any voices; because, as a rule, they +either have studied too little, or have studied erroneously. +Unless the voice has received a correct +and fine culture, the German comic operas lead +immediately to destruction of the voice, especially +of the sensitive, easily injured German tenor voice.</p> + +<p>Here I take occasion to remark upon the universal +prejudice, that "a tenor ought to develop the +chest-tones as far as possible, that they are the +finest." In tenors, with very few exceptions, this +mistaken treatment has been speedily followed by +the loss both of voice and health. Nicely shaded +singing, from <i>piano</i> onwards, is thereby rendered +impossible; and tones which are always forced +must remain unpleasant, even although powers +thus laboriously gained may sometimes have a +fine effect in the opera. A tenor who wishes to +preserve his voice and not to scream in the upper +<span class="pagenum"><a name="Page_102" id="Page_102"></a>[102]</span>tones, who desires always to have a <i>piano</i> at command +and to possess the necessary shading and +lightness as well as elegance and flexibility, should +cultivate the <i>falsetto</i>, and endeavor to bring it down +as far as possible into the chest-register. This is +as indispensable as is the use of the head-tones +for the soprano. When the <i>falsetto</i> has too striking +a resemblance to the chest-voice, and is even +inferior to it in power, it is the result of want of +perseverance and prudence in its cultivation. It +ought to be almost imperceptibly connected with +the chest-register by the introduction of the mixed +tones.</p> + +<hr style='width: 45%;' /> + +<p>We shall probably soon be called upon to read +an "Address of Young Female Singers to the +Composers of Germany," as follows: "Freedom +of thought! freedom in composition! freedom in +the opera! but no annihilation of the throat! You +are hereby notified that we protest against all +operas which are repugnant to the true art of +singing; for it is not in your power to compensate +us for the loss of our voices, although it may +be possible for you, after using up our talent as +quickly as possible, to look around for others, with +whom you can do the same. First learn to understand +<span class="pagenum"><a name="Page_103" id="Page_103"></a>[103]</span>singing, or, rather, first learn to sing, as your +predecessors have done, and as Italian composers +still do, and then we will talk with you again."</p> + +<hr style='width: 45%;' /> + +<p>"What a pedantic outcry about German want +of adaptability for singing! Pray where is there +the most singing?" It is, I agree, in Germany. +"Is not singing taught in the public schools? +And consider, too, the innumerable singing clubs, +singing societies, and singing institutions!"</p> + +<p>That is just the misfortune which requires a +thorough investigation. How many promising +voices do these institutions annually follow to the +grave? Who is it who sing in the schools? Boys +and girls from thirteen to fifteen years old. But +boys ought not to be allowed to sing while the +voice is changing; and girls, also from physical +reasons, ought not to sing at all at that age. And +what kind of instructors teach singing here? Our +epistolary and over-wise age overwhelms our superintendents +and corporations with innumerable petitions +and proposals; but no true friend of humanity, +of music, and of singing, has yet been found to +enlighten these authorities, and to prove to them +that the most beautiful voices and finest talents are +killed in the germ by these unsuitable so-called +<span class="pagenum"><a name="Page_104" id="Page_104"></a>[104]</span>singing-lessons, especially in the public schools. +Girls' voices may be carefully awakened, and skilfully +practised, and made flexible and musical; but +they should be used only in <i>mezzo-voce</i>, and only +until the period of their development, or up to the +thirteenth year, or a few months sooner or later. +This ought also to be done with great experience, +delicacy, practical knowledge and circumspection. +But where are we to find suitable singing-professors, +and who is to pay them a sufficient salary? +Therefore, away with this erroneous instruction +of children in singing! away with this abortion +of philanthropy and the musical folly of this extravagant +age! Can such a premature, unrefined, +faulty screaming of children, or croaking in their +throats, without artistic cultivation and guidance, +compensate for the later inevitable hoarseness and +loss of voice, and for the destruction of the organs +of singing?</p> + +<p>The tenors who belong to these singing societies +and institutions force out and sacrifice their uncultured +voices, and scream with throat, palate, +and nasal tones, in the execution of four-part songs +by this or that famous composer, which are far +from beautiful, and which serve only to ruin the +voice. Who was the lady who sang the solo in +<span class="pagenum"><a name="Page_105" id="Page_105"></a>[105]</span>yonder singing academy? That girl, a year ago, +had a fresh, beautiful, sonorous voice; but, although +she is only twenty years old, it already begins to +fail her, and she screws and forces it, by the help +of the chest-tones, up to the two-lined <i>a</i>, without +any thing having ever been done for the adjustment +of the voice-registers and for the use of +the head-tones, and without proper direction from +a competent superintendent. Instead of this, he +was continually exclaiming: "Loud! forcibly! <i>con +espressione!</i>"</p> + +<p>While even the street boys in Italy sing clearly, +and often with great ability, their national songs, +so well suited to the voice, and in their most beautiful +language, our northern voices, which are +obliged to contend with the great difficulties of +the German language, are sacrificed in the most +cold-blooded and self-satisfied manner in the schools +and singing societies, while all artistic preparation, +by which alone the voice may be preserved and +cultivated, is neglected.</p> + +<p>Who are at the head of these institutions and +societies? Musicians it is true; but they are +strangers to any special education in singing, or +are not skilful singing-teachers, who understand +how to combine methodical cultivation of the voice +<span class="pagenum"><a name="Page_106" id="Page_106"></a>[106]</span>with practical execution. Their entire instruction +consists, at most, in hitting the notes and keeping +time. These musicians say: "Whoever joins my +society must know how to sing!" What does that +mean? Where are they to learn it? And, even +when you have succeeded in obtaining for your +academy a few imprudent but well-taught singers, +does not the preservation of their voices then +require the greatest care and watchfulness? Is +that in your power? Have you the requisite +knowledge for it? Are not these few well-educated +voices obliged to sing by the side of singers +who have been taught in a wrong manner, and +who have no pure, correct intonation? Then what +do these societies amount to? Do they improve +or destroy the voice? They make the members +musical. A fine consolation for the loss of the +voice! They teach them to hit the notes and to +keep time. A great comfort after the voice has +been destroyed by false culture!</p> + +<hr style='width: 45%;' /> + +<p>A singing-teacher who has no firm, decided +principle, who is constantly wavering backwards +and forwards, and who frequently leads others into +error by his untenable opinions; who cannot quickly +discern the special talent and capacity of his pupils, +<span class="pagenum"><a name="Page_107" id="Page_107"></a>[107]</span>or discover the proper means to get rid of what is +false or wrong, and adopt the speediest road to +success, without any one-sided theories of perfection; +who mistrusts and blames, worries, offends, +and depresses, instead of encouraging; who is +always dissatisfied instead of cordially acknowledging +what is good in the pupil; who at one time +rides a high horse instead of kindly offering a helping +hand, and at another time praises as extravagantly +as he before has blamed, and kills time in +such ways as these,—he may be an encyclopædia +of knowledge, but his success will always fall short +of his hopes. Firmness, decision, energy, and a +delicate, quick perception; the art not to say too +much or too little, and to be quite clear in his own +mind, and with constant considerate kindness to +increase the courage and confidence of his pupils,—these +are requisite above all things for a singing-master +as well as for a piano-teacher.</p> + +<hr style='width: 45%;' /> + +<p>"My singers are to be educated for the public, +for the stage, and must therefore sing loud, study +hard, force their execution, and make use of a +great deal of breath. How else will they be able +to produce an effect?"</p> + +<p><i>Answer.</i> What, then, is the effect of your culture? +<span class="pagenum"><a name="Page_108" id="Page_108"></a>[108]</span>I know of none, except that they at first +are applauded, because they are young and pretty, +and are novelties; because they have good voices, +and the benevolent public wishes to encourage +them; and then they disappear in a year or two +without leaving any trace.</p> + +<p>"The singing-teacher can succeed in cultivating +not more than one good voice in twenty, with any +noteworthy result. Hence the decadence of the +art of singing."</p> + +<p><i>Answer.</i> Unless some unusual disturbance or +sickness occur, all voices improve till the twenty-fourth +year. When this is not the case, it is to +be attributed only to the singing-teacher.</p> + +<p>"Many voices acquire a sharp tone, which is the +precursor of decay."</p> + +<p><i>Answer.</i> All voices are, and will remain, more +or less tender, if their culture is correct.</p> + +<p>"Only Jenny Lind and Henrietta Sontag were +allowed by the public to give out their voices naturally +and lightly without straining them, and to +sing <i>piano</i> and <i>pianissimo</i>, and their celebrity is a +justification of this privilege."</p> + +<p><i>Answer.</i> But how would they have obtained +their celebrity, if this were not the true, correct, +and pure mode of singing?</p> + +<p><span class="pagenum"><a name="Page_109" id="Page_109"></a>[109]</span>"Our singers also try the <i>piano</i> and <i>pianissimo</i>; +but they can produce no effect on their audiences +by it, as you may see every day."</p> + +<p><i>Answer.</i> Good heavens! I should think so! +With such a <i>piano</i>, with strained voices, faulty +attack, and the use of too much breath,—a <i>piano</i> +which only gurgles in the throat, or deeper! That +I do not mean: I must refer you again to the three +trifles mentioned in my eighth chapter.</p> + +<p>"But some voices have no <i>piano</i>, and many +singers do not take the right course to acquire +it."</p> + +<p><i>Answer.</i> What a wide-spread, groundless excuse! +Here we may see the error of our times. +People look for the fault outside of themselves, +and not in themselves. The inventive power of +the age is here truly astonishing! When, owing +to false management, the voice soon degenerates +instead of improving with time, it is the consequence +of a faulty formation of the throat, and of +the neglect of London throat brushes! If such +badly educated voices can no longer produce a +<i>piano</i>, it is owing to the unskilfulness of nature, +and to the false construction of the necessary +organs! If the <i>piano</i> is only a wheeze, the reason +is found in the deficiency of palate, and excess of +<span class="pagenum"><a name="Page_110" id="Page_110"></a>[110]</span>muscles! If several times in the month, the worn +out, weary voice can only groan and sigh, or cannot +emit a sound, it is the result of a change in the +weather, or other meteorological conditions! If we +complain of unpleasant, shrieking tones, occasioned +by the mouth being too widely stretched, then "the +rays of sound take an oblique, instead of a direct +course"! If the poor, strained medium voice, even +with the help of a great deal of breath, can only +produce dull, hollow, veiled, and unpleasant tones, +that is said to be a necessary crisis, of which cruel +Nature requires a great many in the course of her +development of the voice! Finally, if from long +and forced holding of the chest-tones, they are +changed into noises like the bellowing of calves +and the quacking of ducks, and the instructor +finally perceives it, then again we have a crisis! +And, alas! no one thinks of "the three trifles."</p> + +<hr style='width: 45%;' /> + +<p>What occasions the want of success of our singing-teachers, +many of whom are musical, possess +a delicate ear, fine culture and feeling, have studied +systems of singing, and exert themselves zealously +to teach rightly?</p> + +<p>They fail in the culture of the tone, which is not +to be learned from books or by one's self, but only +<span class="pagenum"><a name="Page_111" id="Page_111"></a>[111]</span>from verbal communication. To learn to produce +a clear tone, with a light, free, natural attack; to +understand how to draw forth the sound with +the use of no unnecessary breath, and to cause +the sound to strike against the roof of the mouth +above the upper row of teeth; to improve the +pronunciation; to adjust the registers,—these, +with many other things, may seem very easy; but +to teach them all in the shortest time, without wearing +out the voice and without falling into errors; +to persevere in teaching to the end, even if the +pupil already sings correctly; to know what is still +wanting and how it is to be attained,—all these +one must acquire by long and constant experience.</p> + +<p>When Schröder-Devrient came from Vienna to +Dresden, a young but already celebrated singer, +though at that time wanting in the proper foundation +for singing, she was not a little surprised when +Miksch called her attention to this deficiency. She +devoted herself thoroughly to the primary formation +of the tone under the instruction of Miksch, +and must still remember the old master, and his +extraordinary practice in this particular. Miksch +learned it from Caselli, a pupil of Bernacchi. He +had just sung as a young tenor, with great applause, +in a concert, and introduced himself to +<span class="pagenum"><a name="Page_112" id="Page_112"></a>[112]</span>Caselli, who was present, expecting to receive his +approbation; but the latter, instead of commending, +assured him frankly that his mode of singing +was false, and that with such misuse his voice +would succumb within a year, unless he adopted +a correct culture of tone. After much hard struggle, +the young Miksch renounced all further public +applause, and studied the formation of tone assiduously +and perseveringly with Caselli, after having +previously allowed his over-strained voice a time +for rest.