PIANO

MASTERY

TALKS

MASTER

WITH

AND

AN

ACCOUNT

OF

TEACHERS

TWO

BY

WILLIAM

MASON

SHERWOOD)

AND

CLASS,

BULOW

VON

INTERPRETATION,

(DR.

PIANISTS

WILLIAM

SUMMARY

H.

BY

AUTHOR

BY

HARRIETTS
Author

of

WITH

FREDERICK

BROWER
"

The

Art

SIXTEEN

of

the

Pianist

PORTRAITS

NEW

YORK

A.

STOKES

PUBLISHERS

ON

TEACHERS

AMERICAN
AND

THE

HINTS

COMPANY

"

Copyright,

FREDERICK

STOKES

A.

t,

THE

1915,

191S,

by

COMPANY

Copyright,

rights

COMPANY

OBSERVER

MUSICAL

OLIVER

All

by

1915,

COMPANY

that

including

reserved,

foreign

by

1911,

DITSON

languages.

of

translation

into

Mf
2-2-O

CONTENTS
PAGE

ix

PRELUDE

IGNACE

JAN

ERNEST

SCHELLING

PADEREWSKI

Hand

The
.

CONSOLO

ERNESTO

of
the

Making

Pianist

12
.

Piano

Musical

17

Instrument
SIGISMOND

Mind

STOJOWSKI
.

RUDOLPH

in

Study

Piano

GANZ

Conserving

....

25
...

in

Energy

Piano

Practise
TINA

LEHNER

An

32

the

Audience

Best

....

Teacher
LEGINSKA

ETHEL

38

Relaxation
.

the

Modern
FIEHING

BERTHA

TAPPER
.

CARL

M.

ROEDER

Piano

Problems

Playing

47
.

Problems

Piano

Mastering

of

Keynote

54
.

Piano

of

Teachers

61

....

GOODSON

KATHARINE

MARK

An
.

HAMBOURO
.

Artist

Home

at

72
...

Technic,

Form,

and

sion
Expres78

TOBIAS

MATTHAY
.

The

BAUER
....

RAOUL

....

THUEL

BURNHAM

The
.

Teacher
84

of

Question

Training

PUGNO

Artist

Work

at

HAROLD

the

Watching

the

95

Child

107
....

and

"Melody"

Tone

Piano

atura"
"Color-

Hand
EDWIN

HUGHES

118

Essentials

Some

of

Piano

....

Playing
FERHUCCIO

BUSONI

An
.

ADELE

ELEANOR

Aus

DER

OHE

Artist

More
.

Home

at

137
.

Another

SPENCER

127

Ideas

Artist

Light

on

at

Home

142

Leschetizky's
147

Contents

PAGE

AETHUR

How

HOCHMAN

the

Pianist

Can

Color

Tone

with

Action

and

tion
Emo-

154

TKHESA

CAERE

Technical

Early

NO

Training

160

....

WILHELM

Technical

BACHAUS
.

Problems

cussed
Dis-

168

American

LAMBERT

ALEXANDER

and

European

Teachers

FANNIE

AGNES

The

ZEISLER

BLOOMFIELD

175

Scope

of

Simplicity

MORGAN

Piano

in

Technic

Piano

180

ing
Teach-

....

198

HEFFLEY

EUGENE

Modern
.

GERMAINE

Tendencies

Modern

SCHNITZER

205
.

Methods

in

Piano

Study
OSSIP

215

Characteristic

GABRILOWITSCH

Touch

the

on

Piano

HANS

Teacher

BULOW

VON

WILLIAM
DR.

Hints
.

Vital
"

on

232
.

Interpretation

POSTLUDE
.

Interpreter

AND

MASON

WILLIAM

and

SHERWOOD

H.

225

Points

in

Piano

248

ing
Play-

264

ILLUSTRATIONS

Ignace

Jan

Paderewski

Frontispiece
TACINQ

PAGE

Sigismond

Stojowski

Rudolph

Ganz

Katharine

Mark

72

Hambourg

78

Matthay

Harold

84

Bauer

96

Pugno

Ferruccio

108

Busoni

Eleanor

138

Spencer

Teresa

148

Carreno

Wilhelm

160

Bachaus

Fannie

Bloomfield

Ossip

Gabrilowitsch

Hans
von

Dr.

32

Goodson

Tobias

Raoul

26

William

168

Zeisler

180

226

Billow

232

Mason

242
.

PRELUDE

TO

AMERICAN

TEACHERS

PIANO

AND

STUDENTS

THE

have

the

that

American

country,
in

In

intention

add

and
been

his

to

the

first
The

ask

all

it

artist

each

This,

remain

issued
the

was

enlarge

to

has

however,

certain
very

the

over

be

event

in

willing

in

1913

musical

which

artists, who

The

this

only

of

summer

and

the

in

cases;

nearly

as

they

appeared.

of

were

secured

interviews

talk.

own

articles

veritable

the

to

practicable

others

be

form.

book

author's

at

that

peared
ap-

benefiting

from

come

asking

America,

were

of

the

student.

and

have

at

exceptions,

They

intention

teacher

Requests

Musical

two

or

paper.

and

hope

of

one

obtained

were

Editor

all, with
in

with

the

of

suggestion
and

"Talks"

following

the

pilgrimage,
the

were

generously
to

proved

Europe

discuss

homes

of

the

their

gave

of

their

methods

to

stones
mile-

famous
time

and

of

ing
play-

teaching.
securing

of

the
ix

interviews

has

given

Prelude

satisfaction

author

the
wishes
her

of

The
which

to

own

with

delight.

the

fellow

She

workers

land.

Talks

they

both

share

and

are

were

arranged
secured.

in

the

order

in

PIANO
MASTERY

MASTERY

PIANO

JAN

IGNACE

ONE
the

of

piano

the

most

the

at

him

will

over

from

land,

our

welcomed
visit

art

of

reason

audience;

musical

and

played
over

the

the

same

there

has

of

had

quered
con-

household

traveled

he

everywhere

Tones,

succeeding
in

his

which

lay

The

his

alike.

always
the

raised

as

remarkable

unmusical

spell.

he

coast;

been

often

wherein

listeners,

Polish

Each

Paderewski's

was

The

held.

was

question

country

as

admiration

the

deepened

The

to

honored.

and

wonderful

coast

to

this

became

Prince

in

season

name

Jan

Ignace

privileged

were

world

new

his

is

experience.

the

old;

known

first

the

forget

the

an

his

conquered

word,

who

of

masters

time

present

during

never

artist

consummate

Those

Paderewski.
hear

PADEREWSKI

same

the

the

to

hold

on

the

over

power

he

Whenever

same

intense

absorbed

superficial

hush

attention,
attributed

Piano

Mastery

and manner;
largely to his appearance
the
more
thoughtful looked
deeper. Here
was
a
a
player who was
thoroughly trained
who
in technic and interpretation;
master
one
knew
his Bach, Beethoven, Chopin, Schumann
These
and Liszt.
things of themselves would
hold
audience
not
an
spellbound, for there
other artists equally well equipped. In
were
final analysisit was
doubtless
Paderewski's
a
these

wonderful

color,

piano

vital with

so

light and
critics

Fantaisie
became

a
a

Destiny,
ever

which

he

What

works.

to

enthralled

and
one

no

veritable
which

the
In

times?

of

score

heard

we

the

same

Chromatic
his hands

Life
Soliloquy on
repetitioninvested

each

the

save

"

frequently repeated
if

it

and
with

player has
meaning and beauty. What
mann's
surpassed his poetic conception of SchuPapillons,or the Chopin Nocturnes,
veritable

he made

What

and

ecstasy.

the

tremendous

the Liszt
Paderewski
young

variety and
gradations of

full of

numberless

It mattered

that

"

so

shade, that charmed

his listeners.

new

tone,

listener has

power

and

first

the

came

to us,

forgotten

ever

titanic

effect

of

When

2 ?

in the flush of his

taught us
piano really is
he

of love

poems

Rhapsodies, especiallyNo.

manhood,

instrument

dream

what

noble

in the hands

of

consummate

could
and

the
of

piano speak
he

of his tones, the

Paderewski

could

he

is

instruction

on

known

one

beauty

he

the
time

Polish
termed

terpret
of his in-

and

composer

as

find time

his instrument.

Szumowska,
at

the

poetry and

pianist,only rarely does

give

to

nette
Antoi-

Mme.

turer
pianistand lechis "only pupil."

Sigismond Stojowski, the

pianistand teacher has also
Both
can
testifyas to his

him.

nical
tech-

intensityof his
quality
poignant,heart-searching

emotion, the

Mr.

he

delicacy

more

that

proved

soul with

very

was

the

with

that

us

Rubinstein, but with

correctness;

pierce our

showed

He

master.

make

power

Paderewski

Jan

Ignace

Polish

poser,
com-

studied
value

with
as

an

instructor.

Mme.

Szumowska

"Paderewski
and

desires

says:

laysgreat stress
everythingto be

on

ing,
legatoplay-

studied

slowly,

with

For
deep touch and with full,clear tone.
exercise
for
an
developing strength he uses
which the hand is pressedagainstthe keyboard

while

the wrist
and

each

remains

very

low

and

less
motion-

ing,
finger presses on a key, bringor
drawing out as much tone as possible.
"Paderewski
advises
studying scales and
arpeggios with accents, for instance, accenting

Piano

third

every

the

of touch.

evenness

and

each

touch.
wrists

Double

such

passages,

sixths, should

and

thirds

double

as

enabling each finger in

accent
cure
impulse: this will se-

thus

note,

make

to

turn

Mastery

be

divided

practisedseparately,with legato
Octaves
should be practisedwith loose
half

and

touch.

staccato

As

preparatory

thumb
alone.
The
study practisewith thumb
must
always be kept curved, with jointswell
rounded
out; it should touch the keys with its
tip,so as to keep it on a level with the other
is very
fingers. Paderewski
particularabout
this

point.

"It is difficult to

speak of Paderewski's
teaching expression,for here the

of

differ with

each
As

composer

to tonal

variety in

with

and

every

ner
man-

ideas
position.
com-

color, he requiresall possible

likes
production. He
are
brought out, not
strong contrasts, which
only by variety of touch but by skilful use of
the pedals.
were
what
some"My lessons with Paderewski
ever
worked
irregular. We
together whenhe
see

him

be

in

seasons

to

came

tone

Paris.

for several
Paris

for

we

worked

these

I did

Sometimes

months, and
number

of

then

lessons, which

he would

weeks;

together very
were

not

at

often.

given

such
quently
Frein my

cousin's

or

late in the

house, began very

around

"

Paderewski

Jan

Ignace

o'clock

ten

in the

till one

even

and

"

"Paderewski

lasted tillmidnight,

morning.

the teacher

Paderewski

the

is
He

pianist.

his remarks

remarkable

as

is very

clear and

are

evening

as

ing;
painstak-

incisive: he often

illustrates

in

question,

the

takes

infinite

or

by playing the passage

whole
composition. He

trouble

to

work

detail

each

out

perfection. He
tempered, though he

is very

often

grows

to

sarcastic.
over

of
to

He

bring

patient and
occasionallybe

can

it

sweet
a

little

enthusiastic

very

teaching, and quite forgets the lapse

time.
In general,however, he does not care
teach, and naturally has little time for it."
his

Stojowski, when

Mr.

his work

to

with

"Paderewski
There

are

teachers
what

able to do the
how

they do
explain how
what

bring

them

there

are

Paderewski

it is done.

produced,

teacher.

attempt to instruct
they do not understand, or

effects he wishes

be

who

thing,but

it.

pianist,said
remarkable

very

do themselves

cannot

questioned in regard

the Polish
is

pupils about

to

and

the

to
causes

about; he

can

are

others

not

able

can

He

to

both

knows

produce, how
which

who

explain

do it and

perfectly
they are

underlie

explain and

are

and

demon-

Piano

Mastery

these to the

strate

pupil with

the greatest

actness
ex-

detail.

and

justlyremark the qualityof tone

and the varietyof tonal gradations are
special
qualities of Paderewski's
playing. These
be acquired by aid of the ear, which tests
must
and
judges each shade and quality of tone.
"As

He

you

counsels

he

the student

produces,

for

CLEAKNESS

"The
and

his

heart

quality and
A

player,as

he

is

Paderewski

tone

variety.