</p> + +<p>If a singing-teacher has, by chance, met with +a docile pupil, possessed of a voice of unusual +beauty, it frequently happens that the studies are +not pursued with sufficient perseverance; and, perhaps, +are continued only for a few weeks or months, +instead of allowing a year or more, according to +circumstances. Richard Wagner agrees with me, +when he says, "Why, then, write operas to be sung, +when we no longer have either male or female +singers?"</p> + +<hr style='width: 45%;' /> + +<p>Since modern progress has come to regard "the +three trifles" as belonging entirely to the past, and +in their place has proclaimed, "Boldness, Spirit, +Power," two evil spirits have had rule: they go +<span class="pagenum"><a name="Page_113" id="Page_113"></a>[113]</span>hand in hand, ruin the voice, wound the cultivated +ear, and provide for us—only empty opera houses. +One of these evils has been frequently alluded to +by me. It is "the expenditure of a great deal too +much breath." The finest voices are obliged to +practise with full breath until they shriek, and +the result is mere sobbing, and the heavy drawing +of the breath, just at the time when the tone +should still be heard. Even if every thing else +could be right, in such a culture of the tone, which +must very shortly relax the muscles of the voice, +that one thing, in itself, would be sufficient to destroy +all promise of success.</p> + +<p>The second evil endangers even the male voice, +which is able to endure much ill-treatment; while +the female voice is quickly forced by it into a piercing +shrillness, or is driven back into the throat, +soon to be entirely exhausted, or is, at least, prevented +from attaining a natural, fine development. +This second evil is the reckless and destructive +straining of single tones to their extreme limits, +even to perfect exhaustion. The poor singer urges +and squeezes out the voice, and quivers to the +innermost marrow, in order that the two requirements +of "Boldness" and "Power" may be satisfied. +But the "Spirit" is still wanting, which should +<span class="pagenum"><a name="Page_114" id="Page_114"></a>[114]</span>be shown in a light and well-shaded delivery. The +effect of extreme shading, however, is accomplished +in a single "romanza." The unfortunate, misdirected +singer, who must aim at effect, lays out so +much force on single tones, or even on whole lines, +and that, too, in the best register of his voice (the +other registers do not permit this), that the succeeding +tones are forced to retire powerless into +the throat; and the beautiful, fresh, youthful tenor +or bass voice concludes with exhausted groaning +and mere speaking tones. The "romanza" is now +at an end, and certainly "Boldness, Spirit, and +Power" have worked in union. The task is executed +the better, because a rude accompaniment +has probably sustained the singer in a most striking +manner, and has completed the total effect.</p> + +<p>By such management, to which I must emphatically +add the continual holding of the tones, even +in the <i>forte</i>, voices are expected "to come out," to +be developed, inspired, and made beautiful. What +healthy ear can endure such enormities in tone +formation, such tortures in singing? These, then, +are the modern contributions for the embellishment +of art! A curse on these evil spirits! If +my feeble pen shall assist in bringing such singing-teachers +to their senses, and shall help to save only +<span class="pagenum"><a name="Page_115" id="Page_115"></a>[115]</span>a few of our fine voices, I shall consider my mission +fulfilled, and the aim of this book, so far as it +concerns singing, accomplished.</p> + +<hr style='width: 45%;' /> + +<p>I have heretofore combated many prejudices, +both in earnest and in sport, successfully and +unsuccessfully; but one I find very obstinate,—it +has pursued me incessantly for years. A piano-player, +with a rigid, strained, and vicious touch, +proceeding from the arm, may play a great deal, +but his playing is thoroughly vulgar and without +beauty. He feels this himself, and the playing of +my pupils pleases him better. He wishes me to +change his style to their better manner; but he +still continues to pound, to bang, to exaggerate, +and to play in his own way, and only wishes his +style to be improved, and his power of execution +to be increased. If a performer of this sort is not +much more than twenty years of age, something +may yet be done for the improvement of his touch, +and consequently of his style of playing; but this +is only possible by laying aside all his accustomed +pieces of music, and by diligently practising, daily, +small easy exercises, which must be played delicately, +with loose fingers, and without allowing the +arm to give the slightest assistance; otherwise, all +<span class="pagenum"><a name="Page_116" id="Page_116"></a>[116]</span>labor will be thrown away upon him. How else +can you begin, except by laying a proper foundation +for a better style? I have frequently urged +this principle both by speech and in writing; but +the difficulty always returns, and especially in the +cultivation of female singers.</p> + +<p>A girl of eighteen comes to me: she has heard +of the excellent cultivation of my lady singers, and +wishes to obtain the same for herself. In order that +I may hear her voice, she selects the "Erlkönig," +by Schubert, that perilous piece, which is apt to +lead even highly cultivated singers into frightful +atrocities. Heavens! what must I hear? With +the remains of a fine, youthful voice, whose registers +are already broken up and disconnected, she +shrieks out the "Erlkönig," between sobs and +groans, with screwed-up chest-tones, and many +modern improprieties, but nevertheless with dramatic +talent. The piercing voice, forced to its +utmost, fills me with horror; but also with pity for +such a glorious endowment, and such an unnatural +development. At the conclusion, her voice succumbed +to the effort, and she could only groan +hoarsely, and wheeze without emitting a sound. +She has, however, frequently produced great effect +in society, and drawn tears with this performance: +<span class="pagenum"><a name="Page_117" id="Page_117"></a>[117]</span>it is her favorite piece. Let us abandon this +singing for parties, this melancholy <i>dilettantismus</i>, +everywhere so obtrusive! The girl is only eighteen +years old: is she beyond salvation? I endeavor to +build her voice up again, gradually, by gentle practice. +She succeeds very well in it, and after six +lessons her natural docility arouses hope. The +head-tones again make their appearance, and the +practice of <i>solfeggio</i> brings out once more the stifled +voice which had been forced back into the throat by +senseless exertions; a better attack begins to be +developed, and the chest-register returns to its natural +limits. She now declared, with her mother's +approval, that she really would continue to study in +this way, but she could not give up the performance +of her effective and spirited conception of the +"Erlkönig." She came a few times more: I could +perceive that the good structure was tottering. +After a few months, she had entirely sacrificed her +voice to this single "Erlkönig." In such tender +years, one such idol is sufficient. What a price for +an "Erlkönig"! The old, experienced singing-teacher, +Miksch, of Dresden (with the exception of +Rossini, the last famous champion of the old school), +has often warned me that radical amendment is +seldom possible with such over-strained and broken +<span class="pagenum"><a name="Page_118" id="Page_118"></a>[118]</span>voices, which already are obliged to struggle with +enfeebled muscles, even although youth may excite +great and decided hopes. There is also another +difficulty: that one of these strong, over-strained +voices must hereafter be used with much less +strength, if we wish to cultivate a correct tone; +and it is impossible to tell whether the chest-tones, +when they are restored to their true limit, will ever +come out again as powerful and at the same time as +beautiful. Let no musician, however talented and +cultivated he may be, ever adopt the teaching of +singing, unless he can combine with firmness of +character great patience, perseverance, and disinterestedness; +otherwise, he will experience very little +pleasure and very little gratitude. Even if the +"Erlkönig" does not stand in the way, every voice +presents new and peculiar difficulties.</p> + + +<p><i>A Few Words addressed to Singing-Teachers on the Accompaniment +of Etudes, Exercises, Scales, &c.</i></p> + +<p>It is common for teachers to play their accompaniments +as furiously as if they had to enter into +a struggle for life and death with their singers. At +the beginning of the lesson, the lady singer ought +to commence quite <i>piano</i>, at <i>f</i> in the one-lined +octave, and to sing up and down from there through +<span class="pagenum"><a name="Page_119" id="Page_119"></a>[119]</span>five or six notes, without any expenditure of breath, +and should guide and bring out her voice by a gentle +practice of <i>solfeggio</i>; and yet you bang, and +pound on the keys, as if you had to accompany +drums and trumpets. Do you not perceive that in +this way you induce your pupils to strain and force +their voices, and that you mislead them into a false +method? In such a noise, and while you are making +such a monstrous expenditure of strength, to +which you add a sharp, uneasy touch, and a frequent +spreading of the chords, how can you watch the +delicate movements of the singer's throat? Is it +necessary for me to explain how such a rude accompaniment +must interfere with the effort to sing +firmly and delicately? Are you not aware that a +light and agreeable, but at the same time firm and +decided, accompaniment encourages and sustains +the singer, and also assists and inspires her? You +ought, in every way, to seek to cultivate in your +pupil the feeling for the right, the true, and the +beautiful; but what is the girl of eighteen to think +of <i>your</i> culture and <i>your</i> sentiment, if you pound +the keys as if you were one of the "piano-furies"?</p> + +<p>While this is your mode of accompanying the +études, how then do you accompany the aria, the +song? If, for instance, the pupil is singing tenderly, +<span class="pagenum"><a name="Page_120" id="Page_120"></a>[120]</span>and wishes to bring out an artistic, delicate shading, +you take advantage of that occasion to make yourself +heard, and to annoy the singer and the audience +with your rough shading. A singing-teacher who +does not take pains to acquire a good, delicate touch, +and who neglects to pay constant attention to it, is +wanting in the first requirement; and this is closely +connected with the want of "the three trifles."</p> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_121" id="Page_121"></a>[121]</span></p> +<h2><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X.</h2> + +<h3>VISIT AT MRS. N.'S.</h3> + + +<p> +<span class="smcap">Mrs. N</span>.<br /> +<i>Her daughter</i> <span class="smcap">Fatima</span>, <i>eighteen years old</i>.<br /> +<span class="smcap">An Aunt</span>.<br /> +<span class="smcap">Dominie</span>.<br /> +<i>Towards the end of the evening, the piano-teacher</i>, <span class="smcap">Mr. Feeble</span>.<br /><br /> +</p> + +<p><span class="smcap">Dominie</span> (<i>rather anxiously to Fatima</i>). Will you +do me the favor, Miss, to play something on the +piano? Your aunt has told me a great deal about +your playing.</p> + +<p><span class="smcap">Fatima</span> (<i>smiling graciously</i>). But, really, the +piano is out of tune,—so my teacher says.</p> + +<p><span class="smcap">Dominie.</span> But does not your teacher attend to +having your piano always kept in tune?</p> + +<p><span class="smcap">Fatima.</span> Mamma says it is too expensive to +have it tuned so often; it gets out of tune again +so quickly. It is an old, small-legged piano, as +you see: mamma is always saying, when I am +older I shall have a Chickering. The tuner comes +regularly once in three months; the time is not +yet up.</p> + +<p><span class="smcap">Dominie.</span> But is your teacher satisfied with the +tuning of your piano?</p> + +<p><span class="pagenum"><a name="Page_122" id="Page_122"></a>[122]</span><span class="smcap">Fatima.</span> Well, he has got used to it. It is the +same with the other instruments he teaches on.</p> + +<p><span class="smcap">Mrs. N.</span> Now, pet, play us something. Mr. +Dominie likes music; he is a judge of it; his +daughters play too.</p> + +<p><span class="smcap">Fatima.</span> But what shall I play, mamma?</p> + +<p><span class="smcap">Mrs. N.</span> You have got heaps of notes there. +Mr. Dominie, pray select something.</p> + +<p><span class="smcap">Dominie.</span> But I don't know which pieces Miss +Fatima can master, and which she has now at her +fingers' ends.</p> + +<p><span class="smcap">Aunt.</span> Pray, Mr. Dominie, choose any thing. +They are all fine pieces. It makes no difference +to her which she plays.</p> + +<p><span class="smcap">Dominie.</span> But do you play that whole heap?</p> + +<p><span class="smcap">Aunt.</span> She has played it all. She has played +ever since she was ten years old, and she has a +very good teacher. He taught here when my +sister used to accompany her lover's solos on the +flute. Oh, those were charming musical evenings! +And the teacher often played the guitar with them +<i>extempore</i>. It was just like a concert.</p> + +<p><span class="smcap">Dominie.</span> Indeed! that must have been very +fine. Now, Miss, I beg—</p> + +<p><span class="smcap">Fatima.</span> But, mamma, just say what I shall +play.</p> + +<p><span class="pagenum"><a name="Page_123" id="Page_123"></a>[123]</span><span class="smcap">Dominie.</span> Is not your teacher here this evening? +He will know best.</p> + +<p><span class="smcap">Aunt</span> (<i>whispers to Dominie</i>). He is busy this +evening, composing some grand bravoura variations, +which are to be dedicated to Fatima on +her eighteenth birthday, the day after to-morrow. +You must come to see us on that day. Fatima will +play them at sight.</p> + +<p><span class="smcap">Mrs. N.</span> Fatima, don't hold back any longer. +Play "The Huguenots" by Thalberg: that's a very +fine piece.</p> + +<p><span class="smcap">Dominie.</span> Pray do! I have not heard it since +I heard Thalberg play it.