PRINCIPLE

FIRST

he sits at the

piano, his mind

beauty of the music

agines
strivingto produce, vainly imeffects.
making the necessary

filled with

fingersare

listen to each

to

the

will say to him

'No

doubt

you

feel

composition,but I hear none

of the effects you
fancy you are making; you
deliver everything much
must
more
clearly:
is of prime impordistinctness
of utterance
tance/

the

beauty of

this

he shows

Then

joint.
and

which

fingersin
wrist

and

tinctne
dis-

acquired. The fingersmust

firm, with no giving in at the nail
he gives,
technical
exercise which
in my
I also use
teaching,trains the
and

up

is held

keyboard.

clearness

be

may

be rendered

how

very

At

down
low

first

movements,

while

the

pressedagainst the
forms
simple five-finger
and

used ; when

are

to

the hand

this tonic, some

be

played,

Great

with

the

Czerny Op.

hand

be

accustomed

has become

of the

should

care

Paderewski

Jan

Ignace

in

can

this

position.
using this

when

taken

740

principle,or lameness will result. A low seat

at the piano is a necessity for this practise;
sittinglow is an aid to weight playing: we all
know

how

low

Paderewski

sits at the

himself

instrument.
"You

what

ask

Czerny, Op. 740;

entire

three

opus;

Also

material

technical

books

dementi's

ployed.
em-

necessarilythe

not

are

is

considered

cient.
suffi-

Of

Gradus.

course

carefullystudied, with various

accents, rhythms and tonal dynamics; arpeggios
also.
Many arpeggio forms of value may
be culled from
compositions.

scales must

"There

be

are,

as

we

all

know,

certain

principles that underlie

piano study, though various masters
different

ways

these fundamentals.

and

means

Paderewski

to

all

mental
fundacorrect

may

ploy
em-

exemplify

studied

with

inculcates
the
principles
Leschetizky and
taught by that master, with this difference,
that he adapts his instruction to the physique
the Vorand mentalityof the student ; whereas
all pupils
bereiters
of Leschetizky prepare
lines,making them go through
along the same

Piano

similar

Mastery

routine, which

stance
in-

in every

not

may

be necessary.

FINGERING

"One

is very
point Paderewski
particular
about, and that is fingering. He often carefully
marks
the fingering for a whole
piece;
it must
this is decided
be kept to.
once
upon
believes in employing a fingeringwhich
is
He
comfortable

most

the

to

which, in the long run,

effective.

most

He

hand,

as

well

one

as

will render

the passage
sensitive to the

is most

lieves
fingeringthe player makes, and bethat each finger can
produce a different
I was
Once, when
playing a
quality of tone.

choice of

he called

Nocturne,
of the
note

'Why

room:

with

the fourth

to

do

unheeded

by

keen

power

do
of

people; nothing escapes

him.

directed

most

careful

and

endeavors

hear you

pass

power,

same

has

can

that

little details which

This

the

He

he notices
most

finger?

it ; the effect is bad.'

observation

always play

you

end

the other

from

me

to

music, makes

painstakingof

time, in the
to choose

matter

the

one

of
which

him

teachers.

the
At

fingering,he
can

be most

easilyaccomplished by the player. The Von

Biilow
editions,while very erudite, are apt to
be laborious

and

pedantic;they show

the Ger-

tendency

man

carried

Paderewski

Jan

Ignace
to

over-elaboration, which, when

far becomes

too

CORRECT

positivefault.

MOTION

"Another

considers
principle Paderewski
important is that of appropriate motion.

very

He

believes

in the

elimination

of

yet he wishes

movement,

necessary
un-

every

the

whole

should
be as
body free and supple. Motions
carefullystudied as other technical points. It
of
makes
is true
he often
large movements
all thought out
but they are
and have
a
arm,
dramatic
significance. He may lift the finger
off a vehement
staccato
note
by quick up-arm
motion, in a flash of vigorous enthusiasm; but
instant
is in quiet position
the next
his hand
for the following phrase.

STUDYING

be of vital assistance

must

search

which

to

the

just now
player in his
of

variety and effect. Tone

naturally varies according to the

for tonal

is to

put forth in
over

the

the

accents

In

listeningI spoke

intent

"The

EFFECTS

order

be
a

filled.

Greater

large hall, to

footlights,to
decisive
to become

and

the tone
the

contrasts

accustomed

space

effort must

make

render

duction
pro-

touch

be

carry

clear,

pronounced.
to these

condi-

Piano

10

Mastery

tions, the studio piano

touch

necessarilybe

must

produce

be

can

the desired

kept closed, and

made

to

stronger

power.

INTERPRETATION

great artist's performance of a noble

provisati
ought to sound like a spontaneous im-

"A
work

greater the

the

completely

will

to arrive

order

this

be

more

attained.

result,however, the

at this

dissected

be

must

result

artist the

in minutest

In
position
com-

detail.

with the first conception of

Inspirationcomes
all
the interpretation
of the piece. Afterward
details are painstakinglyworked
out, until the
ideal blossoms
into the perfectlyexecuted
formance.
perendeavors
Paderewski
uniformly
and spiritin
to render
a
piece in the manner
which

he

after
"

has

this
you

before.'
'I

it.

of his recitals,a

one

'Why, Mr.
piece the

"

conceived

assure

as

you

you

did

you

intended

that

relates

lady said

Paderewski,
same

He

to him:

did not
when

to,' was

play

I heard

the

re-

piy'

'Oh, it isn't necessary

same

way;

you

are

to

not

play it always
machine,' said

lady.
"This

reply aroused

his artist-nature.

the
the

"

'It is

ought

just

because

all times

at

Paderewski

Jan

Ignace

in the

play

to

artist that

an

am

11

same

way.

thought out the conception of that piece,

ideal as
and
in duty bound
to express
am
my
nearly as possible each time I perform it.'
"Paderewski
instructs, as he does everything
takes
else, with magnificent generosity. He
have

of time.

account

no

I would

stop

with

sheer

from

him

various

at

stands
a

lesson

almost

Speaking
of

"I

feel

day."
character
the rarely beautiful
piano compositions, Mr. Sto-

of

that

shame.

What

to-day,
I

to

love

the

compositions

am

glad

what

pioneer
to

do

some

piano

are

and

man

these

doing

"

work

in

of it."

is

they

not

this

ing
cry-

have

know

of

wonder-

his music

so

much

to make

power

known.

music

sonata

his?

lies in my
better

this

of

students

with

songs

am

of

and

modern

that I

need

ignorance

compare

the

And

none.

the

teachers

piano

full

I had

when

memory,

said:

among

we

pecially
es-

summer

every

Paderewski's

jowski

in my

out

One

times.

tinue
con-

studied

I have

exhaustion.

forced

both

were

we

for

would

the lesson

stipulatedhalf-hour, but
until
indefinitely,
to

to him

come

There

matter,

and

is
I

II

ERNEST

SCHELLING

THE

As

ill the

I sat

of

and

music,
somewhat
the

Oriental

of

The

old

ceased

playing
of

He

manner.

of

the

terrier, with

coat

most

as

of

some

entered

at

of

and

poured

beamed

genial

12

for

us.

by

This
himself
a

peared,
ap-

liness
friend-

white

curled

chat, the
tea

tries.
tapes-

artist

snow.

of

ing
ceil-

and

with

passed.

the

coloring

the

arm-chair,

usual
un-

with

soon

as

out

was

harmonize

once

all that

preliminary
and

white

comfortable

observer

It

beautiful

winter,

accompanied

was

manor,"

personage
in the

visitor

Mrs.

floated

paintings

and

the

the

heavily

its

ments
apart-

and

practise

to

its

the

Mr.

atmosphere

silver,

of

chamber.

with

greeting

"lord

piano

seemed

music-room,

salon

spending

distant

PIANIST

where

were

vigorous

from

me

Park,

Schelling

sounds
to

OF

luxurious

the

near

Ernest

HAND

the
bull
portant
imup

quiet, profound

In

charming

the

midst

hostess

talk

The
which

turned

soon

trainingof

the

"

technical

pianist.

"Technic

subject in

the

upon

deeply interested

was

13

Schelling

Ernest

is such

gan
matter," be-

individual

an

Schelling;"for it depends on so many

personal things: the physique, the mentality,
Mr.

of

the

amount

hand

and

hand

for the

wrist.

with

short

but

thick

and

so

have

what

have

them

to

reno

I call

natural

play

control

with

I have

have

not

been
For

develop

not

technic.

played

You
a

wrist,

pianists
wrist,' that is they

of it ; it is

they

marvelous

small,

Some

factor.

of wrist ; she

octaves,

also has
to say

The

trouble

no

Mme.

octaves, for instance.

has that kind

has

Hofmann

piano; rather

'natural

short, broad

muscular.

important

most

Josef

the

for

of

with

one,

narrow

to have

fingers.

hand

too, is

to

better

wonderful

yes,

the poorest kind

Perhaps

Far

has, the

one

energy

piano is the long

long fingers.
one

nervous

are

perfect.

wrist.

that kind

of

Car-

had

never

am

wrist, and

for

ficulty
difmann
Hofsorry

fore
there-

much

count.
handicapped on that achave had to work
tremendously
only the wrist but the whole
see

great deal

fifteen to

twenty

like what

ought

I
as

was
a

I did
to

wonder

small
not

have

boy.

child, and
Then

from

practiseanything
done.

That

is the

Piano

14

Mastery

period when the bones grow, muscles develop

Another
"everything grows.
thing against
is the length of my
gers
the finme
fingers. When
are
longer than the width of the hand
the knuckle
across
joint,it is not an advantage
The
but a detriment.
extra
length of finger
dead weight that the hand
has
is only so much
is another
to lift. ^ This
disadvantage I have
had to work
against. Yes, as you say, it is a
remarkable

rather

But

suppleness.
I have

"As

regard

size and

to

hardly agree that

Chopin's, judging

it is like
from

the

of his hand.

seen

technical

for

in

like

Liszt's; more
casts

hand

routine, of

course

play

When
good deal and in various ways.
I find the best means
to
I 'go into training,'
with the metronome.
attain velocityis to work
into the necessary
at once
can't jump
One
is a great help in
agility,and the metronome
see
bringing one up to the right pitch. You
scales

of these muscles

the firmness

by
now;

hand, that I

side of my

thumb

but

soon

one

at the back

and

good

trim

in

am

loses this if

one

lets up

on

the routine.
"Then

practisetrills of

Yes, I
necessary

technical

and

agree

that

important

equipment.-'

all kinds, and

octaves

factor

are

in the

taves.
oc-

most

player's

Schelling

Ernest

Going

the

to

and

piano

15

he

as
illustrating

Schellingcontinued :
"Merely flopping the hand up

talked, Mr.

many

do, is of little use

strengthor
hand
in the

down
a

arched

very

it does

with

not

lead

as

to

As

fingers as well; the hand

movements

down,

you see, I hold the

firm, and the firmness is

velocity.
and

"

and

makes

up

and

loose wrist ; the result is

full,bright,crisptone.

One

can

play these

slowly,using weight, or faster with

matic
I play diatonic or chrocrisp,staccato touch.
octave
scales,with four repetitionsor
each note
on
more,
using fourth finger for
black keys.
"I sit low at the piano,as I get better results
in this way;
ficult
difmore
though it is somewhat
octaves

"

to

sit

obtain

them.

I confess

it is easier to

Yes, I
high and bear down on the hands.
of 'weight touch,' and
it
thoroughly approve
is the touch I generally use.
it is
Sometimes
the key after it is played,
a certain pressure
on
using arm
weight.
teacher or
"Ah, you are right. The young
to the artist,and
player, in listening
noticing
he does not lift his fingersto any extent, and
that he always plays with weight, hastilyconcludes
these are
the principles
with which
he
must
begin to study or teach the piano. It is

Piano

16

mistake

begin

to

that

matter,
foundational
become

who

"In
may

as

to

namely,

I would

has

work

out

dividua
in-

period of
desire

the

things for
straight-laced

no

be laid

can

The

cases.

distinction

player
work

must

the eye, with

For

it

read
read

be

an

memorizing piano music, it

be accomplished in three
can

with

hand.

the ear,

example:
through with the

book.

in this way,
print. I learn to

notes

have

who

exact

ning.
begin-

is such

general rules

any
salvation.

be said this

piece and

few

rise to

own

the

in the

the first

will fit most

regard

ways:

with

should

Only

would
his

out

artist,must

There

such

after

training,one
an

methods.

down,

Very

way.
be learned

I said before, technic

As

himself.

in that

must

fingermovements

to

Mastery

and

know

how

them

with

they
so

the

just as

eye,

I get familiar
see

take

and

the

look

well

in

that

photograph of them, and if

could recall any
or
specialmeasure
necessary
phrase so exactly that I could write it. All
this time my mental
has been hearing those
ear
a

mental

notes, and

is familiar

with

third stage arrives; I must

them.

Then

put all this

on

the

the

have
their training;
keyboard, my fingers must
impressionsmust pass from the mind to
the fingers;then all is complete."

Ill

CONSOLO

ERNESTO

MAKING

PIANO

THE

MUSICAL

INSTRUMENT

IN

solo, the

points

eminent

teacher

things
"It

Mr.
is

teacher

instruction

work

to

such

as

and

surely coming.

this

country,

of

the

though

in America,

very

musical

here

are

away,

nent
promition,
instruc-

in

musical

just yet,

still young

are

you

their

take

to

world

is not
You

ously.
seri-

excellent

far

enjoy

matter

time

it is

is not

time

lead

perhaps
The

willing

will

the

in

here

piano

very

is most

right
are

America

advantages.

there

The

seriously.

position

profession

secured

teachers

think, when

his

opinion
be

other

the

that

necessary

take

my

and

player

Among

upon.

absolutely

should

the

to

many

said:

Consolo

In

with

importance
touched

were

Con-

Ernesto

instructor,

and

pianist

vital

of

with

conversation

long

but
in

wonderfully

progressive.
"If

have

spoken

of
17

the

serious

aims

of

piano, I cannot
say as much
often
students:
they are
superficial
to go too quickly; they are
apt to be
of

teachers

many

for

the

and

want

in

Mastery

Piano

18

hurry and

to make

want

show, without

being willing to spend the necessary years on

dents
Stube hurried.
art
can
preparation. No
of painting, sculpture, architecture
or
all learn the techniqueof their art ;
music must
all learn to go deep into the mysthey must
teries
and

end, and

no

who

must

know

much

more

technic
the

of

his instrument

tion
preparaThe

play baseball
things; how

or

these

pianistbe

the

to

means

musician.

fence, box

must

technique of

executive

the

would
the

the

as

requires exhaustive

one

than

more

person

technic

master

of the

master

if he would

bring

the best results.

out

"At

the very
of

bottom

that, little of

value

Students

if

'practise'a certain
is sufficient.
used

learn
master

with

more.

One

or

in

difference?

can

they

of this subject

of

without

accomplished.
the piano and
hours
daily,it

portion of

that time, if

concentration, will

player
a

be

sit at

number

small

intense

page

heart

lies Concentration:

mastery
think

and

passage

fraction

of the

It may

be said

will

take

plish
accom-

hours

which

another

time.

What

one

to

will
is the

has greater in-

Console

Ernesto
than
telligence

the other.

the

"If

concentration

The

tellige
greater the in-

stronger the power

pupil comes

19

have

to
not

whose

me

been

of

tration.
concen-

powers

awakened

or

of

oped,
devel-

I sometimes

give him music to read over

slowly,so slowly that every note, phrase
very
and
Not
seen.
finger mark can be distinctly
mistakes occur,
being used to thinkingintently,
in

hand

one

mind

time

every
mental

our

other, showing that the mind

concentrated.
sufficiently

not

was

the

or

that

powers

fail of the best that

"In

regard

routine, I do
each

for

have
so

should

mold?

One

wrists
should

is in

equipment
with

work

is different.

be

student, for
and

give

not

him

very

the

No

or

and

each

pupil,
two
people
mentality;

poured into the same

did
example, has splengood fingers. Why

same

amount

practise that I give his brother

wrists; it would
only be a

Again,

we

us.

technical

they all

using

their fullest extent

hands, physique

same

is the

Without

wins.

different

pupil

the

why

to

to

It

who
waste

pupil with limited ideas

of

has
of

of tonal

wrist

feeble
time.

ity
qual-

dynamics is advised to study tone at

the piano in some
simple melody of Schubert
or
Chopin, trying to realize a beautiful tone"
and

Piano

20

various

playing it in

gives back

and

it with

attack

with
the

harsh

touch

poor

learn

with

instrument
to

comes

of

Such

up.

very
first

to

must

one

an

conditions

and

movements

back

go

not.

or

with

me

course

work

whether

you

of

quired
fingers;and these can be acat a table.
Along with these, however,
simple music to play,
always give some

hands,

and

arms

I would

and

that the tonal

so

put into it. If

touch, it will respond

musical

must

correct

It rests

who

principlesand

quality
ment
responsive instrua

you

hard

tone.

student

"A

is

what

shall be

piano

until such

ways

piano

The

is secured.

you

Mastery

musical

shall not

sense

be

neglected.
"Of

course

practise; scales in
rhythms and touches.
varietyof ways
thirds

double
others

have
of

which

goes

Unless
and

whole

There
to

in hand

this condition

in

Those

scales.

use

less
end-

almost

later,after the

Arpeggios

are

also

practise.

piano mastery.

shoulders, the

an

is the

Concentration

said that

hand

is

play

control.

in this scale

included
"I

all

sixths I

and

under

are

comprehensive scale
keys and in various

advise

is

tone

Another
with

principle

it is Relaxation.

present in
will be

performance constrained

note
key-

arms,

hard

and

and

wrist

the

unmusical,

Console

Ernesto
There

is

those

that

need

no

feel

that

hours

at

in hands
of
his

action
with

moves

player but
equal in ease
On

there.

not

is

taken

not

place.

play forte

fatigue
playing

the
how

knows

three

for

feel the least

to

use

injure the piano. We

the piano is a thing of joints;
so
delicatelyadjusted that it

will

remember

the

ness,
stiff-

is relaxed, who

anatomy,

must

proof that there is

Furthermore,

arms.

who

this

and

and

or

If

painful.

or

has

piano

time

and

one

strained

relaxation

sit at the

tired muscles

having

arises it is

condition

can

of

21

not

absolute
adds

freedom

and

The

ease.

joint,which should
adjustment the ones already

another

and

the other

hand

with

person

stiff

jointsand rigid muscles, thumping ragtime on

a
good piano, can ruin it in a week; whereas
understands
under the fingersof a player who
the laws

of

relaxation, it would

last for many

years.

principleof

"This
in

have

part of

poise and easy

the body: they never

strained

or

stiff attitudes,nor

stiff movements.

fingersare
needs

to

Arms,

all relaxed

study

these

is

exemplified

player, and others.

adjustment in every

athlete, baseball

the

They

relaxation

seem

make

to

fall into

angular or

shoulders, wrists

and

easy.

principlesas

The
well

and

pianist
as

the

Piano

22

believe

Mastery
in

physicalexercises to a
certain extent.
Light-weight dumb-bells
can
be used; it is surprisinghow
lighta weight is
sufficient to accomplish the result.
But
it
be one
must
movement
at a time, exercising
one
athlete.

muscle

at

time, and

various

not

muscles

at

once.

"For

have

memorizing piano
method

no

music

whatever.

can

When

say

I know

the

it by
I know
or
piece technically
mechanically,
heart.
I reallydo not know
when
the memorizing
takes place. The
music
is before me
and
the piano; I forget to turn the pages,
on
the piece. In playing with
thus find I know

just

it be

unless

the parts of all instruments,

I know

orchestra

it would
orchestra
On

and

not
not

occasion

one

was

I could
to

second

get

played the

which

I had

over

and

score

try and

in about

whole
work

with

played for
piano and
first idea

My

it; the

over

go

recall the

three

concerto
ten

the

it.

play

in this way.
to play the

not

on

remember

the

to

me

engaged

I tried the latter

result that
the

out
to

was

memory.

had

not

ment;
accompani-

the music

was

I tried it

time.

found

interest

know

Sgambatti concerto,
some

simple chord

days

piece from
method, with the

hours

and

back

in

half I

mind.

later without

having

23

the

consulted

once

that memory
mechanical.

be absolute

must

"Students

This

score.

to

goes
and

prove

merely

not

they cannot memorize, when

it would
be quite easy
if they would
apply
themselves
in the right way.
I ask them
to
look intently
at a small portion,two
measures,
and afterward
to play it without
or
even
one,
Of course,
as
looking at the notes.
you
say,
this can
be done
from
the piano; the
away
notes

can

think

be recited; but

even

signs and

marks
when

so

considered

be

to
one

there

be

can

and

at the

other

are

bered,
remem-

piano

sider
con-

it better.
"Piano

playing is such an individual and

complex thing. I do not require nor expect
pupils to play as I do, nor interpretas I
my
interpret,for then I would
only see just so
replicasof myself,and their individuality
many
would

be lost.
in

it

as

I do/

and

see

the

feel

No,

them

and

play a

with

I find in it.

one

them, 'That

to

say

different way

spiritfrom

hear

I often

is wrong;
I

let them

it,so long

as

position
com-

different

But

I don't

you

play

there is no

play
as
they
against

must

it

sin

artistic taste.
"I

both

trust

these

player and

few

points will

teacher.

The

be

helpful to

latter needs

all

Piano

24s

the

Mastery

encouragement

most

cases

he

"Volumes

remarks,

is

doing

might
but

artists

we

for

be

that

good

added

my

can

for

work.
these

to

time

give,

is

too

hurried
limited."

in

IV

STOJOWSKI

SIGISMOND

MIND

Polish

with
a

in

his

New

might

as

studio,

have

chat

helpful

prove

relax

to

such

on

teacher

both

to

work

at

willing

was

one

student.
ask

"You

salient

to

me

in

points

should

the

say,

each

exactly
precisely

alike,

psychology

for
do

nor

teacher

and
about

more

often

am

or

the

mental

asked
best

how
means

This

is

processes

than

for
25

doing

we

of

both

for
to

in

chological
psy-

subject

need

memorize,

to

really

study
all

We

are

things

the

necessary

student.

important

see

believe

I
very

two

we

students

two

any

most

perhaps

most

are

no

light.

same

is

that

points

the

on

technic;

piano

individual;

the

something

say

matter.

""

He

and

little, however,

and

York

eminent
found

was

composer,

gifted pupil.

themes

to

and

pianist

morning

the

STOJOWSKL,

SIGISMOND

MR.

STUDY

PIANO

IN

know
do.

for

instance

this;

another

Piano

26

Mastery
I recommend

psychological process.

helpful

very

"The

most

learn

to

to

Has

or

will

They

Such

repetitions there

the

is

subject

For

agree.

is

others

good

believe
do

in

the

for

The
course

learn

ance.
perform-

With

be

to

come

pupil,
to

the best

little

small.

very

the

on

views

as

to what

this

are;

of

point

diversity
the

though
I

at

raise

when
many

haps
Per-

countless

of

is

use

the

be

finger

results

not

for

reverse

quality.

beginning,

of

must

make

precise

proficiency

greater

are

high,

used

the

quite

fingers and

modifications

not

fingers high is
it may

of touch
not

more

opinion.

beautiful, singing, tone

movements;

That

the

to

raising the fingers very

tone,

wish

young

reached,

be

great

velocity playing.
where

with

be, but

technic

Lifting

not.

tration
illus-

teachers, unluckily, do

instance,

lifting there
Some

it may

last

piano

which

on

at

it will

of

avoid

to

technical

quite a variety of

essentials

take

strong.

may

but

improvement,
"There

will

is

to you

absolutely useless.

little too

occurred

ever

directed

is

work

piano playing

repeat

times

of

thought

no

that is

it

pains people

hundreds
little

Psychology;

on

in

thing

think.

thinking?

Talks

book.

vital

infinite

what

James'

William

read

to

students

are

often

is

used.

ob-

t'h"tt" /.(/llnrin "t San/unl.

.V. 1".

Stojotvski

Sigismond

27

piano teachingand study, is as much

the pupil. The
the fault of the teacher
as
and anxlatter is usually willingto be shown
ious
It is for the teacher to correctly
to learn.
ficient
diagnose the case and administer the most efremedy.
in

tained

NATURAL

"There

is

call 'natural

TECHNIC

certain

technic'

one

often

the trill.

possessedby

which

point

some

of what

amount

is easy

might
one-

every

for him.

It is

under
frequentlycome
in
notice that players with little facility
my
other
make
can
a
good trill. Some
ways,
who
is one
Melba
singershave this gift; Mme.
had

never

with

young
with

It has

born
study a trill,for she was
I knew
a
a
nightingale in her throat.
in London
who was
man
evidentlyborn
He
had wonan
derful
aptitude for octaves.
to

wrists, and

could

of the octave

He
to

without

countless

titions
repe-

the least

fatigue.
had to practiseoctaves, they came
never
him naturally.
"The

teacher's

constructive.
be

make

able

should
build

to

He

up.

is botli corrective

must

correct

find the
them

work

see

it.

what

Like

weak

and

He

should

is wrong

and

physician,he

deficient
have

and

some

parts and

remedy

Mastery

Piano

28

that will fit the needs

his command

at

of each

pupil.
"I

give

etudes, and

few

very

in

homeopathic doses.
play through a mass
good pianist. Much

to
a

technic

be

may

learned

from

though scales and

part of the daily routine.
KEEPING

"In

mind,

UP

keeping
I

may

that

say

It is not
of

ministe
ad-

sary
neces-

etudes

to

come
be-

of the necessary

selves,
piecesthemarpeggios must form
the

REPERTOIRE

number

large

those

the

of

pieces in

pianist who

does

much

teaching is in a sense
taught by his
advanced
pupils. I have many
pupils,and in
teaching their repertoireI keep up my own.
Of

after

course

of

weary

My
as

the
his

them
I ime

while

hearing the

students; the
fresh.

own

one

grows

little

piecesrendered by
beautiful
most
no
longer seem
ceptions,
compositionsare generallyex-

I do

not

same

often

teach

those.

To

thoughtfulteacher, the constant hearing of

ficultie
repertoireby students shows him the difthat younger
counter,
players have to enand
to aid
helps him devise means
to conquer

there is this
fail to

these obstacles.

At

the

same

not
disadvantage: the pianistcanremember
the placesat which
such

Sigismond
such

and

Stojowski

student

stumbled.

This

times.

had

has

In

trouble, forgot

happened

work
would
a

flash

at

over

me

The

balance

and

if I

am

which

reminded
of my
program

been

proceed

need

to do

so

IN

with

much

keep

ness
smooth-

of it.

PASSAGE

composer

should

may

fill in

he

forget a portion
playing in public.

passage,

the

True; but

improve

times
some-

piecesmentally, especially
playing an entirelynew
gram
prohave never
wise
played before ; other-

up

is rather

is

effort to

some

such

or

my

suggest that

of

at

am

FILLING

make

remembrance

and

over

I do not

or

such

certainty.

"Yes, I go

"You

be

playing
toward
anything un-

this is where

"

vivid that I

mental

my

rious
va-

"

pupil stumbled.
so

that

at

me

or

in my
wholly absorbed
certain point,the recollection

occur

when,

to

recitals I would

my

ahead, quite unconscious

could

29

piece when
work
improvisingon a well-known
dangerous thing to do in order to
bad case.
Apropos of this, I am

of

an

incident

recitals.