</p> + +<p><span class="smcap">Aunt</span> (<i>to Dominie</i>). Don't you make your +daughters play it then? Oh, that magnificent +choral! That brings tears to my eyes! But the +dear child always takes it too fast: her fingers +run away with her.</p> + +<p><span class="smcap">Mrs. N.</span> Here it is. Please turn round so that +you can see her hands, Mr. Dominie. You are +such a famous teacher, perhaps you can make +some suggestions. (<i>I was expected only to admire.</i>)</p> + +<p><span class="smcap">Dominie.</span> I don't like to disturb her freedom +in playing; but I will turn round, if you say so.</p> + +<p><span class="pagenum"><a name="Page_124" id="Page_124"></a>[124]</span></p><p class="sd">(Fatima scurries through the piece excitedly, and +plays in a bold way,—not, however, without +ability, but with a feeble touch, without proper +fingering, without tone, without time; and gets +over the first two pages, with her foot always +on the pedal, in such a senseless, indistinct +manner that Dominie, in despair, was forced +to interrupt with the remark, "But you might +take the <span class="sdi">tempo</span> a little more quietly.")</p> + +<p class="sd">(Fatima leans back amazed, and stops playing, +looking at her mother with a contemptuous +expression.)</p> + +<p><span class="smcap">Aunt.</span> It is owing to her great execution, and +then, too, her youthful enthusiasm. Don't you +like her natural expression?</p> + +<p><span class="smcap">Fatima.</span> My teacher always makes me play it +so. It is in that way that I have learned to play +so much at sight.</p> + +<p><span class="smcap">Dominie.</span> But don't you study your pieces?</p> + +<p><span class="smcap">Fatima.</span> For the last four years I have played +only at sight, so that now I can get on anywhere +in the musical clubs. That is what mamma likes.</p> + +<p><span class="smcap">Dominie.</span> But do you not play any scales and +études? do you not practise any exercises?</p> + +<p><span class="smcap">Aunt.</span> She has not done those things for the +last four years. My sister thinks it is rather a +<span class="pagenum"><a name="Page_125" id="Page_125"></a>[125]</span>hindrance, and is too pedantic. Her teacher +thinks so too, and he teaches her the fine concert +pieces of Döhler, Liszt, Dreyschock, Willmer, and +Thalberg. She learns execution by these. She +has gone through all Thalberg's music; and we +have sent to Leipzig for Willmer's "Pompa di +Festa."</p> + +<p><span class="smcap">Dominie.</span> All this shows great enthusiasm, but +really a little too much hot haste.</p> + +<p class="sd">(Dominie wishes to continue the conversation, in +order to escape the unpleasant necessity of "turning +round to the piano.")</p> + +<p><span class="smcap">Mrs. N.</span> (<i>interrupts</i>). My child, just begin again +at the beginning, and let us enjoy the whole of +"The Huguenots." Mr. Dominie likes it.</p> + +<p class="sd">(Fatima consents, and hurries through the whole +Potpourri with a confident, conceited air, to the +great despair of Dominie. At the choral, the +aunt taps him on the shoulder, and whispers.)</p> + +<p><span class="smcap">Aunt.</span> Is not that touching? It is a little too +fast, you will agree; but then the execution! Has +not the girl a great deal of talent? Just hear!</p> + +<hr style='width: 45%;' /> + +<p>But what did Dominie say after the performance +was over? He only bowed stiffly, and what he +said to himself will always remain a secret. He +only <i>felt</i>.</p> + +<p><span class="pagenum"><a name="Page_126" id="Page_126"></a>[126]</span>They go in to supper. All who submitted to +hearing the daughter perform on the badly tuned +piano, which was at least a tone and a half too +low, were invited to supper and handsomely treated. +The wine was better than the piano. Presently +the teacher, Mr. Feeble, having finished his birthday +bravoura composition, appeared and was introduced. +Fatima whispered to him, giggling, "I +played the whole of 'The Huguenots;' it went +splendidly." Mr. Feeble simpered. Dominie and he +talked together, unheard, at the end of the table.</p> + +<hr style='width: 45%;' /> + +<p><span class="smcap">Dominie.</span> The young lady has talent, Mr. +Feeble.</p> + +<p><span class="smcap">Mr. Feeble.</span> Indeed she has!</p> + +<p><span class="smcap">Dominie.</span> How is it, Mr. Feeble, that she does +not combine serious studies with her playing?</p> + +<p><span class="smcap">Mr. Feeble.</span> Oh! I used to make her play +exercises by A.E. Mueller, and some Etudes of +Czerny's, and sometimes a few scales. But the +child was so volatile, and had so little perseverance, +and was so quick at learning every thing! +And then her mother wanted her to play modern +pieces for parties, and we had to busy ourselves +with those. But our method has borne good fruit, +as you can see. Is not it so?</p> + +<p><span class="pagenum"><a name="Page_127" id="Page_127"></a>[127]</span><span class="smcap">Dominie.</span> Do you not think, with firmness and +decision, you could have set Mrs. N. on the right +track? Could not you cultivate the mechanical +powers of your pupil, and combine an understanding +of the musical construction of the piece, with +her "playing at sight"? The young lady, not to +speak of other faults, has no tone on the piano.</p> + +<p><span class="smcap">Mr. Feeble.</span> She can use the pedal for that, +and, when she is older, she will acquire more +strength; her touch is a little too weak at present. +And, besides, she is not to play in public for +money, but only in company, and because it is +the fashion. Indeed, my dear sir, if I insisted on +scales and exercises, I should have very few lessons +in this city. I have a wife and children to support, +and my old father, the former organist, is dependent +upon me. You can do all this with your own children; +but think how much time it requires to <i>study</i> +the music!</p> + +<p class="sd">(The company bid each other "good-night.")</p> + +<p><span class="smcap">Fatima</span> (<i>flippantly to Dominie</i>). I believe your +daughter Emma is a very good player; but they +say she has not so much talent as your eldest +daughter.</p> + +<p><span class="smcap">Dominie.</span> Indeed! who told you that?</p> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_128" id="Page_128"></a>[128]</span></p> +<h2><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI.</h2> + +<h3>SECRETS.</h3> + + +<p class="center"><i>(A Discourse on Piano-Playing, delivered to an Audience +of Lady Pupils.)</i></p> + +<p>Ladies,—As I am about to make a journey of +a few weeks with my daughters, we will suspend +for a short time our musical meetings. On my +return, you will resume them with fresh interest. +We will then not only play and sing together, but +occasionally talk upon kindred subjects. Your +friends will be made welcome, provided they are +really interested in simple and noble musical performances, +which make no attempt at display. +We will exclude from our circle malicious criticism +and idle curiosity: we require the accompaniment +of the violin and 'cello, but not of those two disturbing +elements.</p> + +<p>To-day I wish to propound a query in regard to +piano-playing, to the partial solution of which you +will perhaps be glad to give some attention. You +may be sure that I shall always speak only upon +<span class="pagenum"><a name="Page_129" id="Page_129"></a>[129]</span>subjects which are not even mentioned in the +most crowded piano-schools.</p> + +<p><i>Query.</i> Why is it that our young, educated +ladies, who enjoy the advantages of sufficient +talent, industry, a serious purpose, and all the +necessary aids, are usually dissatisfied with their +progress and with their success in piano-playing?</p> + +<p>Their education is a sufficiently careful one, +extending to all branches of knowledge; but their +intellectual advancement in music (although it has +been fostered for years, by constantly listening to +good music, and frequently to the performances of +distinguished players, and by a critical comparison +of their own performances with these) is still +small in proportion to their power of execution, +and to the mechanical facility which they have +acquired. These are certainly essential to a correct +and agreeable rendering of a piece of music: +the compositions which are to be performed ought, +however, never to demand the exercise of all the +mechanical skill which has been acquired, for in +that case, by the struggle with mechanical difficulties, +only embarrassment, discouragement, and +anxious haste are apt to take the place of boldness, +confidence in one's self, and command of the music. +It is the duty of teachers, in choosing studies for +<span class="pagenum"><a name="Page_130" id="Page_130"></a>[130]</span>the improvement of technique, to select only such +as are within the mechanical powers of the pupil, +in order that he may make steady progress, and +may acquire a pure and delicate style of execution, +retaining at the same time a lively interest in his +pursuit. But why has the acquirement of this +technique been usually unsuccessful?</p> + +<p>1. Because you begin to acquire it too late. In +order to gain facility and flexibility of the fingers +and wrist (which a child in the sixth or seventh +year, with a skilful teacher, may acquire in four +lessons), from fifteen to twenty lessons, according +to the construction of the hand, are necessary with +persons from ten to fourteen years old. For other +reasons also, we must urge that the mechanical +facility should usually be acquired, or at least a +complete foundation for it laid in childhood, and +not left to be formed by a course which is destructive +of all spirit, at an age when labor is performed +with self-consciousness,—an age when our ladies +are talking a great deal of musical interpretations, +of tenderness and depth of feeling, of poetry and +inspiration in playing, to which they are led by +the possession of our classical piano compositions +and immortal master-works, and by intellectual +friends and teachers aiming at the highest culture. +<span class="pagenum"><a name="Page_131" id="Page_131"></a>[131]</span>You reply: "But even if your mode of elementary +instruction should meet with faithful disciples, +how, in such young pupils, are we to find perseverance +and sense enough to continue these severe +exercises, even in your interesting manner?" +My dear ladies, children ought to do it merely +from habit, although in many cases, after the +beginning, talent and correct musical instinct may +make their appearance. Uninterrupted enjoyment +would indeed be unnatural, and where you find it +vanity will usually be its moving spring, and this +seldom bears good fruit. You may as well ask +whether our great literary men and artists always +like to go to school, or whether they did not +delight in a holiday. Let this be the answer to +the strange question, Do your daughters like to +play? Good heavens! After they are able +to play, and that without much effort, and a little +at sight; when they can master, with a musical +appreciation, easy, graceful salon music, or even +the easier compositions of Beethoven, Mendelssohn, +Chopin, Hummel, Moscheles, &c.,—then they take +pleasure in playing, and they play a great deal, and +with enthusiasm.</p> + +<p>2. But, in case children should sometimes begin +in their sixth year, you must remember what is said, +<span class="pagenum"><a name="Page_132" id="Page_132"></a>[132]</span>in the first chapter of this work, with regard to the +prevalent false method of teaching beginners. You, +however, are supposed to have had better and more +sensible teachers. Let me nevertheless quote for +your amusement the remark which I have heard +so frequently in the course of my long life as a +piano-teacher: "In the beginning, a poor, rattling +piano, that is forty years old, and that is tuned regularly +once a year, and a cheap teacher, will do well +enough. As soon as the children learn to play +really well, then we will have a better piano and a +better teacher." Yes; but that time never comes, +and the parents soon conclude that even the most +gifted children have no talent, and take no pleasure +in music; and so they stop learning, only to regret +it when they are older. But the parents console +themselves, and after a while the old piano is never +tuned at all. But, as I have told you, I do not refer +here to <i>your</i> teachers, for whom I have a personal +regard, and who teach on excellent pianos.</p> + +<p>3. Don't be angry with me for my suggestion, +ladies: <i>you do not make enough use of the minutes</i>. +While our learned education absorbs so much time, +while our friends require so many hours, while, +alas! balls and dinners consume whole days, we +must be sparing of the remaining minutes.</p> + +<p><span class="pagenum"><a name="Page_133" id="Page_133"></a>[133]</span>"Now I must rush to the piano! I must go to +dinner in ten minutes: two scales, two finger exercises, +two difficult passages out of the piece I have +to learn, and one exercise to invent on the dominant +and sub-dominant, are soon done; and then +the dinner will taste all the better."</p> + +<p>"My dear Agnes, we might talk for ever about +this dreadful snow, it won't melt the sooner for it: +how do you like this passage that I am going to +play to you? It is from a charming Nocturne, by +Chopin, and is so difficult that I shall have to play +it over fifty times, or else I shall always stumble at +this place, and I never shall know the Nocturne to +play to any one. Don't you think it is beautiful?—so +spiritual and original! I can tell you it will be +something to boast of, when I have accomplished +that. You like it better the oftener I play it? So +do I."</p> + +<p>"We have an invitation out. Mother has a great +deal to arrange, and directions to give. We shall +have to go in ten minutes. I must rush to the +piano, though I am in rather an inconvenient +toilette: I may as well accustom myself to play in +it. I shall have to spend three hours this evening +without any music. Well, to make up for it, I will +occupy myself for the next ten minutes with an +<span class="pagenum"><a name="Page_134" id="Page_134"></a>[134]</span>exercise for this obstinate fourth finger, though it +is pretty dry. That weak finger has been a hindrance +to many a fine passage and scale. That is +better! Now I can put on my tight gloves. Suppose +I should put on the left glove on the way."</p> + +<p>Well, my young ladies, how many hours do you +think all those minutes would make in a year? +But I hear you say, "What is the use of worrying +to pick up all those stray minutes, like lost pins? +We have a whole hour to practise every day, when +nothing prevents." Exactly, when nothing prevents.</p> + +<p>I will now tell you a few of my secrets for piano +performers.</p> + +<p>If in piano-playing, or in any art, you wish to +attain success, you must resolve to work every day, +at least a little, on the technique. Sickness and +other unavoidable interruptions deprive you of +days enough.</p> + +<p>Practise always with unexhausted energy: the +result will be tenfold. Do you not frequently use +the time for practising, when you have already been +at work studying for five or six hours? Have you +then strength and spirit enough to practise the +necessary exercises for an hour or more, and to +study your music-pieces carefully and attentively, +<span class="pagenum"><a name="Page_135" id="Page_135"></a>[135]</span>as your teacher instructed you? Is not your mind +exhausted, and are not your hands and fingers tired +and stiff with writing, so that you are tempted to +help out with your arms and elbows, which is worse +than no practice at all? But, my dear ladies, if you +practise properly, several times every day, ten minutes +at a time, your strength and your patience are +usually sufficient for it; and, if you are obliged to +omit your regular "hour's practice," you have, at +any rate, accomplished something with your ten +minutes before breakfast, or before dinner, or at +any leisure moment. So, I beg of you, let me have +my minutes.</p> + +<p>Practise often, slowly, and without pedal, not +only the smaller and larger études, but also your +pieces. In that way you gain, at least, a correct, +healthy mode of playing, which is the foundation of +beautiful playing. Do you do this when neither +your teacher, nor your father or mother is present +to keep watch over you? Do you never say, "Nobody +is listening"?</p> + +<p>Do you take enough healthy exercise in the open +air? Active exercise, in all weather, makes strong, +enduring piano fingers, while subsisting on indoor-air +results in sickly, nervous, feeble, over-strained +playing. Strong, healthy fingers are only too +<span class="pagenum"><a name="Page_136" id="Page_136"></a>[136]</span>essential for our present style of piano-playing, +which requires such extraordinary execution, and +for our heavy instruments. So I still beg for the +minutes: your walks take up hours enough.</p> + +<p>Excessive and fatiguing feminine occupations, +and drawing, or painting, are by no means consistent +with an earnest, practical musical education; +not only because both those occupations require so +much time, but because they deprive the fingers of +the requisite pliability and dexterity, while knitting, +according to the latest discoveries, produces an unnatural +nervous excitement, which is unfavorable to +healthy progress in music. I at least, in my instruction +on the piano, have never been able to accomplish +much with ladies who are devoted to knitting, +crochet, and embroidering. My dear ladies, you +who have been born in fortunate circumstances, +and have been educated by your parents, without +regard to expense, should, at least, allow the poor +girl in the country, who is obliged to hide her talents +under a bushel, the small privilege of making +a collar for your mother's or your aunt's birthday +present. I assure you your mother or your aunt, +if you surprise them instead with a fine piano performance, +will be as much pleased as if you strained +your eyes and bent your back for days and nights +<span class="pagenum"><a name="Page_137" id="Page_137"></a>[137]</span>over the needle-work. And now as regards painting: +painting and music, though theoretically so +nearly related, agree but poorly in practice; at least, +if you are in earnest about either. You say painters +often play on the guitar and the flute. That +may be true: I will allow them those two instruments. +But piano-playing stands on a different +footing, even for mere amateurs. Sweet melodies +on those instruments may afford an agreeable companionship +for the painter in his rambles through +the woods and over the hills; but piano-playing +should be the friend of a life-time, ennobled by the +elevating enjoyment of lofty master-works. Therefore, +I beg you, do not dissipate your powers too +much. Leave the art of painting to your friends, +who are either without talent for music, or who +have no opportunity to study it. Our short lives +do not allow the successful practice of several arts. +Of what advantage to our higher culture is it to be +able to do ten things tolerably well; what gain for +the future, for humanity, or for the true happiness +of the individual? And even if you can succeed +in painting something which scarcely can be said +to resemble a rose, of what advantage is it, when +we have so many real roses to admire?</p> + +<p>My dear ladies, I warn you, generally, do not +<span class="pagenum"><a name="Page_138" id="Page_138"></a>[138]</span>be afraid of the so-called classical, heavy music, +especially Beethoven's, if you desire to learn from +it, only or chiefly, repose, lightness, facility, elasticity, +graceful, delicate playing, and a fine touch. +It is necessary to play such music after those brilliant +qualities have already been, to a certain degree, +acquired by mere studies and appropriate pieces. +It is, however, still more foolish and impractical, +when parents (who perhaps are skilful musicians, +but who have no recollection of their own youth) +hold the mistaken opinion that their children ought, +from the very beginning, to practise and play only +fine classical music, in order that the children's +ears may not be injured by false progressions, by +insignificant finger exercises, and by easily comprehensible +Italian airs, and that they themselves +may not be ruined body and soul. Gracious +heavens! how much pure music, suited to the +piano, have not my daughters, as well as many +others whom I have brought up to be fine performers, +played and studied!—such, for instance, +as the music of Hünten, Czerny, Burgmüller, +Kalkbrenner, A. and J. Schmitt, Herz, and many +others. Who finds fault now with their musical +culture, with their sound taste, or their want of +love for classical music? What a long road a +<span class="pagenum"><a name="Page_139" id="Page_139"></a>[139]</span>child has to travel through Etudes of Cramer, +Moscheles, and Chopin, before he comes to Bach's +Well-tempered Clavichord, or before he is able, +or ought even, to study Beethoven's Sonate +Pathétique! It is not well, though quite in the +spirit of the times, to condemn without experience, +from one's own prejudiced point of view, +the methods which those skilled in their business +have for years successfully tried and practised. It +is possible to make pupils musical in the above +way, but they will be only dull, clumsy bunglers +on the piano; not fine artists, who alone can give +a worthy and noble interpretation of classical music. +I desire that my daughters may never forget my +well-considered instructions, sustained by the experience +of many years; and that they may, in +grateful remembrance of their father and teacher, +repay to their pupils what they owe to him.</p> + +<p>But I see among my audience several beginners +in singing, and I beg to be allowed a word to them. +So long as many of our German song composers +consider it beneath their dignity to study the art +of singing in the old Italian master-works, and +under the guidance of well-qualified singing masters,—as +Gluck, Naumann, Hasse, Händel, Haydn, +Mozart, Salieri, Winter, and others have done,—I +<span class="pagenum"><a name="Page_140" id="Page_140"></a>[140]</span>warn you to take care of your tender voices, which +are so easily ruined, and not to allow yourselves +to be misled by ingenious opinions, and by music +otherwise good. The loss of your voices follows +in the footsteps of modern tortures in singing, as +you may see sufficiently in all our theatres, or, +indeed, may experience yourselves in numberless +German songs. Apply also to singing what I have +just said about piano-playing: as you should choose +for the piano music suited to the piano, so for your +studies in singing select only that which is adapted +to the voice; under the guidance of prudent and +educated teachers, not of modern voice breakers, +who allow you to scream, "in order to bring out +the voice." When you have acquired a good technique, +when your attack is sure, and a certain skilfulness +in singing has been developed, then only +you may try, by way of experiment, a few pieces +of such spirited but unskilled song composers, who +frequently commit sins in every line against correct +representation, the register of the voice, the breathings, +the pronunciation, and a hundred other things.</p> + +<p>Look around and see who sing these so-called +classical songs. They are either singers who do not +know what singing is, and who have no taste for +it, which, in consequence of their education, they +<span class="pagenum"><a name="Page_141" id="Page_141"></a>[141]</span>never can have; or those who no longer have any +voice, and accordingly sing every thing, or, rather, +declaim it, because they cannot sing. I recommend +you to sing (to mention the names of two only of +our most excellent song composers) the charming +songs of Fr. Schubert and Mendelssohn, who, in +constant intercourse with the most judicious masters +of singing in Vienna and Italy, have striven +constantly to compose scientifically, and have at +the same time produced clever songs; but you +should sing them not too often, or too many of +them. Singing in the German language, and in +syllables, and often with clumsy melodies, requires +a great deal of voice, and easily leads to many +faults and to a false manner. Remember how +strictly Jenny Lind selected, for performance in +her concerts, the songs of Schubert, Mendelssohn, +and Schumann. In this way she succeeded in +winning great success, even with small, short +songs.</p> + +<p>Finally, one more secret for performers, which +weighs heavy in the balance. You ought, especially +if you have not received good early instruction, +to acquire a habit of moving the fingers very +frequently, at every convenient opportunity; and +particularly of letting them fall loosely and lightly +<span class="pagenum"><a name="Page_142" id="Page_142"></a>[142]</span>upon any hard object, while the hand lies upon +something firm, in an extended position.</p> + +<p>You must accustom yourselves to do this unconsciously. +For example, while reading, at table, or +while listening to music, allow your hand to lie +upon the table, raise the fingers, and let them fall, +one at a time, quite independently of the wrist; +particularly the weak fourth and fifth fingers, which +require to be used a hundred times more than the +others, if you wish to acquire evenness in the scales. +If it attracts attention to do this on the table, then +do it in your lap, or with one hand over the other. +To drum with your fingers and stretch your hands +on the backs of other people is not often practicable, +and is not necessary. That was only pardoned +in the zealous and original Adolph Henselt, who, +though otherwise such a modest and amiable artist, +even now, in St. Petersburg, makes himself ridiculous +in this way, by his practice of finger movements.</p> + +<p>Now you perceive the reason why I cannot answer +the question which has been asked me innumerable +times. How much do your daughters practise? I +cannot count up the finger movements and the +stray ten minutes just spoken of; but it is certain +that they practise fewer hours in the day than +<span class="pagenum"><a name="Page_143" id="Page_143"></a>[143]</span>many thousands who learn nothing, for they never +practise and never have practised wrongly, but +always correctly and advantageously.</p> + +<p>One thing more. After my experienced, watchful +eye had observed in our circle many moving +fingers in consequence of my lecture, a distinguished +lady of Vienna whispered in my ear: +"But, my dear Herr Wieck, my Amelia is not to +be a professional player: I only want her to learn +a few of the less difficult sonatas of Beethoven, to +play correctly and fluently, without notes." My +dear ladies, I do not aim with you at any thing +more than this. A great many circumstances must +combine for the formation of fine concert performers; +in fact, the whole education, from the earliest +youth, must have reference to this end. If this +were not so, Germany especially, on account of its +natural musical talent, would be able annually to +furnish thousands of <i>virtuoso</i> performers.</p> + +<p>Has my lecture been too long to-day? I ask +your pardon. My desire to make myself useful to +you must be my excuse, if I cannot dispose of such +an extensive subject in a few words. I have not +yet exhausted it.</p> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_144" id="Page_144"></a>[144]</span></p> +<h2><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII.</h2> + +<h3>THOUGHTS ON PIANO-PLAYING.</h3> + + +<p>My daughters play the music of all the principal +composers, and also the best salon music. Limited +views of any kind are injurious to art. It is as +great a mistake to play only Beethoven's music as +to play none of it, or to play either classical or salon +music solely. If a teacher confines himself to the +study of the first, a good technique, a tolerably +sound style of playing, intelligence, and knowledge +are generally sufficient to produce an interpretation +in most respects satisfactory. The music usually +compensates for a style which may be, according +to circumstances, either dry, cold, too monotonous +or too strongly shaded, and even for an indifferent +or careless touch. Interest in the composition frequently +diverts the attention of even the best player +from a thoroughly correct and delicate mode of execution, +and from the effort to enhance the beauty +of the composition, and to increase its appreciation +with the hearer. In the performance of classical +music, inspiration—that is, the revelation of an +<span class="pagenum"><a name="Page_145" id="Page_145"></a>[145]</span>artistic nature and not empty affectation—can +be expected only from an artist, and not from a +pupil. Therefore, with more advanced pupils, I take +up in my lessons, in connection with a sonata by +Beethoven, a nocturne or waltz by Chopin, and a +piece by St. Heller or Schulhoff, Henselt, C. Meyer, +&c. Elegance and polish, a certain coquetry, nicety, +delicacy, and fine shading cannot be perfected in +the study of a sonata by Beethoven; for which, +however, the latter pieces present much greater +opportunities. Besides this, variety is much more +sustaining to the learner; it excites his interest; +he does not so soon become weary, and is guarded +from carelessness; his artistic knowledge is increased, +and he is agreeably surprised to find himself +able to perform three pieces so distinct in +character.