European
which

which

was

to

It

occurred
was

give at

at

one

wholly new
Vevay. I had
a

stayingwith Paderewski, and went

Morges to Vevay, to give the recital,

from

In

my

Piano

30

the

at

room

the

hotel

when

program,

found

Mastery

had

in

remember

what

came

after, but

this

gone.

could

remember

hastened

bridge

back

the time

When

recital,it all
the weak
as

had

"As
go

the

effort

disaster
as

London

concerto

the

As

to

occurred

the

London
I

me,

passage?
not

ber;
remem-

whether

Stojowski
closes

bring

Nikisch.

under

I could

to

had

nearly

last page.

season

my

and

with

that

over

the last

I neared

recall

the

at

reallyplayed

doubtful

or

to

parts.

well

was

seems,

two

fugue

till I

that

with

constructed

the

play

it.

Mendelssohn

soon

to

and

connect

reallyhappened

and

played
brought

done

little

piano, but
portion in question.

to

wrote

the

to

the

on

question suddenly

had

What

down

room

my

spot, which, it

the

what

had

smoothly

went

Mendelssohn

page,

particular passage

fugue

came

what

should

which

portion.
and

the

to

Fugue,

before

went

the

tried

small

went

seemingly
parlor and
I

Mendelssohn

forgotten

could

not

mentally reviewing

was

out

my

here

second

Symphony
shall also play

shall

piano
tra,
Orchesvarious

recitals."
It

was

orchestral

my

good

concert

fortune
at

to be

Queen's

present

Hall, when

at the

Mr.

Stojowski

Sigismond

Stojowski
see

the
and

the

was

enthusiasm
the

soloist.

It

aroused

by

performance

of

it

31

was

the

by

pleasant
concerto

the

artist.

to

self,
it-

"

GANZ

RUDOLPH

CONSERVING

"ONE

of

the

pianist

"The

day.
the
in

that

"

and

me

for
of

waste

should

be

is

then

give

should

the

his

routine

of

saving

one's

whole

her
to

be

roles

acquired

learn

her

saving

I
not

by
32

full

exhaust

merely

grant
be

all

this
easy

Ah

to

tinually
con-

how

does

with

now

less
need-

need

not

ergy
en-

it is.

force

Neither

strength

may

what

to

it

makes

always

know

order

pianist

practise?
self

it

vital

interpreted.

used

it should

in

pianists

the

lines, does

them

well

out

and

his

practise

actress

for

them,

studying

of

tise
prac-

possible

all

this, and

do

one

me

playing

were

with

say,

to

continually

you

Some

energy

shout

she

is to

public

sorry

actor,

though

emotion.

the

is to

way

practise,"

piano

Ganz

the

is

things

in

Rudolph

as

PRACTISE

necessary
energy

wrong

piece

public

before

most

vital

of

conserving
said

the

PIANO

IN

ENERGY

they

the

lyric

tones,

for

voice.

Why

himself
in the

and

daily

principle
to

learn,

players, great

of
but

and

Rudolph
small.

think

Ganz

33

pianist should be able to

hours
dailywithout fatigue.

practisefive or six
his
If the player is accustomed
to husband
vital force
during the daily routine of practise,
in
he can
play a long, exacting program
In every
public without weariness.
day practise
often does not need
to play forte nor
one
is sufficient.
the pedals; a tone of medium
use
power
Suppose, for instance, you are studying
the Chopin Etude
Op. 10, No. 12, with
the left hand arpeggio work.
Every note and
of phrasfingermust be in place,every mark
ing
obeyed ; but during practisehours you need
not
give the piece all its dashing vigor and
bravura
at every
repetition. Such a course
would
exhaust
the player. Yet
soon
every
be thoroughly
effect you
wish to make
must
studied,

be in mind, and

must

whenever

used

complete performance

at

intervals

of the

piece

is desired.
"As

I said

before, it is often difficult to

trol
con-

impulse to 'let loose,'if the work is an

At
rehearsal with the
recent
a
exciting one.
I would
Symphony Orchestra, I told the men
I was
to play,
quietlyrun through the concerto
We
merely indicating the effects I wanted.
began, but in five minutes I found myself playing
with full force and vigor.
the

Piano

34

"In

be

to

think, from

keys

some

"

the
as

ball of
who

one

in

"

also; while the Frenchman,

Pauer
has

to methods

piano study there

of opinion,resulting,
I
a
diversity
the various ways
of touching the
players using the tip and others
the finger. Busoni
be cited
may
employs the end of the finger

regard

seems

Mastery

Cortot, who

most
exquisitetone, plays with the hand alflat on the keys, a method
which certainly
insures weight of hand
and arm.
Of course
players generally,and teachers also, agree on
the employment
of arm
weight in playing.
The
principlesof piano technic are surelybut
Was
few.
it not Liszt who
said: 'Play the
right key with the right finger,the right tone
and the rightintention
that is all !' It seems
to me
piano technic has been pushed to its limit,
an

"

there

and
to

some

be

must

the

of

reversal; we

older

methods

may

of

return

touch

and

technic.

thing in piano playing is to bring

the composer's meaning, plus your
out
own
must
study
inspiration and
feeling. You
deeply into the composer's idea, but you must
also put your
tion
own
feeling,intensityand emointo the piece. And
not
only must
you
but you must
feel the meaning yourself,
play
"The

it in

vital

way

to

touch

others.

There

are

many

35

pianistswho are not cultured musicians; who

because
think they know
their Beethoven
they
In music
can
'knowledge
play a few sonatas.
all possibleknowledge,
need
is power.' We
but we
also need
to feel the inspiration. One
greatest teachers

of the

of

personal inspirationis

feelingis
to

do

is to

qualityof
out

all in the music

Like

tone.

his

drugs, this
power

for

necessary;
itself.

play with such

grains of

many

not

All

such

and

for

the
have

we

dynamic

country doctor
master

that

holds

time

our

uring
meas-

apportions so

forte,for

mezzo,

for

This
plan puts a damper
piano, and so on.
and enthusiasm, for it means
on
individuality
that
be coldly calculated.
everything must
the heart.
Such
playing does not reallywarm
and
"I believe in teaching tonal contrasts
color even
should
tone
to a beginner.
Why
not the child form
a concept of forte and
piano,
and so get away
from the deadly monotony of
little descriptive
I have written
mezzo?
some
piano pieces,and my small boy learned one of
There
is a closingphrase
them to play for me.

this," and

like

piano;

"it is to be

few

by

an

echo.

the

Mr.

It

was

little fellow

illustrated

played forte,and

to

notes

Ganz

be touched

very

really beautiful
reached

out

at

the

is followed

softly,like
to

for the

see

how

pedal

to

Piano

36

make

the

loud

Mastery

emphatic, and then

played the echo very softlyand neatly. He
had grasped the first principleof tone colornamely tone contrast, and also a poeticidea.
"There

are

days, and

part

so

more

wonder

many

marvels

many

children

in these

accomplished by

are

infant

prodigies. Very often, however, these

children develop no
wonder
further; they fail
to fulfil their earlypromise, or the expectations
held
"A

of them.
wonder

youthful
is Eric

in the

Korngold, whose

played in my
played this work

York

New

field of

position
com-

piano sonata

recital.

have

eight times in all,during my

it is
present tour, often by request. To me
most
interesting.I cannot
say it is logical
in the development of its ideas ; it often seems
as
though the boy threw in chords here and
there with no particularreason.
the effort
Thus
of memorizing is considerable, for I must
always bear in mind that this C major chord
has a C sharp in it, or that such and such a
chord is changed into a most unusual one.
One
the boy will develop
cannot
predict whether
further.

As

prodigy, but
compositions
very

you

if

say,

we

judge

that have

simply and

Mozart
from

been

worked

was

the

an

infant

first little

preserved,he
up, whereas

gan
be-

Korn-

Ganz

Rudolph
gold begins

Richard

at

critics have

The

Strauss.

the

full of

are

37

much

His
of

for

and

say

In

studying

and

him

all adverse

known

of America

"I

bringing out

for

work

is

does

sates
compen-

great musical
wide

Ganz

make

To

centers

publicity."

said:

thusiasm
preserving one's enmusic, even
though, at

modern

glance, it

than

criticism.

surelygiving it

thoroughlybelieve
for

first

in the

it worth

found

more

later occasion, Mr.

here, he

I have

the sonata, the fact that I have

On

written

thought that, though the critics

things to disapprove of in
many

found

the

has

young

the

expresses
have

letter which

recent

against

the

I do not know
early works.
personally,though he
composer

these

me.

Strauss.

influence

to

positions
com-

not

in

attract

one,

or

indeed

impossible. I enjoy studying

is the modern
new
works, and learning what
trend
of thought in piano work; it keeps me
and buoyant.
young
"One
of the novelties lately added
to my
in D.
On the
repertoire is the Haydn sonata
I place the Korngold sonata.
same
program
almost

seems

hundred

works.
to

art

keep
and

years

While
abreast
life."

and
revere

of the

more

the
new

divide

the

old, it interests

thought

two
me

in musical

VI

TINA

IS

AUDIENCE

AN

the

BETWEEN
crowded
Miss

BEST

of

her

Lerner

that
American

long

found

of

topics

TEACHER

engagements

close

Tina

certain

over

THE

many

the

upon

tour,

time

talk

to

which

significance

bear

pianistic problems.

upon

We

began

methods

of
and

the

LERNER

the

holding

the

on

of

position

that

true

scales

pearly

"I

son,

my

taken

the

with

this

way,

pianist,

attention

to

positions

of

the

until

Mr.

Baltimore,

it.

The

of

body,
38

fact
arms,

by

public.

the

ball

of

the

flat

the

Here

several

point by playing

straight,

gers
fin-

exemplified

wrist."

realized,

never

in

played

the

the

necessitates

low

with

pianist illustrated

as

with

which

different

moving

before

play

key,

hand,

keys,

now

the

to

hands,

the

pianists

is

finger

referring

touching

various
"It

by

outstretched

gers.
fin-

however,
Ernest

Hutchecalled

recently
is, I have
hands

that

always
and

fin-

Lerner

Tina
seemed

gers, which

This

easy.

I did

five,and

I have

of what

various

do

to

39

and

natural

the most

me

began, at the age of

always kept to them, in spite
when

teachers

endeavored

have

to

early teachers
sensible and careful ; they kept me
at the
were
classics,and did not give too difficult pieces.
followed
The principles
by most great pianists
I believe are
correct; but I have always kept
natural
In hand
to my
own
position,
way.
individual ; perhaps no one
else
therefore, I am
plays with such a finger position,so in this I
am
unique.
for

Fortunately

me.

"For

some

my

unknown

reason

to

it has

me,

imagined that I have studied with

I
Leschetizky;this is entirelyrefuted when
to

come

say
are

be

I have

been

never

with

The

the

in himself, what

thousands
to

nothing.
for

amount

which
own

he

each
way.

of

name

he

can

pupils,but
have

must

A
you;

of

teacher

he

can

pupil works
The
piano

selves
helpingour-

great teacher.

some

has

the

player
Whose

of

some

of

we

never

hear

had, who

Lesche-

have

only do a
give you new
learns

come

ideas,

for himself

student

of the

certain

can

out

we

seems

accomplish?not,

know

We

It

be: What

question should

pupil is he?
tizky'sfamous

the idea

from

getting away
out

in Vienna.

in

from

his
so

Piano

40

different

many

Mastery
He

sources.

attends

piano

ideas of touch, tone,

acquiresmany
he hears a great
phrasing and interpretation;
set
singeror violinist and absorbs a wholly new
of thoughts,or he listens to a grand orchestra,
Then
and gains more
than from all the others.
there
ing
is life to study from:
experience livcian.
loving: all go into the work of the musirecital and

"

"

musical

that

one

"I have
for

been

asked

'music

knowers.'

is the

happy
to

seems

for

if

even

of

whether

Perhaps

medium.

they

acting
ex-

prefer to play

'music-lovers'

Of

are

very

or

equal

an

the music-knowers

me

the most

be chosen.

can

audience

an

is indeed

career

the

two

of

one

mixture
it

sorts

preferable,
critical,they also
are

recognize the various points you make; they

and
see
appreciate what you are strivingfor.
They are not inclined to say, 'I don't like such
stands
undersuch a player'; for the music-knower
or
the
labor
He

and

What

some?

is

the

"

does

by

that
'I

go

The

great artist
it matter

He
utmost

time
make

to

and
a

prefer the playing

artist.'

an

with

says,

of

amount

talent

rather
such

or

vast

knows

word

seems

'like' in
almost

if his work
it

can

stand

perfection of

an

energy,

pianist.
of such
tion
connec-

affront.

is not

'liked'

for what

his powers

"

it

of

Tina
himself.

And

more

other.