</p> + +<hr style='width: 45%;' /> + +<p>"Expression cannot be taught, it must come of +itself." But when are we to look for it? When +the stiff fingers are fifty or sixty years old, and +the expression is imprisoned in them, so that nothing +is ever to be heard of it? This is a wide-spread +delusion. Let us look at a few of those to +whom expression has come of itself. X. plays +skilfully and correctly, but his expression continues +<span class="pagenum"><a name="Page_146" id="Page_146"></a>[146]</span>crude, cold, monotonous; he shows too +pedantic a solicitude about mechanical execution +and strict time; he never ventures on a <i>pp.</i>, uses +too little shading in <i>piano</i>, and plays the <i>forte</i> too +heavily, and without regard to the instrument; his +<i>crescendi</i> and <i>diminuendi</i> are inappropriate, often +coarse and brought in at unsuitable places; and—his +<i>ritardandi</i>! they are tedious indeed! "But +Miss Z. plays differently and more finely." Truly, +she plays differently; but is it more finely? Do +you like this gentle violet blue, this sickly paleness, +these rouged falsehoods, at the expense of +all integrity of character? this sweet, embellished, +languishing style, this <i>rubato</i> and dismembering +of the musical phrases, this want of +time, and this sentimental trash? They both have +talent, but their expression was allowed to be +developed of itself. They both would have been +very good players; but now they have lost all taste +for the ideal, which manifests itself in the domain +of truth, beauty, and simplicity. If pupils are left +to themselves, they imitate the improper and erroneous +easily and skilfully; the right and suitable +with difficulty, and certainly unskilfully. Even +the little fellow who can hardly speak learns to +use naughty, abusive words more quickly and +<span class="pagenum"><a name="Page_147" id="Page_147"></a>[147]</span>easily than fine, noble expressions. What school-master +has not been surprised at this facility, and +what good old aunt has not laughed at it? But +you say, "It is not right to force the feelings of +others!" That is quite unnecessary; but it is +possible to rouse the feelings of others, to guide +and educate them, without prejudicing their individuality +of feeling, and without restraining or disturbing +them, unless they are on the wrong path. +Who has not listened to performers and singers +who were otherwise musical, but whose sentiment +was either ridiculous or lamentable?</p> + +<hr style='width: 45%;' /> + +<p>It is generally acknowledged that, among other +things, I have succeeded more or less with all my +scholars in the attainment of a fine touch. People +desire to obtain from me the requisite exercises +for the development of this; but not much can be +gained from these. The important thing is <i>how</i> +and <i>when</i> they are to be used; and that most careful +attention shall be paid in the selection of other +études and pieces, in order that nothing shall be +played which shall endanger the confirmation of +the correct touch already acquired, or shall undo +what has been accomplished in the lessons. As +I have said before, it does not depend upon much +<span class="pagenum"><a name="Page_148" id="Page_148"></a>[148]</span>practising, but upon correct practising; and that +the pupils shall not be allowed to fall into errors. +I am constantly asked, "How many hours a day do +your daughters practise?" If the number of hours +spent in practising gives the measure of the standing +of a <i>virtuoso</i>, then my daughters are among the +most insignificant, or in fact should not belong to +the order at all.</p> + +<p>This is the place for me to explain myself more +fully with regard to playing with a loose wrist, in +order that I shall not be misunderstood. The tones +which are produced with a loose wrist are always +more tender and more attractive, have a fuller +sound, and permit more delicate shading than the +sharp tones, without body, which are thrown or +fired off or tapped out with unendurable rigidity +by the aid of the arm and fore-arm. A superior +technique can with few exceptions be more quickly +and favorably acquired in this way than when the +elbows are required to contribute their power. I +do not, however, censure the performance of many +<i>virtuosos</i>, who execute rapid octave passages with a +stiff wrist; they often do it with great precision, in +the most rapid <i>tempo</i>, forcibly and effectively. It +must, after all, depend upon individual peculiarities +whether the pupil can learn better and more quickly +<span class="pagenum"><a name="Page_149" id="Page_149"></a>[149]</span>to play such passages thus or with a loose wrist. +The present style of bravoura playing for <i>virtuosos</i> +cannot dispense with facility in octave passages; +it is a necessary part of it.</p> + +<p>I will now consider the use of loose and independent +fingers, in playing generally; <i>i.e.</i>, in that +of more advanced pupils who have already acquired +the necessary elementary knowledge. The fingers +must be set upon the keys with a certain decision, +firmness, quickness, and vigor, and must obtain a +command over the key-board; otherwise, the result +is only a tame, colorless, uncertain, immature +style of playing, in which no fine <i>portamento</i>, no +poignant <i>staccato</i>, or sprightly accentuation can be +produced. Every thoughtful teacher, striving for +the best result, must, however, take care that this +shall only be acquired gradually, and must teach it +with a constant regard to individual peculiarities, +and not at the expense of beauty of performance, +and of a tender, agreeable touch.</p> + +<hr style='width: 45%;' /> + +<p>It is a mortifying fact for many critics, artists, +composers, and teachers, that the general public +show much more correct judgment and appreciation +of a fine, noble piano performance, and of a simple, +pure, well-taught style of singing, and also understand +<span class="pagenum"><a name="Page_150" id="Page_150"></a>[150]</span>the characteristics of the performer, much +more quickly than they do. The sensibility and +appreciation of beauty with the public is less prejudiced, +less spurious, more receptive, and more +artless. Its perceptions are not disturbed by theories, +by a desire to criticise, and many other secondary +matters. The public do not take a biassed +or stilted view. The admiration for Jenny Lind is +a striking proof of this, as is also the appreciation +of many piano-players.</p> + +<hr style='width: 45%;' /> + +<p>The age of progress announces, in piano-playing +also, "a higher beauty" than has hitherto existed. +Now, I demand of all the defenders of this new +style, wherein is this superior beauty supposed to +consist? It is useless to talk, in a vague way, about +a beauty which no one can explain. I have listened +to the playing—no, the thrumming and stamping—of +many of these champions of the modern +style of beauty; and I have come to the conclusion, +according to my way of reasoning, that it +ought to be called a higher,—quite different, inverted +beauty,—a deformed beauty, repugnant to +the sensibilities of all mankind. But our gifted "age +of the future" protests against such cold conservatism. +The period of piano fury which I have lived +<span class="pagenum"><a name="Page_151" id="Page_151"></a>[151]</span>to see, and which I have just described, was the +introduction to this new essay, only a feeble attempt, +and a preliminary to this piano future. Should this +senseless raging and storming upon the piano, where +not one idea can be intelligently expressed in a half-hour, +this abhorrent and rude treatment of a grand +concert piano, combined with frightful misuse of +both pedals, which puts the hearer into agonies of +horror and spasms of terror, ever be regarded as +any thing but a return to barbarism, devoid of +feeling and reason? This is to be called music! +music of the future! the beauty of the future +style! Truly, for this style of music, the ears +must be differently constructed, the feelings must +be differently constituted, and a different nervous +system must be created! For this again we shall +need surgeons, who lie in wait in the background +with the throat improvers. What a new and grand +field of operations lies open to them! Our age +produces monsters, who are insensible to the plainest +truths, and who fill humanity with horror. Political +excesses have hardly ceased, when still greater +ones must be repeated in the world of music. But +comfort yourselves, my readers: these isolated instances +of madness, these last convulsions of musical +insanity, with however much arrogance they +<span class="pagenum"><a name="Page_152" id="Page_152"></a>[152]</span>may be proclaimed, will not take the world by +storm. The time will come when no audience, not +even eager possessors of complimentary tickets, +but only a few needy hirelings, will venture to +endure such concert performances of "the future."</p> + +<hr style='width: 45%;' /> + +<p>I ought to express myself more fully with regard +to expression in piano-playing. It is difficult to +perform this task, at least in writing; for it can +more easily be practically explained to individual +learners. Intelligent teachers, who are inclined to +understand my meaning, will find abundant material, +as well as all necessary explanations, in the +preceding chapters; and I will merely say that a +teacher who is endowed with the qualities which I +have designated as "the three trifles" will seek to +excite the same in his pupils; will refine and cultivate +them, according to his ability, with disinterestedness, +with energy, and with perseverance; and +truth and beauty will everywhere be the result. +Thus he will remain in the present, where there is +so much remaining to be accomplished. These +three trifles certainly do not have their root in +folly, want of talent, and hare-brained madness; +therefore the possessors of the latter must look to +the "future," and proclaim a "higher," that is, an +"inverted beauty."</p><p><span class="pagenum"><a name="Page_153" id="Page_153"></a>[153]</span></p> + + +<p><i>Rules for Piano Pupils.</i></p> + +<p>You must never begin to learn a second piece +until you have entirely conquered the first.</p> + +<p>You ought to fix your eyes very carefully on the +notes, and not to trust to memory; otherwise, you +will never learn to play at sight.</p> + +<p>In order to avoid the habit of false fingering, you +should not play any piece which is not marked for +the proper fingers.</p> + +<p>You should learn to play chords and skipping +notes, without looking at the keys, as this interferes +with a prompt reading of the notes.</p> + +<p>You must learn to count nicely in playing, in +order always to keep strict time.</p> + +<p>To use for once the language of the times, which +boldly proclaims, "Such things as these belong to +a stand-point which we have already reached," I +wish that the musicians of "the future" may as +happily reach their "stand-point," not by hollow +phrases and flourishes, and the threshing of empty +straws, but by practical, successful efforts, and striving +for that which is better.</p> + +<hr style='width: 45%;' /> + +<p>"What is the value of your method, in the instruction +of pupils who have for years played +<span class="pagenum"><a name="Page_154" id="Page_154"></a>[154]</span>many pieces from notes, but have played them +badly, and whom we are called upon to lead into a +better way of playing?"</p> + +<p>A reply to this frequent inquiry can be found in +my first chapter. Above all things, let the notes +which have already been played be laid aside for a +long time; for a mistaken style of playing these +has become so confirmed that to improve them is +hopeless, and the tottering edifice must fall to the +ground. First, improve the touch; help to acquire +a better and more connected scale; teach the formation +of different cadences on the dominant and sub-dominant; +and the construction of various passages +on the chord of the diminished seventh, to be played +with correct, even, and quiet fingering, <i>legato</i> and +<i>staccato</i>, <i>piano</i>, and <i>forte</i>; pay strict attention to the +use of loose fingers and a loose wrist; and allow no +inattentive playing. You may soon take up, with +these studies, some entirely unfamiliar piece of +music, suited to the capacity of the pupil. It is +not possible or desirable to attempt to make a sudden +and thorough change with such pupils, even if +they should show the best intentions and docility. +You should select a light, easy piece of salon music, +but of a nature well adapted to the piano, which +shall not be wearisome to the pupil, and in the improved +<span class="pagenum"><a name="Page_155" id="Page_155"></a>[155]</span>performance of which he will take pleasure. +But, if you still find that he falls into the old, faulty +manner of playing, and that the recently acquired +technique, which has not yet become habitual, is +endangered by it, lay this too aside, and take +instead some appropriate étude, or perhaps a little +prelude by Bach. If, in the place of these, you +choose for instruction a ponderous sonata, in which +the music would distract the attention of the pupil +from the improved technique, you give up the most +important aim of your instruction, and occupy +yourself with secondary matters; you will censure +and instruct in vain, and will never attain success. +You must consider, reflect, and give your mind to +the peculiar needs of the pupil, and you must teach +in accordance with the laws of psychology. You +will succeed after a while, but precipitation, compulsion, +and disputes are useless. The improvement +of a soprano voice, ruined by over-screaming, +requires prudence, patience, calmness, and modesty, +and a character of a high type generally. It +is also a very thankless task, and success is rare; +while on the piano a fair result may always be +accomplished.</p> + +<hr style='width: 45%;' /> + +<p>I return once more to the subject so frequently +<span class="pagenum"><a name="Page_156" id="Page_156"></a>[156]</span>discussed, that I may try to relieve the universal +difficulty of our lady pianists. I have heard much +playing of late, in parties both small and large, on +well-tuned and on ill-tuned pianos, on those with +which the performer was familiar, and on those to +which she was unaccustomed; from the timid and +the self-possessed; from ladies of various ages, +possessed of more or of less talent, and in various +cities: the result was always the same.