In

touches
that

in

in

how

to

from

what

this

greater climax

But

it has to be tested and

its

nearly perfect as

opinion
"

it.

upon

When

by repeated
then

For

sound, I getgeneral idea of the whole,

make

as

or

should

and

it

any

and

moves

improve

to

make

work
a

"

pass

than

sympathetic coloringthere.

more

conceivinghow
study of it
my

must

have; I have

can

I learn

audience; how

is the

audience

this teacher

this school

passage;

here, or

artist

an

from

an

41

all the

after

greatest teacher
learned

Lerner

tried

must

I
an

"

able.

am

audience

set the seal of approval

the work

has been

ished
pol-

trials in this school, interpretation

becomes

in the mind
crystallized
and
the piece can
always be given in nearly
the same
A painter does not change nor
way.
repaint his picture each time he exhibits it;
why need the musician change his idea of the
?
at each repetition
To trust too
interpretation
much
of the moment
to the inspiration
might
When
I
injure the performance as a whole.
have my
ideal of the interpretation
worked
out
in

mind, it becomes

always
I

can

in this

in Boston
for

or

sacred

that

because

duty to play it
spirit always to give my best.

think

never

my

New

perfectionthan

"

York,
if I

I must

play

in

am

strive
a

playing
harder

little town,

Mastery

Piano

42

matter

give the highestthat is in me, no

it may
be.
where
People sometimes

ask

me

if I

not

that

No, I

must

afraid

am

anxious

"I

can

about

the

ideal, when

before

nervous

am

people; but I am
being able to realize

other

any

music

prefer playing

all

the

but

same;

cities,which

in America

for

of

more

not

When
barn
could
came

found

the

about

smaller
advanced

more

than

two

thousand

at the little

hotel, I wondered

inhabitants.

place,and
what

these

the

saw

people

with

piano recitals. But when I

to the collegewheje I was
to play and
such a large,intelligent
audience
ered,
gathwant

some

of whom

be present, it
was

far

great

in

I arrived
of

here than

lies in the

are

more

Europe. I have proved this

repeatedly. Not long ago I was
couple of recitals in a small town

case

booked

difference

are

to

are

the

course

the world

over

in America

musically than
to be the

Of

country.

centers

my

comes.

anywhere else in the world ; for there

real appreciationand understanding
in

ways
al-

of

moment

say

It is

recital.

held.

had

proved

The

in what

teacher

good musician, who had

Leschetizky,in Vienna
the numbers

on

traveled

of

estimation

the program,

music

this school

studied
; the

miles to

many

nine

was

years

with

pupils understood
were

wide

awake,

Tina
well informed

and

world

the

"One

dearth

ten

and

but the

has

not

heard

small

room

and

its beauties.

by Haddon
manuscript there on
A

to

care

am

fail

Wood,
the

great

ences
audiintelligent

could

now

sure,

for them.

in the

even

I believe that

not

played
anything

of Rachmaninoff

this work

are

hears

concerto

best musicians

concerto

very

learned

the most

it.

The

written, to be

success,

centers, where

ones

seldom
ones

new

them, they could

with

in

on

concertos.

famous

one

second

made

not

of the

to

are

publichas

have

in

and

over,

beautiful

music

going

was

of modern

dozen

or

There

new.

The

to what

as

counters,
handicap the present day pianistenwho
with orchestra, and
plays much

familiar
over

43

of music.

is the

that

Lerner

if

an

ence
audi-

be assembled

could

be

played
to be impressed
studying a new
which

piano; it

you
is

one

see

in

I find

beautiful."

with the artist

subsequent conversation
elicited the following:
"I might say that I began
when
music
my
about four years old, by playing the Russian
National
on
a
Hymn,
toy piano containing
had
been
eight keys, which
given me.
My
older sister,who
was
ticed
studying the piano, nofew
this, showed
me
a
things about the

Piano

44

Mastery

constantlypicked out little tunes

and pieceson the real piano. Finally one
day
sister's teacher, Rudolph Heim, came
to the
my
in
This was
account.
house, mainly on
my
notes, and

of

Odessa, in the south

born

and

where

Russia, where

was

On

early years.

spent my

to look

this occasion, he wanted

at

and

me

see

Unluckily a sudden fit of

and I began to cry; the
me
shyness overcame
take
exhibition
could
not
place, as nothing
could
that day. You
be made
out of me
see
I was
at that early age," said
headstrong even
the young
pianist,with one of her charming
what

do.

could

smiles.
"Soon

after this incident, I

Professor's
I had

cultivated.
then

of hand

hand.

me,

thought

it should

in

me

real musical

comfortable, and
and

low

it.

hand

position seems
When

no

advice

change

me

with

that

took

examined

hand.

sidered
con-

be

education

was

began

the very
first I adopted a position
which
seemed
convenient
to me
most

instruction
make

he

So

to the

time.

"From

and

talent, and

five,and my

at that

He

studio.

taken

was

amount

has
I

ever

play

and

the most

flat

of

been
scales

contrary
able
and

to

sages
pas-

fingersbecause

favorable

for my

practising,I play everything

Tina

Lerner

slowly, raising my
straightfrom the knuckle
very

great clearness

me

the

work

passage

and

fingers high and

joint. This gives
In rapid
firmness.
is

action

45

reduced, but

I am
said to have
position remains.
pearly touch, with quite sufficient power
for

command

first
study with my
Heim, a pupil of MoscheMoscow
Conservatory, and

les, I entered

the

continued

studies

my
and

name.

Pabst

kept

then

This

ten

the
years

Professor
composer

old.

conservative, very

very
at work

me

under
of

teacher

was

was

at my

of

years

teacher, Rudolph

brother

clear,

large works.

five

"After

the

the music

on

kind

of music

Pabst,
of

Professor

strict,and

of the older

suits me,

that

ters.
mas-

I think ; at

here I still clung to

enjoy it. Even
hands and of touching
ideas of holding my
my
the keys, and always expect to do so.
six
with this professor about
"I remained
publiccareer.
years and then began my
least I

"You
how

regulate

periods of
a

about

ask

rest

great deal

"

my
my

from
I wish

present studies, and

practise. During my
concert
work, I practise
I could

say

all the time,

quitepossible. I give an hour

or
a day to technical
practise. As to the
more
material, I use
Chopin's Etudes constantly,

but

that

is not

Piano

46

Mastery

playing

them

fingers,

in

with

etudes:

these

thirds

double

number

7, broken

using
dantes,
of

of

some

this

using

tires

of

of

and,

ready

special pieces
"In
very

it for

piece,

always
ideal

work

endeavor
as

form

to

is that

well

need

to

possible."

one

also

never

and

tiful.
beau-

hand,

only

first

become

to

am

add

of

I
an

out

render

care

to

ideal
in
it

with

and

it forward.

bring

detail,

closely

its

live

conception

every
as

it

it

study

familiar

concept

before

this

in

work

form

work.

music.

my

months

try

to

as

advantage

interesting

new

notes,

Transcen-

The

material

modern

slowly, trying

I
the

Bach.

recital, and

and

in

passage

fitudes

material

for

learning

meaning.
with

of

scales

daily practise,

Liszt

course,

this

and

in

it; it is always
With

always

the

sort

repeated

chords

etudes

these

all

keep

arpeggios,

sixths,

and

in

illustrated

problem

octaves,

most
al-

finds

One

tempo.

technical

every

in

slow

very

outstretched

high-raised,

like

of
then
the

VII

LEGINSKA

ETHEL

THE

RELAXATION

PIANO

THE

brilliant

ska, who
in

seen

from
is

petite

her

that

indicate
at

the

girl

expressive,

very

and

serious.
hands

shapely

fine,

spend

must

have

life, in

my

began

first

ren.

Later

some

rich

fact

hours

many

several
in

studies

years,

Berlin.

at

was

taken

was

people

since

ever

"

did
to

deal

great

teacher

I went

Afterward

studied

played

musical

my

lived; my

him

her

return

English

vivacious

of

she

is

her

on

young

face

was

daily

keyboard.

"Yes,
all

her

Legin-

America,

in

studio,

The

once

muscles

firm

Hall

at

time

tour.

manner

The

for

brunette

Ethel

pianist,

young

Carnegie

concert

PLAYING

is located

her

MODERN

OF

KEYNOTE

pupil

great

Then
47.

was

where
of

and

where
for

me.

with

was

sixteen;
my

we

McFar-

deal

began

six.

London,

Leschetizky,

until

public"

was

Hull,

to

in

also

career,

Mastery

Piano

48

America
of your

for

me

now

I like it here ; I

time.

Europe;

over

in

am

fond

am

country already.

"The
to

all

concertized

and

; I

piano

is such

feel

are

we

wonderful

instrument

only beginning to

fathom

but as
possibilities
; not in a technical sense,
the
for expression. For
a
me
big avenue
piano is capable of reflecting
every mood, every
the good and
feeling;all pathos,joy, sorrow
its

"

the evil too

lived."

"

all there is in life,all that

(This

recalls

has

one

mark
recentlypublishedreof J. S. Van
Cleve:
"The
piano can
sing, march, dance, sparkle, thunder, weep,
sneer,
question,assert, complain, whisper, hint ;
in one
word
it is the most
versatile and plastic

of

instruments.")
"As

of it

for

only as

end.

In

the

technic

of

the material

I endeavor

piano, I
only as a means

think
to

from
get away
the thought of the technical material, in order
an

fact

"

the

that I may
get at the
wish
to interpret. I

meaning

the

am

of the music

convinced

there

I
is

piano and its music.

ously,
Even
now
we
are
taking piano music very seriand are
trying to interpretit in a far
than the pianistsof,
deeper and broader sense
thought of doing. I
say, fiftyyears ago ever
fancy if Clara Schumann, for instance, could
a

great future

for

to

Ethel

and

return

should

we

to

Some

the fashion

the

which

days

demand

we

relaxation

himself,

suited to this

playing
us

It

arms.

not

was

play with the relaxed

and depth of style
breadth
of artists to-day. In those

of her time

freedom, with

Liszt

even

positionMme.
freedom
in fingersand

of

49

the
yet remember
Schumann
had, the lack

of

hand

it

or

us,

find their

not

all.

at

age

play

Leginska

had

to

not

deserved, therefore

received

the attention

should

probably find

we

playing of the greatest artists of a former

generation stiff and angular, in spiteof all we
have heard of their wonderful
performances.
is a hobby with me;
"Relaxation
I believe in

the

freedom

absolute

in

part of

every

the shoulder

anatomy, from
Stiffness

to

seems

down

to

the

me

thing in piano playing, as

most

When

common

people

fault with
come

to

all kinds

play for

thing I see first in them, the

livingin Berlin, I saw much
Carreno, and

she feels the

me,

the

the

most

the

that is the

of Mme.
as

as

players.

stiffness.

same

tips.
fingerhensible
repre-

well
of

arm

I do

While
Teresa
about

keyboard,but when
sitting,moving about or walking. She has
thought along this line so constantly, that
sometimes, if carrying something in hand, she
will inadvertently
realizlet it drop, without

relaxation, not

only

at the

Piano

50

sheer force

it

from

"You

ask

ing

"

Mastery
of the habit of relaxation.

I would

how

begin with

young

has had lessons.

I use
the
pupil who never
principleof relaxation first of all, loosening
and wrists.
This principlecan
be taught
arms
wrist is elevated
to the youngest pupil. The
and

lowered,

as

the hand

is formed

the

on

keys

with arched knuckles?.

fingerposition,
It does not take long to acquire this relaxed
condition ; then come
the fingermovements.
I
do not believe in lifting
the fingershigh above
with
interferes
the keys; this takes time and
I lift my fingersbut little
velocityand power.
above
the keys, yet I have plenty of power,
in its five

all the

critics agree

octaves

on

that.

get all the power

In

I need

chords

by

and

ing
grasp-

I do
weight and pressure.
the fingersin the air,before
not even
prepare
taking the chord; I do not find it necessary."
of ringthe pianistplayed a succession
Here
ing
and tonal qualitybore
chords, whose power
her words; the fingers seemed
out
merely to
no
strikingnor percussion.
press and cling;there was
the

"To
a

book

Damm,

keys

return
to

with

to the

start

though

beginning pupil.

with, I often
any

use

foundational

the
work

As
one

for

by
may

Leginska

Ethel

51

employed, so long as correct principlesare

taught. It is said by Leschetizkythat he has
be

method.

no
a

That

be understood

may

method.
of

sets

quite true

There

that

to

it is

learned; but

be

of the Vorbereiters

none

ous
vari-

principlesand

are

exercises

mean

others would

book, for he certainlyhas what

call

to

use

book.

teachingthe piano, as

"In

pupil is different;each
hand, and
So

This

is

his

has

different

each

you
or

know,
her

degree

every

own

of

culiar
pe-

ligence.
intel-

be treated
pupil must
reallyan advantage to

teacher; for it would

be very

ferently
dif-

the

if all

monotonous

alike.
pupils were
"The
piano is such a revealer of character;
I need only to hear a person
play to know what
sort

of character

much

careful

in the

detail in

playing.
it is

keys; or

if one

he has.

seen

If

If

it comes
everything,

is indolent

one

the moment

is built

is inclined

one

on

one

broad,

and

to
out

ferent,
indif-

touches

the

lines,

generous

point in life and things,

all this is revealed
at the piano.
"To
refer again to the subjectof ringer action.
I do not believe in the so-called finger
stroke ; on the contrary I advocate
fingersclose

and

sees

to the

the dramatic

keys,clingingto

them

whenever

you

can.

Piano

52

This

Arthur

also

is

and

house

is sold out.

is

also, and

the

break

or

quite a

Schnabel

is wild

over

doesn't

teacher.

he doesn't

the

in.

to

only

the

I will not

it; his

about

care

tip to

that, but

stand

not

can

One

the

finger next

seem

is filled with

mind

remarkable
which

joint of
give

You

the
gives a concert
has quantitiesof pupils

He

insist upon

allow

all Berlin

idea.

he

whenever

him,

point I

Schnabel's

Schnabel;

hear

should

Mastery

big,broad

thingsof

music.
"In

tions.
memorizing piano composiI do it phrase by phrase, and at the instrumen
unless I am
traveling or unable to
I think it out from
get to a piano, in which case
the notes.
If the piece is very
difficult I take
a

regard

short

but
say

hand

generally
half

two

"

times

number

same

the work

has

to

be

time, however,

it

become

of times

day

great longing and

to

the notes, and

with

next

music,

and

measures

separatelyand then together;

complete
play the passage

the

"My

three

or

Perhaps
second

in

dozen

repeat it the
it,so

of

passage

each

play

to

I have

done

over

ory.
mem-

forgotten
again;

the

generally sticks.
ambition
With

composer.

view, I give whatever

from

then

time

am

is to write
this end
able to the

Ethel

study

of

create

something

aim

have

Leginska

composition.

before

that
me."

I
will

hope
be

53

some

worthy

day
the

to

high

VIII

TIERING

BERTHA

MASTERING

PIANISTIC

environment

and

IF

aids
students

Thomas

of

both

in

the

the

shimmers

music-room,

in

stand

side

flowers, books
while

in

herself,
teacher;
of

the

the

student

"

exercising
should

have
young

good

people
54

pianos

fresh

music;

in

uplift thought;

to

is Mrs.

to

much

fingers,"
a

large

Tapper
inspiring

large

ber
num-

teachers.
so

the

indoors

portraits

high-minded,

means

light
sun-

the

the

many

it all

and

artists

of

grand

two

confessor"

"mother

Her

gold;
In

great

of

centives
in-

Outside

are

everything

study

When

the

serious,

young

river,

the

glory

and

there

midst

the

"Music

merely

the

of

the

home-like.

by side;

mementoes

hours.

blue

and

facing

lesson

afternoons.

long

all is harmonious

have

have

the

playing,

Tapper

their

Drive

tional
inspira-

are

and

teaching

Mrs.

on

PROBLEMS

atmosphere

of

all
Hudson

piano

to

apartments

and

TAPPER

more

said; "the

she

all-round
come

to

than

me

tion.
educafor

in-

Bertha

Fiering

struction, I ask what

If

they

'Go

back

when

to your

that in

It is true

the student

for

then
I

wish

this country

come

the

to

leave

in order

piano, I
to

could

be

general studies
reallya

are

serious

say,

course.'

be advisable

it may

school, but he should

student's

taken

up

home.

to

in Russia.

music, while

later in the

problem,here

in

it is in at

as

schools

given

are

at

education

arranged

great music

mornings

to

later,

me

school

your

cases

the music

of the

one

There

It is

school,and

rare

in school.

general or specialstudies

pursue

often

least

the

finished

have

you

left school

time

55

doing

are

to

their whole

devote

they

have

they

say

Tapper

day.

in America,

fittingin music with other studies. Both

much
so
publicand privateschools try to cover
ground that there is very little time left for
music
or
anything else. The music pupil also
musical
needs to know
literature,historyand
biography, to be familiar with the lives and
the
Take
writings of the great composers.
letters and
mann,
Schuliterary articles of Robert
How
spiring
for instance.
interestingand inthey are!
in piano study my
"In
regard to methods
tions
principlesare based wholly upon my observaof Leschetizky's
work with me
personally,
this

or

with

others.

What

I know

he has

taught

Piano

56

I have

me;

what

first

eightweeks

Mastery

achieved

in Vienna

to him.

owe

ing,
spent in learn-

were

first,to control
and

hands

positionand
according to the

arms

secondly,to

My

direct each

condition
law

motion

of
ance;
bal-

of
with

the

and
speed. To accomplish
accuracy
this I began with the most
elementary exercises
utmost

in

five-finger
position,using one finger at a
time.
Then
the principlesof the scale,
came
these
and
All
octaves.
arpeggios, chords
continued
until every
things were
principle
I practisedat first an
mastered.
hour a
was
hands
as
day, then increased the amount
my
the number

stronger and

grew

"Next

forms,

the result of

study of tone productionin

good qualityinvariablybeing

free condition

of the

with

strength of fingersand
"The
Leschetizkyprinciplesseem
most
perfect and correct in every
Yes, there
different
without
the

several books

are

authors, but
a

The

book.

essential

hand,

to

every

part,

to

bined
com-

arm

hands.
to

me

aim

fill out

to

build

up

are

the

and

the

this may

the

particular.
the method, by
the principles

themselves
principles

it strong

That

of

teach

things.

make

equalizeit.

creased
in-

the

came

various

of exercises

dependable in
weak
places and

be

thoroughlyand

Bertha

Tapper

Fiering

57

accomplished,I requirethat
successfully
but

technical

nine, ten,

or

weeks.

twelve

simplest exercises, one

for the first

be used

exercises

begin with

We

ringer

ing
noth-

at

the

time, then

lieve
I bethrough the hand.
in thus devoting all the practisetime to
technic,for a certain period,so that the mind is
free to master
the principles,
undisturbed
by
have been
the principles
pieceplaying. When

two, three and

so

on

assimilated, the attention

to

the

study

of

music

can

then

itself.

in the hand
from
places appear
they can be easilycorrected.
"If a pupil comes
who
to me

great deal
of

but

with

no

piano playing, who

handle

herself

idea
does

of
not

be

If

directed
weak

any

time

has
the
know

to

time,

played a
principles
how

to

the

keyboard, it is absolutely
to stop everything and
get ready to
necessary
a
play. If you attempt even
simple sonata
with no legato touch, no idea of chord or scale
the piece sound
make
not
playing, you can
like anything. It is like a painter trying to
paint without brushes, or an artist attempting
and
ink drawing with a blunt
to make
a
pen
lead pencil;to do good work
have
must
you
or

the tools to work

"For
of

with.

the studies
principles,
Czerny, Op. 299, 740, and others,offer

application of

all

Mastery

Piano

58

rect,
unequaled opportunity. They are simple,diand
divided
give the student a chance for unattention to every
position taken and
made.

motion

to every

"What

afterward

happens

to the individual

How

student.
with

them
task

is

cording
altogetherac-

characteristics

of the

recognize these and

to the best advantage is the
of my
(and
great master
to

who

try

to

been

my

greatest aim, and

esting
interthose

of
steps) the man
of profound learning and
keenest intelligence,
experience. To learn this lesson from him has

as

it has

summers,

follow

deal

been

my

"

to

see

privilegeto

my

has been

inspirationin

in his

of the
own

him
do

for

at

work,

several

greatest influence and

work.

is to create
a desire for
"My chief endeavor
good musicianship. To this end I insist upon
and
the study of theory,harmony, ear-training
analysis. In the piano lessons I do not have
sufficient time to teach these things. I have
jects
assistant teachers who
help me with these suband
the
technical
also with
training.
Once
month
a
during the season, my assistant
teachers bring their pupils to play for me,
and
have a class in piano teaching. There
we
are
sometimes
eighteen or twenty students who
I can
in this way
to a class.
come
supervise

Bertha

work

all the

Fiering

done, and

the first

pupils here

own

my

and

me

from

for each

Students
where

for

other.
not

memory,

tell me

all listen

keep

with
end

of the season,

the

outset

in my
and

student

wholly
it comes

the

later

he is

what

on

in class,

plays
Later

doing,
at the

on,

easier.

the

on

hand

will

had

The

writer

of the

guests

at the

Eight

or

nine

young

improve
time.

the

difficult program.

Beethoven
flat

sonata,

major;

best

how, with

comparativelyshort
myself."

is used.

separatingthe technical work

from
the study of music
itself,
dation,
opinion,the most perfect foun-

wonderful

sometimes

in

played

idea of

secures,

is

difficult to

sufficient concentration.

"This
at

class; they play for

play here,
intently. Especially is it

so

the mind

my

I have

of the month

it is very

with

all the students.

Everything
printed note

difficult the first time

to

with

Saturday

59

in touch

keep

teachers, their work, and

"On

Tapper

results.

It

ing,
train-

proper

and

develop

I often

marvel

in

artists

Among

of the

at it

privilegeof being

last audition

is

one

season.

played a long and

the

numbers

were

entire; Chopin's Ballade

Cesar

Franck,

Prelude,

Fantaisie;
Fugue and Variations; a Mozart
Weber's
ConGrieg Concerto, first movement;

Piano

60

and

certstiick,
recital

of

the

joint;

the

hand

quality

full

was

exemplified

youngest

intelligent

played,
power,

and
and

to

or

and

in

the

brilliancy.

of

with

tone

points
of

playing

out

its

The

the

had

they

it

the

had

These

meaning

brought

arm

over

note

Furthermore
of

tion,
posi-

requirement

every

the

tion
ac-

whole

poised

singing.

even

the

at

normal

weight.

arm

no

played

was

the

Every

pupils.
grasp

in

and

itself

pose
re-

adequate

wrists

shoulder

composition.
of

were

with

loose;

adjusting

thus

amount

they

the

had

arched

"

extremely

tional
educa-

were

piece
well

The

an

there

were

knuckle

E.

players

every

curved

from

keys,

the
and

fingers

and

swung

from

All

Hands

memory.

knuckles,

of

view.

slips, though

noticeable

in

instructive

concentration,

and

at

Scherzo

Chopin's

most

was

point

from

Mastery

the

music
tion,
convic-

an

IX

CARL

M.

OF

PROBLEMS

"THE

progressive

of

one

ideas

from

these

he

at

early

and

the

of

pupil

The

called

became,

of

de

up,
famous

the

After

various

speaker

developed

age

brilliancy.

pupil

of

something

was

an

for

lightful
de-

gains
and

sources,

for

practical

he

originate

must

himself.

This

wonder

child,

has

experience.

my

"I

"He

makes
time

when

his

in

and

same

things

out

Roeder,

Hall.

and

be

must

hours

methods

the

At

Carl

Carnegie

assimilates

work

been

in

method

lesson

many

work.

TEACHERS

teacher's

between

studio

and

PIANO

said

accretion,"

interviewed

his

ROEDER

knocking

private

teachers

while

quite

then

Konstki,

joined

which

considerable

in

brought

battle-horse,

Lion."
61

the

facility

about
and
a

lion

and

as

vatories,
conser-

lad,

young
of

the

day."

laugh

his

remark

mind

the

lier's
Cheva-

to

"The

Awakening

of

Piano

62

Konstki's

"De

I endeavored

Mastery

stylewas

to

imitate

brilliant and

very

him

in

this respect.

quite a little concert work at that time.

Realizing, however, that a pianist'sincome
be rather precarious,I decided to teach.
must
In those youthful days I had the idea that the
teacher of the piano had an
membered
easy life. I reof my
of conone
siderable
professors,a man
I did

reputation,who

took

the duties of his

of giving
lightly. His method
lesson was
the
to place the music
a
upon
piano, start the pupil going, then retire to a
comfortable
couch, light his pipe and smoke
at ease, troublinghimself little about the pupil's
to call out 'Falsch !'
doings,except occasionally
"So
I, too, began to teach the piano. But
that teachingwas
I soon
discovered
something
what
I had
imagined
quite different from
it to be, and that it was
something I knew very
I now
little about.
set myself to learn how
how
to help those pupils who
to teach
came

professionvery

"

to

me.

"One

of

my

of the

pupils were

arms,

and

My
one

own

of

first discoveries
afflicted with

that this stiffness must

was

that most

stiff wrists and

be remedied.

playing had always been free, due to

culcate
early teachers having thoroughly inmy
often acthe principleof 'weight,'
so

Carl
in these

claimed
But

how

was

did

days

as

found

Gallico, who

of musical

the

Mason

to

up

Mills, and

me

treasure, and

later

Paolo

with

work

valuable

opened

in others

devitalization.

and

S. B.

with

considerable

discovery.

helpful,illuminating

many

lessons

modern

studied

to relaxation

regard

some

63

this condition

bring about
great problem.

in

I had

Boeder

to

method, and
ideas

M.

the great storehouse

revealed

to

me

technic of the
thingsthe spiritual
pianist's art.
Subsequently I investigated
the Virgil and
Mr.
Leschetizky methods.
remarkable
Virgil has done some
things in the
of organizing and systematizingtechnical
way
other

among

requirements,
Such

and

analyses

anything like
work

has

had

the

been

thinker

and

been

made

minuteness,

subsequent studies
him

to

be

the
my

have

own

the

old
Har-

ing
mean-

itself.