</p> + +<p>We hear from the ladies that they could play +their pieces at home before their parents or their +teachers; but this is never sufficient to enable +them to save their hearers from weariness, anxiety, +and all sorts of embarrassment. My honored +ladies, you play over and over again two mazourkas, +two waltzes, two nocturnes, and the Funeral March +of Chopin, the Mazourka and other pieces by +Schulhoff, the Trill-Etude, and the Tremolo by +Carl Meyer, &c.: "it makes no difference to you +which." You might be able to master these pieces +pretty well, but, instead of this, you yourselves are +mastered. You become embarrassed, and your +hearers still more so: the affair ends with apologies +on both sides, with equivocal compliments, with +encouragement to continue in the same course, +with acknowledgment of fine hands for the piano, +<span class="pagenum"><a name="Page_157" id="Page_157"></a>[157]</span>with uneasy, forced congratulations to the parents +and teacher; but it is always a happy moment +when the fatal soirée is over. The next day I am +forced to sigh again over the same, miserable, +poorly and tediously performed Funeral March of +Chopin, and over the timorous B major Mazourka +by Schulhoff. The left hand is always left in the +lurch in the difficult, skipping basses of this piece, +and in others of the present style, which are rich in +harmony and modulations. The bass part in this +piece is apt to suffer from timid and false tones; +frequently the fundamental tone is omitted, or the +little finger remains resting upon it, instead of +giving the eighth note with a crisp, elastic, and +sprightly touch, and the chords are tame and incomplete. +You do not give them their full value; you +leave them too quickly, because you are afraid of +not striking the next low note quickly enough; +but, on the other hand, you do not strike it at +all, and one missing tone brings another one +after it. The right hand, being the most skilful, +is supposed to play with expression, and really does +so; but this only makes the performance the worse. +The fundamental tone is wanting, and you are led +to make a mistake in the skip, and strike the wrong +key. Finally, the whole thing is ended in terror. +<span class="pagenum"><a name="Page_158" id="Page_158"></a>[158]</span>I have an uneasy night; I dream of your fine +hands, but the false and the weak notes start up +between like strange spectres or will o' the wisps, +and I wake with the headache, instead of with +pleasant memories.</p> + +<p>Allow me to give you a piece of advice. Play +and practise the bass part a great deal and very +often, first slowly, then quicker, during one or two +weeks, before playing the right hand with it, in +order that you may give your whole attention to +playing the bass correctly, delicately, and surely. +Even when you can get through the mazourka +tolerably well, you must not think, on that account, +that you will be able to play it in company, +under trying circumstances. You ought to be +able to play the piece by yourself with ease, very +frequently, perfectly, and distinctly, and in very +rapid <i>tempo</i>, before you trust yourself to perform +it even slowly in company. At least, practise the +more difficult passages for the right hand very +frequently, particularly the difficult and bold conclusion, +that it may not strike the hearer as rough, +weak, tame, or hurried. It is an old rule, "If you +begin well and end well, all is well." You ought +to practise the skipping bass over and over again +by itself, otherwise it will not go. An incorrect +<span class="pagenum"><a name="Page_159" id="Page_159"></a>[159]</span>or deficient bass, without depth of tone and without +accentuation, ruins every thing, even the good +temper of the hearer. One thing more: you know +very well Chopin's Nocturne in E flat, and have +played it, among other things, for the last four +weeks. Suddenly you are called upon to play in +company. You choose this Nocturne because you +have played it nearly every day for four weeks. +But alas! the piano fiends have come to confuse +you! You strike a false bass note, and at the modulation +the weak little finger touches too feebly: +bah! the fundamental tone is wanting. You are +frightened, and grow still more so; your musical +aunt is frightened also; the blood rushes to your +teacher's face, and I mutter to myself, "<i>C'est toujours +la même.</i>" The present style of skipping +basses requires a great deal of practice and perfect +security; it is necessary for you to know the piece +by heart, in order to give your whole attention to +the left hand. It is also essential that you shall +have acquired a clear, sound touch; otherwise, you +cannot give a delicate accent and shading. You +must never allow yourself, <i>without previous preparation</i>, +to play those pieces of music in company, +in which an elegant mode of execution is all-important; +otherwise, you will be taken by surprise +<span class="pagenum"><a name="Page_160" id="Page_160"></a>[160]</span>by unexpected difficulties. You must always pay +special attention to the fundamental tones, even if +there should be imperfections elsewhere. Where +one fault is less important than another, of two +evils choose the least. You have been playing +now for six or eight years: are you repaid for the +trouble, if it only enables you to prepare embarrassments +for others? You are not willing to play +easy, insignificant pieces; and such pieces as you +choose require industry, earnestness, and perseverance.</p> + +<hr style='width: 45%;' /> + +<p>Young ladies, it is easy to discover the character +of a person from his manner of standing, +walking, moving, and speaking, from the way he +bows, puts on and takes off his hat, or the arrangements +of the household; and we seldom are in +error about it. It is also possible to infer beforehand +how you will play and what sort of a performance +you will give, from the manner in which you +take your seat at the piano. You sidle up to the +piano lazily, bent over in a constrained manner; in +your embarrassment, you place yourself before the +one-lined or two-lined <i>c</i>, instead of before <i>f</i>; you +sit unsteadily, either too high or too low, only half +on the seat, leaning either too much to the right +<span class="pagenum"><a name="Page_161" id="Page_161"></a>[161]</span>or to the left; in a word, as if you did not belong +to the fatal music-stool. Your manner awakens +no confidence, and in this way announces that you +have none yourself. How do you expect to exercise +control over a grand seven octave piano, if you +do not sit exactly in the middle, with the body +erect and the feet on the two pedals? You are +not willing to look the friend straight in the face, +with whom you are to carry on a friendly, confidential +discourse! Even if your attitude and bearing +were not so injurious and dangerous for the +performer as it is, still propriety and good sense +would require that you should excite the confidence +of your hearers in you and in your playing by a +correct position of the body, and by a certain decision +and resolution, and should prepare him to +form a good opinion of you.</p> + +<p>There are, indeed, many <i>virtuosos</i> who think +they give evidence of genius, by throwing themselves +on to the music-stool in a slovenly, lounging +manner, and try to show in this way their superiority +to a painstaking performance, and to make +up by a showy <i>nonchalance</i> for what is wanting +in their playing. You are, however, a stranger to +such assertion of superior genius, and to such an +expression of intensity of feeling; you do it only +<span class="pagenum"><a name="Page_162" id="Page_162"></a>[162]</span>from embarrassment, and from a modest want of +confidence in your own powers, which is quite +unnecessary. Our great masters, such as Field, +Hummel, Moscheles, Mendelssohn, and others, had +no taste for such improprieties, for such manifestations +of genius. They applied themselves to +their task with earnest devotion, and with respect +for the public.</p> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_163" id="Page_163"></a>[163]</span></p> +<h2><a name="CHAPTER_XIII" id="CHAPTER_XIII"></a>CHAPTER XIII.</h2> + +<h3>ON MUSICAL TALENT.</h3> + + +<p>A large and varied experience is required for +a correct estimate of musical talent in the young. +Do not be deceived by the early evidences of talent; +for instance, interest in melodies, correct feeling +for time, an instinct for accenting the important +notes, inclination for some peculiar though often +perverted style of performance, quick apprehension, +a natural aptitude for playing, a nice hearing, +animation, rapid progress, docility, superficial +gayety; even if all or a part of these traits are +observable in early youth, they must not excite too +sanguine hopes. I have often met with such phenomena, +and have been called upon to educate +such little piano prodigies. They advanced quite +rapidly, and understood every thing readily, if I +did not make too much demand upon their wavering +attention. I dreamed of the extraordinary +surprises that these marvellous youths would create +at twelve or fourteen years of age; but the fulfilment +of my ideal I saw only in my mind's eye, +<span class="pagenum"><a name="Page_164" id="Page_164"></a>[164]</span>for just then the improvement came to a sudden +stand-still,—a fatal moment, when the teacher is +perplexed to know what to do next. The musical +nature seemed to have exhausted itself, to have +out-lived itself. The pupil even felt this: his +interest in the piano and in music generally grew +feeble, his playing suddenly became careless, powerless, +spiritless; he played with evident indifference. +Out into the fresh air! into open natural scenes! +Now for a journey! I allowed a long vacation to +intervene; the pupil was quite contented, and had +no desire for the piano, or, if so, only jingled a +little. At last we began again, but we spent our +time without much result; he was nevertheless +still musical, but he finally ranked at best with +dozens of other players, and ended as an ordinary +piano teacher. Similar halts in progress occur in +fact with all pupils, especially with female scholars; +but they are not usually so lasting, so discouraging, +or so significant of exhaustion. They +are surmounted, after a short interval, by the discontinuance +of serious musical studies; perhaps by +reading at sight for a while; by occupying the +pupil for a time with the theory, or with attempts +at composition or improvisation; by allowing him +to listen to other players better or worse; by giving +<span class="pagenum"><a name="Page_165" id="Page_165"></a>[165]</span>him interesting books to read; by making him +acquainted with Beethoven, or in other ways.</p> + +<p>From our observation of such sudden changes, +and of the frequent occurrence of unskilful management, +we can explain the sudden appearance +and equally sudden disappearance of innumerable +infant prodigies in our age, who have excited hopes, +and have almost all of them been lost, or have +passed out of sight, and resulted in nothing of +value.</p> + +<p>I have always preferred a gradual, even a slow +development, step by step, which often made no +apparent progress, but which still proceeded with a +certain constancy, and with deliberation, and which +was combined with dreamy sensibility and a musical +instinct, requiring slow awakening, and even +with a certain flightiness, one for which the patient +labor and perseverance of six years or more was +required, and where childishness allowed no encouragement +to sordid speculations for the future. +In such cases, when my instructions were not +disturbed by untoward circumstances, the result +has always been a desirable one. But how much +patience and perseverance has this required! I have +reflected much and have often spoken, both seriously +and playfully, of the slow advancement of +<span class="pagenum"><a name="Page_166" id="Page_166"></a>[166]</span>my pupils. Allow me here to describe five phases +or stages of human development.</p> + +<p><i>First Stage.</i> In the first two or three years, +man is far behind the animal, whose quick instinct +distinguishes the good from the bad, the useful +from the injurious. The child, without hesitation, +rolls off the table, or knocks his brains out, or +destroys himself with poisonous herbs or arsenic. +Nevertheless, let him at that age hear plenty of +pure sounds, music, singing, &c. He will soon +learn to listen, like the little black poodle. He +already has a dim suspicion that other things +exist which are not evil, besides mamma, papa, +the nurse, the doll, and the sound of words.</p> + +<p><i>Second Stage.</i> From the fourth to the seventh +year, instinct is developed; which, in the animal, +surprises the observer in the first two weeks of +life. Now we should begin with the technique, +at least with the correct movement of the fingers +upon the table. The child should be told that he +shall soon produce the pleasant tones, which he +has been accustomed to hear from infancy; but +that for this a quick and quiet movement of the +fingers is necessary, which must be acquired by +daily practice. This is entirely in accordance with +nature, for man is appointed to learn. Let the +<span class="pagenum"><a name="Page_167" id="Page_167"></a>[167]</span>child lay his hand upon the table, and knock upon +it with the first finger (<i>i.e.</i>, the thumb) stretched +out, without using the muscles of the arm, then +with the second, third, and fourth fingers, in an +almost perpendicular position, and with the fifth +finger extended. Then let him strike a third with +the first and third fingers together; a fourth, with +the first and fourth fingers; first with the right +hand, then with the left hand, and afterwards with +both together, &c.</p> + +<p><i>Third Stage.</i> From the seventh to the twelfth +year. At this stage unruliness makes its appearance, +and at the same time—the notes; but not +Beethoven. That would indeed be an unfortunate +musical indulgence. Violent outbreaks of untamed +strength; unexpected freaks; alternations of rude +instinct and quick intelligence, of lofty fancy and +artless simplicity; disobedience; much appetite, +&c.,—all these must be shaped, and made subservient +to the object we have in view. Do you +understand me, gentlemen?