I have

which
technic

formulated

the

to

musical

of the

teacher

my

manner

his

with

deep

with

and

greatest benefit

remarkable

much.

him

owe

of
teaching I follow many
Leschetizky, modified and worked

"In

on

the

revealed

of music

of

and

care

we

before

not

of

profession. My
Bauer

for this

and
a

found

most

that of my
of my
method
to

principleswhich

form

the ideas
out

useful

in
to

pupils.
own,

based

dependable

Piano

64

foundation

Mastery

build the future

to

the

Each

pupil

blank

book, in which

thus

at

developed

written

are

adapted

FOUNDATIONAL

"We

in

were,

arched

control

the

begin

to

quirements
re-

about

use

embody, as it
principlesof piano
in

an

fied.
fingers,and solidi-

curved

be

to

formed

taught

have

to

move

learned

never

it at all.

in firm, solid

hanging freely from

arm

individual

work.

people

many

the hand

"With

the exercises

to

is first

has

thumb

properly,for
to

hand

position,with
The

which

exercises

The

playing.

table

nutshell, the

with

EXERCISES

begin with

different

ten

upon.

is furnished

outset

as

structure

combined

use

aiming

to

the

and

arm

and
position,

shoulder, I
wrist

get the weight of the

ments,
movearm

as

complete disposalof
the finger tip. Each
finger in turn is held
firmlyin a curved positionand played with a

well

rotary
this

of

movement

be

can

the wrist
In

at the

its energy

as

done

from

this form

we

which
of hand

next

learn

When

wrist.
hand

action

staccato

there
but

at

touch.

results the staccato

percussion,as
gives directness

of

and

arm

is

an

ment
ele-

this element

you

see,

and

precisionto

the

M.

Carl

touch, which

staccato

this

After

one

65

in my

we

come

principleis
finger,then

This
first with

Roeder

sary.
opinion are necesself.
to finger action ittaken
thoroughly,
up

with

two, three, four,

In
possible combinations.
down
the large freethis way
from
come
we
to the smaller
movements
ments
arm
finger movestead
inthe 'generalto the particular,'
; from
of working
the smaller
the
from
to
to establish
larger. I find it most necessary
relaxation
first,then strengthen and build up

and

"

hand, before

the

When

used.
been

finger action

these

acquired,

chords,

the

At

double
time

same

varieties

follow

notes

the
of

in due

rhythmic
and

touch

harmonic

introduced, and

analysisdwelt

is

extent

any

points have
trill, scales, arpeggios,

the

developed, all

to

foundational

and

octaves

course.

is

all

in

five

and

sense

mics
dyna-

structural

upon.

USE

than

third

STUDIES

fourth

grade I make
of studies, selectingthem
from
frequent use
various
books.
Duvernoy, Op. 120; Berens,
teresti
inOp. 61; Czerny, Op. 740 I find far more
"Above

the

OF

the

so
indispensable,

Foote's

or

threadbare

melodious

299.

and

studies, Op. 27,

are

Heller

musical.
very

is
thur
Ar-

useful;

Piano

66

also
I

MacDowell's,

use

few

of

Mastery
Op.

39

and

Cramer's

'Gradus,' though these

Sometimes

46.

and

the

Clement!

rather

seem

ioned
old-fash-

now.

"For

advanced

pupils I find Harberbier, Op. 53 especiallyapplicable; there is

beautiful work
in them.
Kessler, Op. 20, and
the Moszkowski
studies,Op. 72, have splendid
material
for the advanced
player,and prepare
for
Liszt
Henselt, Rubinstein, Chopin and
more

etudes.

find

applicationof
purposes,

and
of

in

that

studies

technical

are

valuable

for

for reading
principles,

for the cultivation

Some

playing.

of all the

teachers

finements
re-

believe

directlyto pieces,and
almost
use
no
studies; but I think a study is
than
often more
valuable
a
a
piece,because
definite technical principleis treated in every
kind of way.
Though I do not requirestudies
to be memorized,
they must be played with all
the finish of a piece,if the pupil is to derive the
applying

the technic

of benefit from

maximum

BOOKS

THAT

ARE

them.

HELPFUL

f
aids to my studies in the art of teaching,
several books have been most
helpful. Among
"As

these

Home,

are

two

The

by Dr. Herman
Philosophy of Education,
volumes

H.
and

Carl
The

which

of

Education.

Every

teacher

pupils who

should

have

method

played

Let

piano study.

of

us

I pursue
a

with

new

great deal of music

principlesof

correct

take, for instance,

for years
of first principles.Arms

has

had

it.

possess

little idea

with

Another

liam
profitedmuch is WilTeachers
on
Psychology.

to

what

ask

"You

67

I have

Talks

James'

who

Boeder

Psychology

book, from

but

M.

lessons

but
and

is in

one

rance
igno-

wrists

are

tion;
fingersheld in cramped posiis
freedom
no
anywhere. My first move
to have the pupil stand and learn to relax arms,
and
shoulders
body; then learn to breathe.
the only
But
at first,is not
relaxation, even
organization,
thing; after devitalization comes
firmness
and solidity in the rightplaces. It
be understood
at the very beginning that
must
than sittingbefore
piano playing is far more
the instrument
working the fingerssix or seven
side is only prehours a day. The mechanical
liminary.
and

stiff,hands

"

Some
in
and

playing
heart.

are

one
a

has

said that the factors

trinityof

try at once
wider
outlook,

to

H's

"

awaken

head, hand

thought,
that piano

to show
give a
playing is the expression,through the medium
of tone, of all that the poet, painterand philosoph
are
endeavoring to show
through
to

Piano

68

other

this end

to

means:

Mastery
I endeavor

interest in the wonders

of the visible universe,

the intellectual achievements

the

of

and

men

deep thingsof spiritualdiscernment.

IN

"On

REGARD

this

TO

see

or

INTERPRETATION

think

subject I

pedantry; not to
play this piece a
I

late
stimu-

to

say

the

to

certain

pupil, you
but

way;

feel it in this way,

avoid

should

we

rather

give the

and

must

say,

reasons

cessful
underlying the conception. I believe the sucteacher should be a pianist. He should
understand
point and be able to do the
every
thing,else how can he reallyshow the manner
ties
subtleof the doing?
Many of the nuances,
of color and
phrase, effects of charm or
be explained;they must
of bravura, cannot
And
be illustrated.
furthermore, only he who

has been

the road

over

Tolstoi

guide.

can

be

realized

of service to the

people

he

them, shared

lived

among

experienced
by when the
a

nothing else.
were

of

sort

We

men

of the

men

whose

and

The

thetic
sympa-

their trials and

time

composer

has
was

music

was

gone
sidered
con-

and

the great composers

and
highestintelligence

aim

be

not

upliftunless

freak, knowing
know

or

he could

he would

their needs.
musician

safe

to

work

out

ing,
learn-

their

M.

Carl

Roeder

69

perfection. Nothing less

As
the
than
highest would
satisfy them.
George Eliot said, 'Genius is the capacity for
of
the
care
taking infinite pains.' Think
Beethoven
took with every phrase,how
many
times he did it over,
never
leaving it till he
genius to

the utmost

satisfied."

was

In

speaking of

Mr.

Roeder

"We
but

the great

teachers

European

continued:

hear

Leschetizkymethod ;
with that master
ary
technic is quite a secondthe princimatter
which, when
over
once
ples
much

of the

little. It is the
whole

he

mastered,

are

which

troubles

himself
the work

conception of
him, how

concerns

but

to

as

project it,

He
to an audience.
effectively
this part, now
brings into prominence now
that, accenting here, slightlyexaggerating
the picturemore
vivid
there, in order to make
so

to say, most

to the listener.

Harold

master

equipment
great works
him

who

but

to

meaning

are

minating
illu-

is another

Bauer

have

for those who

technical

adequate to the performance of

of piano literature.
Some
go to
he has to give,
not ready for what
who

those

the

of

can

music, he

force.

phrase here,

direct

another

First

is

he

attention
a

wonderful

will

there, and

to

so

point
on

the

spirati
inout

through

Piano

70

various

shows

he

Then

threads
the

the surface

the

of

"There
is

age

and

is

that

inspire. In
be

preacher

knows

that

'beautiful

from

clay, but

fire,' and

it has

scorchingcan

hope

asked
enters

would

be:

to

the

into

Only

in

the

disciple
this

that

will

is

upliftand

the

teacher
He

righteousness.

who
achieve

fashioned

are

through

the
that

endure

can

success.

PERSONALITY

extent

player'spersonality

performance, my answer
far as the performance
so

true

long

as

personalityillumines

adds

charm,

is to

be

composer's

interest, and

applauded;

fact

sense

remains

to

the

things

OF

what

nifica
sig-

revelation.

first to pass

to

QUESTION

"If

of

those

only

the

and

which

important

must

below

the great office of art

idealism

an

and

mind;
down

the

of

power

and
superficial,

cultivate

which

to the vital

design

gainsaying

no

in

reaches

composition,

and

glow

had

work

of form

ent
differ-

these

up

perfect pattern

teacher

master

on

composer's thought.

the

the

takes

idea

same

gather

to

form

of

finallythe

feels the

how

to

author

the

in

aspects

the

how

piece,showing

the

to

Mastery

but

intention.

the

picture

effectiveness
when

So

to

it obstructs

and

it,it
the

Carl

calls

and

view

attention

tolerated.

be

"Yes,

weight

teach

is

high

in freedom

of

which

body,
and

playing

members

produce

at

and

such

desired;

mind,

effect

In

other

who

wants

cry

is for

and

rigidity.

Virtue

all

is the

government
In

happy

piano
mean

the

the

nor

to

velocity

or

the

neither

entire

tion
subjecance.
perform-

an

ist
anarch-

namely

strained
unre-

socialist, whose

that

playing,
between

is

player

complete

"

solid

various

the

placing

government,

devitalization,

believe

freedom

power,

am

finger

firm,

of

dominates
I

passages
I

That

under

words,
no

wrist,

of

thereby

which

for

enable

to

apparatus
the

develop

control

arm

although

and

fingers.

set

of

required.

is

and

action

principle

to

not

vanity.

finger

only

arm

any

it should

established,

as

will

mechanical
to

it is

precision,

insures

delicacy

art;

delineation

hand

arched

itself

the

action

and

71

to

high

once

finger

sharp

best

both

thoroughly

independence
where

is not

touch,

pressure

use

It

Boeder

M.

is, restriction
as

in
two

all

else,

vices.'

'

AN

WHEN

and

tone

inner
face

face

to

the

the
to

and

impress

of

ing
dur-

delight
artist

speak

to

sands
thou-

discuss

when

to

the

in

charmed
to

one

effects

able

has

platform,

which

points

be

has

produced

the

to

who

one

the

and

with

to

and

room,

speak,

to

home;

with

from

so

touch

the

of

concert

satisfaction

personal

circle

listened

interpretation

recital, it is
into

come

the

impersonally,

touch,

HOME

frequently

in

pianist

studied

AT

has

one

favorite

ARTIST

freely
listening

public performance.

It

has

been

into

intimate

and

Mrs.

known

Arthur

all

London"

have
a

once

on

that

here

true

entering
at

the

least

world

artist's
and
is

73

come

pair,

latter

beautiful

its

instance

Mr.

being
Good-

home

One

home.

enjoying
one

to

Katharine

as

quiet,

artist
the

Hinton,
the

over

They

son.

with

touch

thus

privilege

recent

my

feels

in
at

hospitality,
where

two

KATIIAKINK

COODHOX

Katharine

and

composer

also

beautiful

added

home

perfect harmony in the

Hinton, as is widely known,

Mr.

The

73

have

musicians
life.

Goodson

to

violinist

garden, contains two

raised
platform. This

been

leads

grand pianos
and

into

on

its

is Miss

music-room

sanctum

own

pianist.
has

and

side of the house

the

Goodson's

which

music-room,

one

and

is

and

workroom,

paniment
piano concertos, with orchestral accomsupplied on the second piano, can be
studied ad infinitum. Mr. Hinton
has his own

here

studio

at the

The

by

top

great arched

sylvan retreat
appointments
whole

which

"

as

of this room,

and
well

harmony.
exquisitesense
as

bringsfrom her
"My coming
in

for

color

true!

All

indeed

and

Goodson

Miss
for

harmony

in the harmonies

the

of the
and
sense

has
ors
in colshe

instrument.
tour

America,"

in your

New

placed that the

through its panes.
self in some
lovely
so

is indeed

fitness and

end

one

article of furniture
house, every
the artistic
touch of color, betoken

keen

made

window,

garden are seen

to imagine one's

It is easy

is lightedat

of the

trees

for

music-room

garden

each

of the house.

be

the

she said.

"I

will

fifth I have

enjoy playing

immensely; the cities of

York, Boston, Chicago, and Philadelphia
country

Piano

74

the most

are

true

but

appreciativein

have

we

few

Mastery

of concerts

masses

of them

"I

recall

reallywell attended
thoroughly acquainted

recital

they

asked

the

best

arranged by
the program

for

it up

play.

to

for

"

people

greeted

they said, 'You

thought it over
they meant, for

some

was

an

from

came

three

after

me

will

thus knew

and

There

I remember

round.
who

in America.

with

And

you
in

even

the

I gave in a city
forty thousand, in the West.

was

studied
was

and

recital which

than

more

The

London,

cities.

can

of not

in

It is

are

people are not so

piano music as you are
are
so
appreciativeof
smaller

the world.

the
see

afterward

musical

club;

time

in advance,

piece

every

ence,
audi-

enormous

all the

country

little elderlyladies

recital; in parting
and

to-morrow.'

us

wondered

what

play at a place many

there the next
miles from
was
night. What
ladies the
surpriseto be greetedby the same
my
following evening. 'You see, we are here ; we
would
come.'
told you
we
Fancy taking a
to Edinburgh just to hear
trip from London
concert!
For
it was
a
a
journey like that.
Such

"I

"

hope

and
to

to

was

show

incidents

for music

for

the enthusiasm

piano

play both

in America

music.

the Brahms

and

Fade-

Katharine

rewski
a

beautiful

exquisite.
on

long

have

with

work

the slow

"

ter
the lat-

me

is

movement

yet scarcely done

as

thing
any-

composition, for I have been

through Norway, Sweden, and
most
was
inspiringto play for

the
tour

Finland.