</p> + +<p><i>Fourth Stage.</i> Excellent parents, who desire to +see the ripe fruits of your care and labor, have +patience! First there comes the foreshadowing +of manhood,—a very interesting period. The +youth steps out of the animal into the human +<span class="pagenum"><a name="Page_168" id="Page_168"></a>[168]</span>kingdom, and often is unable to forget his earlier +condition, but revels in sweet remembrance of it. +Try now, gently and timidly, Beethoven, Chopin, +Schumann, and the like. This extraordinary being, +"one-fourth animal and three-fourths human," requires +to be awakened, excited, and to have the +imagination aroused; and, above all, requires the +most careful guidance. It is necessary to stir and +agitate the nature, in order that reflection, conscience, +the sensibilities of the soul, feeling, creative +power, and all inward conditions shall be +developed; and that out of this chaos shall be +brought a clear and beautiful order.</p> + +<p><i>Fifth Stage.</i> The adult man in his eighteenth +year. The year, however, varies with individuals, +and can be modified at will. If I should enter +into details of the four earlier stages of humanity, +and treat in addition of the adult man, I should be +obliged to write a philosophical work on the subject, +and that might not be entertaining. I should +be obliged to beg your indulgence for a tedious +book, and my daughters certainly would not thank +me for it; they are very sensitive. But I must, +nevertheless, secretly whisper in your ear that +"my daughters, like the daughters of many others, +have been carried through these five stages in the +<span class="pagenum"><a name="Page_169" id="Page_169"></a>[169]</span>most careful and thorough manner." I ought to +know that best. Here you have the answer to +many strange questions.</p> + + +<p><i>Cautions.</i></p> + +<p>I warn pianists, and others also, in playing:</p> + +<p>1. Against any showy and unsuitable display. +Why should you wish to attract attention, and +to create an effect by foppishness and all sorts +of grimaces, or by curious and marvellous exhibitions +of <i>virtuoso</i>-ship? You have only to play +musically and beautifully, and to deport yourselves +with modesty and propriety. Direct your whole attention +to the business in hand,—that is, to your +performance; and endeavor to secure for it the +interest of the public, who are so easily rendered +inattentive. We want no more public performances +from eccentric geniuses.</p> + +<p>2. Do not devote yourself exclusively to pieces +calculated to show the skill of the performer. Why +desire always to show off your power in octave +passages, your trills, your facility in skips, your +unprecedented stretches, or other fantastic feats? +You only produce weariness, satiety, and disgust, +or, at least, you make yourselves ridiculous.</p> + +<p>3. Play good music in a musical and rational +<span class="pagenum"><a name="Page_170" id="Page_170"></a>[170]</span>manner. The public are tired of hearing Potpourris, +made up of odds and ends, tedious Etudes, +Rhapsodies, Fantasias without fancy, dismal monotonies +and endless, cheap, silly cadences that +mean nothing. Learn to understand the age, and +the world in which you live.</p> + +<p>4. Do not make yourselves ridiculous by new +inventions in piano-playing. I mention, for example, +one of the most foolish affectations of +modern times. You try to quiver on a note, just +as violin and 'cello players are unfortunately too +much inclined to do. Do not expose yourselves +to the derision of every apprentice in piano manufacture. +Have you no understanding of the construction +of the piano? You have played upon it, or +have, some of you, stormed upon it, for the last ten +years; and yet you have not taken pains to obtain +even a superficial acquaintance with its mechanism. +The hammer, which by its stroke upon the string +has produced the sound, falls immediately when +the tone resounds; and after that you may caress +the key which has set the hammer in motion, fidget +round on it as much as you please, and stagger up +and down over it, in your intoxicated passion,—no +more sound is to be brought out from it, with +all your trembling and quivering. It is only the +<span class="pagenum"><a name="Page_171" id="Page_171"></a>[171]</span>public who are quivering with laughter at your +absurdity.</p> + +<p>5. Give up the practice of extreme stretches. +Widely dispersed harmonies may sometimes produce +a good effect, but not by too frequent and +too eager an employment of them at every opportunity. +Even the greatest beauties in art can lead +to mannerism, and this again to one-sidedness. +Art should be many-sided, and you must never +produce the impression that you are inclined to +make the means an end. I beg you to reflect +that too much practice of very wide stretches +enfeebles the muscles and the power of the hand +and fingers, endangers an even, sound touch, and +makes the best style of playing a doubtful acquisition. +Teachers ought therefore to use great +prudence, and only gradually to permit their pupils, +especially young girls, to practise great extensions +and wide stretches. To learn to be able to strike +ten notes is quite enough.</p> + +<p>6. Before you perform a piece, play a few suitable +chords, and a few appropriate passages or +scales up and down (but play no stupid trash, +such as I have heard from many <i>virtuosos</i>), in order +to try whether the condition of the instrument +presents any unexpected difficulties. Try carefully +<span class="pagenum"><a name="Page_172" id="Page_172"></a>[172]</span>also the unavoidable pedal. A creaking, rattling, +grating pedal is a frightful annoyance; I wonder +if the piano of "the future" is to suffer from this +also. Chopin's Funeral March, with obligato accompaniment +of a squeaking pedal sentiment, even +although the omissions and mistakes in the bass +do not occur,—alas! who can describe the effect +of this melancholy march?</p> + +<p>7. I have written a special article on the manner +of sitting at the piano, and I will refer you once +more to that.</p> + +<p>8. Use no mechanical aids in practising, not even +the dumb key-board; although, with very careful +use, that is not without value. Strength will come +with time; do not try to hurry nature. The table +is the best "dumb key-board," as I have already +explained. The "hand-guide" is also unnecessary: +its value is compensated by its disadvantages.</p> + +<p>9. Do not let your hearers crowd too near while +you are playing. Do not play the same piece +<i>da capo</i>. You may be justified in breaking off in +the midst of a piece, if there is loud and continuous +talking, &c.</p> + +<p>I hope you will give me the honor of your company +again at my soirées: I am no writer of comedies, +but I can tell you a great deal that is interesting +and amusing which I have myself experienced.</p> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_173" id="Page_173"></a>[173]</span></p> +<h2><a name="CHAPTER_XIV" id="CHAPTER_XIV"></a>CHAPTER XIV.</h2> + +<h3>EXTRAVAGANCES IN SINGING AND PIANO-PLAYING.</h3> + + +<p class="center"><i>(An Evening Party at Mr. Gold's.)</i></p> + +<p>DRAMATIS PERSONÆ.</p> + +<p> +<span class="smcap">Mr. Gold</span>, <i>the banker (fond of music).</i><br /> +<span class="smcap">Mrs. Gold</span> <i>(sings, and is an invalid.)</i><br /> +<span class="smcap">Mr. Silver</span>, <i>bookkeeper (formerly a singer with Strauss).</i><br /> +<span class="smcap">Mr. Pious</span>, <i>a friend of the family (a musical impostor, and +a hypocrite generally).</i><br /> +<span class="smcap">Mr. Forte</span>, <i>a foreign piano virtuoso (of weak nerves).</i><br /> +<span class="smcap">Dominie</span>, <i>a piano-teacher.</i><br /> +<span class="smcap">Emma</span>, <i>his daughter.</i><br /><br /> +</p> + +<p class="sd">(Mrs. Gold has just been singing in the modern +Italian manner; suddenly alternating exaggerated +high and low tones, given in a jerking manner, +with inaudible <span class="sdi">pianissimo</span> in the throat, +and quavering on every note, with many ornaments, +and always a quarter of a tone too flat. +She sang all the four verses of "Fondly I +Think of Thee" by Krebs.)</p> + +<p><span class="smcap">Dominie.</span> Will you not go on, Mrs. Gold? The +piano is a little too high, and you are obliged to +accustom yourself a little to it.</p> + +<p><span class="pagenum"><a name="Page_174" id="Page_174"></a>[174]</span><span class="smcap">Mrs. Gold.</span> I cannot sing any more. That +beautiful song has taken such hold of me, and I +feel so badly. (<i>Whispers to Dominie.</i>) Mr. Forte +did not accompany me well, either: sometimes he +did not come in right, and played too feebly; and +sometimes he improvised too much in playing, and +overpowered my voice, which is a little weak just +now.</p> + +<p><span class="smcap">Dominie</span> (<i>aside to Emma</i>). What an evening of +singing! Oh dear!</p> + +<p><span class="smcap">Mr. Gold</span> (<i>who has been earnestly talking about +stocks all the evening in an adjoining room, rushes +in, but rather late, after the close of the song, and +impetuously presses his wife's hand</i>). Marvellous! +magnificent! delicious! wonderful! My dear, you +are in excellent voice this evening. If Jenny Lind +could only have heard you!</p> + +<p><span class="smcap">Mr. Pious.</span> Charming! superb! how touching! +There is a religious character in this piece, +something holy about it! I beg of you, do sing +that air by Voss, "True Happiness." That will +make our enjoyment complete; it is truly ravishing! +There is something divine in singing, and +your expression, your feeling, Madam! You give +yourself up so entirely to the composition!</p> + +<p><span class="pagenum"><a name="Page_175" id="Page_175"></a>[175]</span></p><p class="sd">(Mrs. Gold has already taken up "True Happiness," +and can hardly wait while Mr. Forte +murmurs off the introduction, quite after his +own fancy, with a sentimental <span class="sdi">piano</span>. Mr. +Pious drops a tear at the close of the introduction, +the four bars of which have been transformed +into eight bars by the great <span class="sdi">virtuoso</span>. +During the tremulous, affected performance of +"True Happiness," Mr. Pious rolls up his +moistened eyes; and, at the end of the first verse, +where the accompanist once more gives the +reins to his fancy, he says, "I am speechless, I +cannot find words to express my emotion!")</p> + +<p><span class="smcap">Dominie</span> (<i>aside to Emma</i>). That you may call +forged sentiment, the counterfeit of feeling. You +hear now how one ought <i>not</i> to sing. For an +earnest, true musician, such a warmth in singing is +only empty affectation, disgusting, sentimental rubbish, +and hollow dissimulation. You will, however, +frequently meet with such amateur infelicities.</p> + +<p class="sd">(Mrs. Gold has finished singing all the verses +of "True Happiness," and seems now to have +almost entirely recovered. Mr. Gold continues +to converse about stocks in the adjoining room. +Dominie remains with Emma at the end of the +parlor, depressed and worried.)</p> + +<p><span class="pagenum"><a name="Page_176" id="Page_176"></a>[176]</span><span class="smcap">Mr. Forte</span> (<i>keeps his seat at the piano, and +says in French to Mrs. Gold</i>). Madam, you have +reached the climax of the beautiful in music. I +count it one of the happiest moments of my +artistic tour to be allowed to breathe out my soul +at the piano, in the presence of one like yourself. +What a loss, that your position must prevent you +from elevating the German opera to its former +greatness, as its most radiant star!</p> + +<p><span class="smcap">Mrs. Gold</span> (<i>by this time quite well</i>). I must +confess that Jenny Lind never quite satisfied me +when she was here. She is, and must always +remain, a Swede,—utterly cold. If she had been +educated here, she would have listened to more +passionate models than in Stockholm, and that +would have given the true direction to her sensibility.</p> + +<p><span class="smcap">Mr. Forte.</span> You are quite right; you have a +just estimate of her. In Paris, where she might +have heard such examples, she lived in perfect +retirement. I was giving concerts there at the +time; but she refused to sing in my concerts, and +therefore she did not even hear me.</p> + +<p><span class="smcap">Mr. Silver</span> (<i>whom the excitement of the singing +has at length reached</i>). Do you feel inclined now, +Madam, to execute with me the duet from "The +Creation," between Adam and Eve?</p> + +<p><span class="pagenum"><a name="Page_177" id="Page_177"></a>[177]</span><span class="smcap">Mrs. Gold.</span> Here is "The Creation," but we +will sing it by and by. Mr. Forte is just going to +play us his latest composition for the left hand, and +some of the music of that romantic, deeply sensitive +Chopin.</p> + +<p><span class="smcap">Mr. Gold</span> (<i>rushes in from his stock discussion</i>). +Oh, yes! Chopin's B major mazourka! That was +also played at my house by Henselt, Thalberg, +and Dreyschock. Oh, it is touching!</p> + +<p><span class="smcap">All</span> (<i>except Mr. Silver, Dominie, and Emma</i>). +Oh, how touching!</p> + +<p><span class="smcap">Dominie</span> (<i>to his daughter</i>). If he plays it in the +same manner in which he accompanied "True +Happiness," you will hear how this mazourka +should <i>not</i> be played. It, by the way, is not at +all <i>touching</i>: it gives quite boldly the Polish dance +rhythm, as it is improvised by the peasants in that +country; but it is, however, idealized after Chopin's +manner.</p> + +<p class="sd">(Mr. Forte plays several perilous runs up and +down with various octave passages, all the +time keeping his foot on the pedal; and connects +with these immediately, and without a +pause, the mazourka, which he commences <span class="sdi">presto</span>. +He played it without regard to time or rhythm, +but with a constant <span class="sdi">rubato</span>, and unmusical jerks. +<span class="pagenum"><a name="Page_178" id="Page_178"></a>[178]</span> +A few notes were murmured indistinctly <span class="sdi">pp.</span>, +and played very <span class="sdi">ritardando</span>; then suddenly a +few notes were struck very rapidly and with +great force, so that the strings rattled; and +the final B major chord cost the life of one +string.)</p> + +<p><span class="smcap">Mr. Gold.</span> Excellent! bravissimo! What a +comprehension of the piece! Such artistic performances +make one even forget the stock-exchange!</p> + +<p><span class="smcap">Mrs. Gold.</span> You agitate my inmost nerves! +The English poet, Pope, holds that no created +man can penetrate the secrets of nature; but you +have penetrated the secrets of my soul. Now +do play at once the F sharp minor mazourka, +opus 6.</p> + +<p><span class="smcap">Mr. Pious.</span> What a musical evening Mrs. Gold +has prepared for us! What sublime sorrow lies +in this production!</p> + +<p><span class="smcap">Mr. Silver</span> (<i>aside</i>). What would Father Strauss +say to this affected, unmusical performance, that +bids defiance to all good taste?</p> + +<p><span class="smcap">Dominie.</span> Mrs. Gold, it would be well to send +for the tuner to replace this broken B string. The +next one will break soon, for it is already cracked, +and its tone is fallen.</p> + +<p><span class="pagenum"><a name="Page_179" id="Page_179"></a>[179]</span><span class="smcap">Mr. Forte</span> (<i>with a superior air</i>). It is of no +consequence. That frequently happens to me; +but I never mind it. The piano is a battle-field +where there must be sacrifices.</p> + +<p><span class="smcap">Dominie</span> (<i>whispers to Emma</i>). He thinks that +if the sound is not musical, still it makes a noise; +and tones out of tune produce more effect than +those that are pure.</p> + +<p><span class="smcap">Emma.</span> Where did he learn piano-playing?</p> + +<p><span class="smcap">Dominie.</span> My child, he has not <i>learned</i> it. That +is genius, which comes of itself. Instruction would +have fettered his genius, and then he would have +played distinctly, correctly, unaffectedly, and in +time; but that would be too much like the style +of an amateur. This uncontrolled hurly-burly, +which pays no regard to time, is called the soaring +of genius.</p> + +<p class="sd">(Mr. Forte storms through various unconnected +chords with the greatest rapidity, with the pedal +raised; and passes without pause to the F sharp +minor mazourka. He accents vehemently, divides +one bar and gives it two extra quarter +notes, and from the next bar he omits a quarter +note, and continues in this manner with +extreme self-satisfaction till he reaches the +close; and then, after a few desperate chords +<span class="pagenum"><a name="Page_180" id="Page_180"></a>[180]</span>of the diminished seventh, he connects with it +Liszt's Transcription of Schubert's Serenade in +D minor. The second string of the two-lined +b snaps with a rattle, and there ensues a +general whispering "whether the piece is by +Mendelssohn, or Döhler, or Beethoven, or Proch, +or Schumann," until finally Mr. Silver mentions +Schubert's Serenade. Mr. Forte concludes with +the soft pedal, which in his inspired moments +he had already made frequent use of.)</p> + +<p><span class="smcap">Dominie</span> (<i>to Emma</i>). You should never play +in company, without mentioning previously what +you are going to perform. You observe, as soon +as the Serenade was mentioned, it put a stop to +the guessing.</p> + +<p><span class="smcap">All</span> (<i>except Mr. Silver and Dominie</i>). What a +glorious performance! what an artistic treat!</p> + +<p><span class="smcap">Mrs. Gold.</span> What spirituality in his playing!</p> + +<p><span class="smcap">Mr. Silver</span> (<i>asking Mr. Forte for information</i>). +I noticed, in the Serenade, you made only one bar +of the two where it modulates to F major, in your +rapid playing of the passage. Was that accidental?</p> + +<p><span class="smcap">Emma</span> (<i>aside</i>). He ought to have played a little +slower just there.</p> + +<p><span class="smcap">Mr. Forte.</span> In such beautiful passages, every +thing must be left to the suggestion of one's feelings. +<span class="pagenum"><a name="Page_181" id="Page_181"></a>[181]</span>Perhaps another time I may make three +bars, just as inspiration and genius may intimate. +Those are æsthetic surprises. Henselt, Moscheles, +Thalberg, and Clara Wieck do not execute in that +manner, and consequently can produce no effect, +and do not travel.</p> + +<p><span class="smcap">Dominie</span> (<i>to Emma</i>). I hope that your natural +taste and your musical education will preserve you +from such preposterous extravagances.</p> + +<p><span class="smcap">Emma.</span> Such playing makes one feel quite uncomfortable +and worried. Probably that is what +you call "devilish modern"?</p> + +<p><span class="smcap">Dominie.</span> Yes.</p> + +<p><span class="smcap">Emma.</span> But do people like it?</p> + +<p><span class="smcap">Dominie</span>. Certainly: a great many people do. +It has the superior air of genius, and sounds very +original.</p> + +<p class="sd">(Mrs. Gold has "The Creation" in her hand, and +Mr. Silver leads her to the piano for the execution +of the grand duet between Adam and Eve. Mr. +Forte is exhausted, and Dominie plays the accompaniment. +Mr. Silver sings intelligently +and unaffectedly; Mrs. Gold, as before, but with +still less regard to time, and more out of tune; +but she tries to compensate for this by introducing +very long ornaments at the <span class="sdi">fermate</span> in the +<span class="pagenum"><a name="Page_182" id="Page_182"></a>[182]</span> + <span class="sdi">allegro</span>, sung with her thin, piercing, over-strained +voice; and she frequently rolls up her +black eyes. At the conclusion, Mrs. Gold was +led to the arm-chair, in great exhaustion of +feeling.)</p> + +<p><span class="smcap">Mr. Pious</span>. The divine art of music celebrates its +perfect triumph in such interpretations of Haydn. +Mrs. Gold, were those delicious <i>fermate</i> of your own +invention?</p> + +<p><span class="smcap">Mrs. Gold. No</span>: the charming Viardot-Garcia +first introduced them as Rosina in "The Barber of +Seville," and I had them written down by a musician +in the theatre. But the employment of them in this +duet is my own idea. I have already surprised and +delighted a great many people with them in parties. +The grand, rushing, chromatic scale with which the +artistic Garcia astonishes every one, when acting +the dreaming, fainting Amina in "La Somnambula," +I introduce in the grand aria of the divine +"Prophet;" rather timidly, it is true, for the boldness +of a Garcia can only be acquired on the +stage.</p> + +<p><span class="smcap">Emma</span>. But, father, Jenny Lind sang in this duet +in Vienna, quite simply, and with a pure religious +spirit.</p> + +<p><span class="smcap">Dominie</span>. That is the reason Mrs. Gold says +<span class="pagenum"><a name="Page_183" id="Page_183"></a>[183]</span>that Jenny Lind sings too coldly, and ought to +listen to more passionate models. But we will talk +more about this at home.</p> + +<p><span class="smcap">Mrs. Gold.</span> Now, Mr. Dominie, will not your +daughter Emma play us some little trifle? Afterwards +I will execute with Mr. Silver, "By thy loving +kindness, O Lord," and a few duets by Kücken, and +finish, if the company wishes, with the "Grâce" +aria.</p> + +<p><span class="smcap">Dominie.</span> Will you allow me first to replace this +broken string?</p> + +<p class="sd">(After Dominie has finished, Mr. Forte strides up +to the piano, and plays his Etude for the left hand, +with the right hand extended towards the company.)</p> + +<p><span class="smcap">Dominie</span> (<i>to Mr. Forte, after the conclusion of the +piece</i>). Would it not have been easier and more to +the purpose, if you had used both hands?</p> + +<p><span class="smcap">Mr. Forte.</span> We must forgive old people such +pedantic observations. You entirely mistake my +stand-point. Do you not see that I am standing +with one foot in the future? Are you not aware +that the public wish not only to listen, but to see +something strange? Do you not perceive also that +my appearance of ill-health produces a great musical +effect?</p> + +<p><span class="pagenum"><a name="Page_184" id="Page_184"></a>[184]</span><span class="smcap">Mr. Pious.</span> Do you not feel the special charm +and the fine effect which is produced by the left +hand playing alone, and no less by the right hand +extended?</p> + +<p><span class="smcap">Dominie.</span> Is it so? Well, probably feeling has +taken a false direction with me. I shall be obliged +to accustom myself to such Parisian flights of sentiment.</p> + +<p class="sd">(Emma played Chopin's Ballad in A flat major, +after Dominie had previously announced it. The +company were attentive.)</p> + +<p><span class="smcap">Mr. Forte</span> (<i>at the conclusion</i>). Bravo! A very +good beginning, Mr. Dominie. I am sorry that I +am obliged to take leave now: I am obliged to go +to two more soirées this evening, and have many +letters of introduction to deliver.</p> + +<p><span class="smcap">Mr. Silver.</span> Miss Emma, I have just heard that +you play finely a great deal of Chopin's music. Let +us hear his two latest nocturnes.</p> + +<p><span class="smcap">Mrs. Gold</span> (<i>to Emma</i>). Have you heard the +famous Camilla Pleyel play Kalkbrenner's charming +D minor concerto? Do you not also play such +brilliant music? for example, Döhler's beautiful, +pathetic Notturno in D flat. Mr. X. lately played +that to us enchantingly.</p> + +<p><span class="smcap">Emma.</span> I know it. I am teaching it to my little +sister, Cecilia.</p> + +<p><span class="pagenum"><a name="Page_185" id="Page_185"></a>[185]</span><span class="smcap">Dominie.</span> Will you allow her now to play +Chopin's two nocturnes, Opus 48?</p> + +<hr style='width: 45%;' /> + +<p>I will say nothing about the conclusion of the +singing,—the "Grâce" aria. At midnight there +was a grand supper, washed down with sweet wine, +and seasoned with bitter recollections of this musical +evening.</p> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_186" id="Page_186"></a>[186]</span></p> +<h2><a name="CHAPTER_XV" id="CHAPTER_XV"></a>CHAPTER XV.</h2> + +<h3>CONCLUSION.</h3> + + +<p>I have received the following communication +from an old literary friend, to whom I sent my +eighth chapter, requesting his opinion of it:—</p> + + +<p class="right5"> +<span class="smcap">Motto.</span></p> +<p class="right"><i>There are unreceptive times, but<br /> +that which is eternal outlives all<br /> +times.</i>—<span class="smcap">Joh. von Müller</span>.<br /> +</p> + +<p><span class="smcap">My dear Friend,</span>—I have read your eighth +chapter. What you facetiously call "the three +trifles" seem to me to be three most important +points, even if you had described them simply as +<i>fine</i> taste, <i>deep</i> feeling, and <i>a good</i> ear. Who expects +superlative excellence from the age in which +he lives, and who dares to attack it, in its most +vulnerable parts? You grow more harsh and disagreeable, +and you do not seem to consider how +many enemies you make, among those who think +that they have long ago advanced beyond these +<span class="pagenum"><a name="Page_187" id="Page_187"></a>[187]</span>three points. Just now, too, when there is so much +said about "the intellectual" in music, and about +"the inner nature of the future," and when such +fine expressions are invented about it, you come +forward with your three unseasonable trifles in +the superlative degree. Do you imagine that +our intelligent age cannot discern your hidden +satire?</p> + +<p>You say that our times are in need of your three +trifles, <i>and</i> the necessary knowledge and experience. +<i>Voilà tout!</i></p> + +<p>As for Prince Louis Ferdinand, Dussek, Clementi, +Himmel, Hummel, C.M.v. Weber, Beethoven, &c.,—who +has not heard all about them?</p> + +<p>After them, comes the period of "piano fury," +and the compositions appropriate for it. Now the +three trifles required are <i>distorted</i> taste, <i>hypocritical</i> +feeling, and a <i>depraved</i> ear, combined with the +necessary superficiality and some power of production. +<i>Voilà tout!</i></p> + +<p>After that, musicians bethink themselves once +more of the genuine three trifles, and return to reason, +and we are allowed to take delight in Chopin, +Mendelssohn, Fr. Schubert, Robert Schumann, +and a few others of the same sort, and again in +Beethoven.</p> + +<p><span class="pagenum"><a name="Page_188" id="Page_188"></a>[188]</span>These were succeeded by mere dry imitators; +they were not, however, of much significance.</p> + +<p>Finally, the very latest progress introduces a still +more extravagant piano fury. The three trifles are +now <i>distorted</i> taste, <i>no</i> feeling, and <i>no</i> ear for tone; +and with these are required the necessary audacity, +immeasurable vanity, senseless exhibitions of +strength, a poor touch upon the piano, and what +they call "intellect." The compositions are now +embellished with appropriate pictures on the cover, +and with attractive title-pages. In addition, there +is much talk about a "higher beauty," "the stand-points +which have been already surmounted," "artistic +flights," and the "misunderstanding of the inner +consciousness," "Genius must be free," &c.</p> + +<p>My old conservative friend, you are seen through. +Your influence, and more especially your ideas +about singing, belong only to a past age. They +date from the last century. You will be derided +with your Jenny Lind and Henrietta Sontag. They +are lifeless images of singers, to be kept in a glass +case. Are you willing to remain ignorant of the +magnificent modern style of voice? Can you not +go forward with the advancing age? Progressive +philosophers will rap you over the knuckles. You +imagine that our times will stop for a couple of +<span class="pagenum"><a name="Page_189" id="Page_189"></a>[189]</span>lectures! You will yet have to learn what "intellect" +signifies. In short, I should not like to stand +in your shoes. You should conclude your book +with "Pater, peccavi."</p> + +<p class="right10">Even in misfortune,</p> + +<p class="right5">Your sympathizing friend,</p> + +<p class="right"><i>V.E.</i></p> + +<hr style="width: 65%;" /> +<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> Reference is here made to Robert Schumann, who, in order +to facilitate the use of the weaker fingers, employed a machine +for raising the fingers artificially, which resulted in loss of power +over them, and necessitated the abandonment of piano-playing.—<i>Tr.</i></p></div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Piano and Song, by Friedrich Wieck + +*** END OF THIS PROJECT GUTENBERG EBOOK PIANO AND SONG *** + +***** This file should be named 16658-h.htm or 16658-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/6/6/5/16658/ + +Produced by David Newman, Sigal Alon and the Online +Distributed Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +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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