It

these

people; they

them

now,

next

75
To

in America.

concertos

is

Goodson

do

after that

but

home

me

I cannot

but

season,

want

greatlyin

to

come

so,

nor

back

I go

can

I shall go.

need

of rest.

to

turned
re-

I shall

mer
begin work in earnest, however, as sumis reallythe only time
I have for study
I shall have
six full
throughout the year.
weeks
before we
take our
usual holiday
now
now

in

the

Grindelwald.

shall

stop

then

I will go

at

get his ideas

On
and

Merges

the work
the

ask how

I memorize.

Then

absolutely
necessary
construction.

with

him

and
and

ANALYSIS

BY

several times

whole.

visit Paderewski,

we

interpretation.

to

MEMORIZING

"You

there

way

the concerto

over
as

the

to

get

First I go over
general idea of

analyze it, for I feel it

to know
keys, chords, and

work

should

be

so

well

derstood
un-

along these lines that it can be played

in another key as well as in the one
in which it
is written.
For the actual memorizing of the

Piano

76

Mastery

piece I generally do
this also.

I do

asked

now

were

in any

forever,

and

the

this.

the

is the

middle

the

hand

I
a

at

nor

course,

shoulder.

the

is

and

takes

there

there.

relaxed, and

should
The

natural
this

curve,

the

the

done

little farther

joints nearest
in

for

hand

the

When

keyboard.

tips

on

never

is natural

be firm

giving

have

perfectly easy
the

the

straight line

myself

are

recall, for

not

finger-tipsform

course

fingersmust

to understand

I do

so.

form

keys than

position and

teachers,

professor requires

in

the

Of

teaching

various

claim

fingers being placed

the

fifth.

do

to

I believe

case

of

ways

by

people

keys.

position of

it is mine

so;

forgotten."

method

fingers to

of

sage
pas-

Leschetizky principleswho

instance, that

edge

do

or

said:

competent
the

measure

any

different

all know,

we

teach

not

on

the

about

Goodson

"As

of

be

to

Leschetizky

Miss

play

to

part of it I could

never

Asked
the

Prelude

minor

phrase by phrase, not

alone,' though occasionally
remember
learning the Bach
and
If
Fugue in this way.

hand

'each

always

it

be
whole

in

first and
an

the

the

arched

tip of
no

the

ing
waver-

arm,

swings easily from

of
the

Katharine

have,

as

piano;

much

had

good

depends

Thus

technic.

do

do

First

in

an

etude, and
I do

not

four

hours

and

so

generally
a

it

is sufficient, if used

Later
back

the

of

and

music-room,

and

of his mistress, and

pride

indeed.

of

vantage

all
such

the

complaisance

high degree

has

is

the

world

of

which

capable.

amount

tion.''
concentra-

pretty garden
here

than

more

that

trick

we

important
of

climbing

which

about
an

were

cat, the pet

very

shoulder, from

he surveys

Chopin

Angora

gray

He

Goodson's

Miss

then

me

the

to

to

position;

absolute

joined by

personage

with

piano

to

seems

with

beautiful

things.

perhaps
then

the

at

adjourned

we

What

practising regularly,

work

day;

hour's

again.

chord

When

forego

to

Different

this?

arpeggios;

on.

natural

facility;an

in condition

extended

always

obliged

am

finger movements,

scales

some

is called

lose my

accomplish

to

some

fingers

not

puts the hand

I

what

of

the

for

that; I have

on

when

do

practising
work

deal

hand

good

say,

you

77

HAND

PIANO

"I

Goodson

him
animal

point
with
of

XI

MARK

FORM,

IN
of

the

of

London

lives

keep

an

short

"terraces,"
looks
luxuriant

salon.

out

on

over

lead

make

long

house
a

is

hundred

and
one

Surely,

the

amid

such

78

of

charm

termed

on

and

the

its

rooms

and
a

d'art
and

are

library,
fine

surroundings,

space

lit
sun-

comfortable
;

ago

race
ter-

where

park,

shadows

objets
with

distance.

particular

other, form

and

exquisite colors,

access

usually

drawing-room
the

ding
mad-

self, without

green

large
years

into

priceless pictures
with

restful

Ham-

of

quaint

This

sian
Rus-

the

at

streets,

or

from

one's

to

the

Mr.

enough

the

them,

quarters
of

seekers

"gardens."

or

The

spacious,

of

passages

trees

turf.

which

difficult

curiosity

sight

home

"far

scarcely picture

actual

"built

the

terrace,

secluded

Hambourg.

and

mere

can

these

found

Mark

on

crowd,"

One

be

EXPRESSION

quiet,

most

can

pianist,

to

AND

TECHNIC,

one

bourg

HAMBOURG

all

music
with

about,

quiet,

an

MARK

HAMBOUKO

Mark
artist must

Hambourg

find

79

ideal spot for both

an

work

play. I expressed this thought to

Hambourg when he entered ; then we soon
to discussingthe necessary
equipment of
teacher and pianist.
and

"I

you," he said, "that

piano study which is the

beginning of

of all ; this is where

the teacher

fell
the

it is the

with

agree

Mr.

ficult
dif-

most

has such

ers
teachand where
so
responsibility
many
so
are
incompetent. Perhaps there are
teachers for the piano than for the
more
poor
voice.
The organs
of voice productioncannot
be seen, they can
only be guessed at; so there

great

be

may

little

more

for

excuse

teacher; but for the piano we

have

the

therefore

fingers.
and

got hold

of

impart
"I

not

vocal

keys
be

and

such

gently
thing to learn to play intellito have
correctly! Yet few seem
the right principlesor know
how

difficult

very

to

It should

the

the

have

them."
heard

number

of the young

ists
pian-

here," I remarked, "and

little finger action

very
the

keys.

Do

you

LOW

"Do
has

been

not
a

they all play with

with fingersclose to

"

advocate

HAND

this ?"

POSITION

forget that for centuries England

country of organists;without doubt

Mastery

Piano

80

had

playing has

organ

some

effect

on

the

piano

piano playing advise

liftingthe fingershigh above the keys, with a
but I think
view to producing greater power;
the tone thus produced is often of a somewhat
and
harsh
disagreeable quality. Then, too,
and
high liftinginterferes with smoothness
velocity. For myself I advocate keeping the
fingersclose to the keyboard, and pressingthe
and more
keys, which givesthe tone a warmer
elastic quality."
"A
point in hand positionI should like to
ask you about.
teachers advise placing
Some
the finger-tips
close to the edge of the keys,
to
forming a straight line with them; it seems
such a positionis forced and unnatural."
me
Mr.
Hambourg smiled assent.
"I do not advocate
natural,"
anything forced and unhe
answered.
"So
people
many
think that
but

schools

Some

touch.

do

beautiful

not

of

touch
with

agree

is

'born, not made,'

them.

One

can

quire,
ac-

piano touch with the

study. The principalrequirement is,
proper
This point seems
first of all, a loose wrist.
simple enough, but it is a point not sufficiently
I

am

considered
much

the

music, he

sure,

nor

fine

understood.

player
cannot

may

No

matter

feel the meaning

express

this

meaning

how
of the

with

Mark
stiff wrists

Hambourg

and

81

Some

people have a
natural
and to such the securing of
flexibility,
musical
but
tone
a
presents far less difficulty;
with
lieve
time, patience,and thought, I fully bearrive at this goal.
all can
arms.

AMOUNT

PRACTISE

OF

"In

regard to practiseI do not think it wise

for the aspiringpianistto spend such a great
of time at the piano. Four
hours of
amount
work
concentrated
sufficient.
to me
dailyseems
Of
it is the quality of practise that
course
The old saying,'Practise makes
counts.
fect,'
perdoes not mean
constant
repetition
merely,
but constant
thinkingand listening. I advise
students
to stop after playing a passage
eral
sevtimes, and think
This

work

moments

"I

in

have

the

on

will rest

pause

small

ears

and

hands; in

technic
which

articles

booklet.

with

From

that

have

fresh

I have

been

these you

mean.

to

few

vigor.
write

done

so

printed in
may

see

what

points. I do very little

teaching myself just a few talented pupils;
of the ordinary.
be something out
they must
You
continuously;
see, I do not live in London
of the year ;
here only about four months
I am
my

ideas

the notes

frequently asked

so

subjectof

few

what

be resumed

can

been

over

are

these

on

"

Piano

82

the rest

Mastery
is spent

time

of the

travelingall

Only that small part

I am
stationarycan I do any
it is generallyquietenough :

the world.
when
Here

Garden

is not

I have

far away,

of the

over

year

solid work.
the

cal
Zoologi-

however, and

times
some-

the

companimen
roaring of the lions as an acto my
piano.
"I
am
always increasing my
repertoire,
though I find the public does not care for new
things; it prefersthe old. It may listen to the

if forced

new

unless

various

"I
The

to, but it will not

have

familiar

made

rush

of

attend

things are
tours

from

place

travel

there,is fatiguing,but

the

on

to

I feel that

gram.
pro-

America.

in

several

recital

place over
people
your

the best,
demand
appreciative. You
and concert
is so costlythat
giving in America
afford to exploitonly the higha manager
can
est
are

very

Here

artists.
is
to

only

get up

the

four

or

only

On

sum

good

leaving,Mr.
room,

and

public.

five times
very

hundred

two

recital,almost

together that
before

about

where

any

one

America
No

greater.
artist

can

take

can

he showed

the

us

or

scrape

herself

outlay

is

that

wonder

the risk."
took

Hambourg

pense
ex-

dollars, say,

bring himself

In

the

where

in London,

with

us

much

to

other
an-

sat-

Mark

isfaction,
Italian

very

valuable

very

school,
fond.

Hambourg

by

83

painting

Ghirlandajo,

of

of

which

the

old

he

is

XII

TOBIAS

MATTHAY

THE

WATCHING

ARTIST

TEACHER

AT

WORK

of

the

first

arrival

in

London

ONE
my

the

Matthay,
echo

his

of

things

seek

to

was

reached

had

after
Tobias

out

teacher,

and

composer

fame

accompiished

for

an

the

across

me

water.

of
even

child

stated

in

so

The

work

and

accepted
first

will
a

They
on

his

The

be

doubtless

little

later

consist
Act

has

The

them.

on

in

than

part

of Touch
si

to

file of

truths

undeniable

If

that
has

he

some

facts

done

ples
princi-

simple

seems

and

has

the

them.

these

rank

he

repudiated

America

and

admiration;

as

Matthay

work

the

by

clear

which

way

it is because

understood

make

understand

can

facts

to

much

technic

piano

done

has

Matthay

lutionary
revo-

seldom

are

ers.
teach-

piano

compelled
ideas

writings

of

in

who
of

at

Mr.
in

known

better

they

now

are

those

by

tention
at-

are

an

all

at

ent.
pres-

exhaustive

its Diver-

Matthay

Tobias

laxation
Playing; ReChild's First Steps in
Principlesof Fingering

Piano

sity;First Principlesof
Studies; The
Piano

85

Playing; The
Rotation
Laws
and
of Pedaling; Forearm
Principle;and, in press, The Principles of
titles
Teaching Interpretation. These
very
are
inspiringand suggestive,and show Matthay to be a deep thinker along educational
lines.

Matthay's
professor

activities

of his

piano playing at the

and
Music; also founder

advanced

of

Royal Academy
head

is

He

enormous.

are

of

school

own

occupied early and

impossible to get

of

late is

piano playing.

he, that it is almost

word

So

with

him.

was

fortunate

enough, however, to obtain an hour's

audience, and also permission to attend various
private classes at the Royal Academy, and hear
of pupils in recital.
a number
In appearance
Matthay is a strikingpersonality.
His
head
and
features recall pictures
of

Robert

Louis

form

has

little wonder

the

when

stoop
one

in his chair at work

somewhat

brusk
when

is

His

Stevenson.
of

the scholar; and

he must

remembers

day

manner

tall,muscular

in and

day

out.

melts

into

kind

discussingthe topicsin

vitallyinterested.

In

sit

His
ability
ami-

which

his intercourse

he

with

Piano

86

he is

students

Mastery
kind, sympathetic and

ever

couraging.
en-

They, on their part, treat him

with profound respect.
ginning
Matthay believes, and rightly,that the bepupil should learn essentials of note
values, rhythm, time, ear-trainingand so on,
before
attempting to play anything at the
When

piano.

first taken

its mechanism

is
what

learner, and
musical

tone.

"Before

you

must

music.

notes

without

music

we

unless

the

the
is

It

make

just as

it is

the sounds

no

we

make

Movement

and

phrase

group

or

all musical

toward

of notes

to

sound

To

make

mean

Matthay
and

Form

thing,
some-

shows

Shape imply

the movement

of

its cadence; the movement

of

Progression:
toward

the movement

climax, etc.

trying to

pretend to speak
with our
lipsmean
they form reasoned

nothing is left vague.

clearlyhow

you

to

use

something, that is unless

phrases and sentences."
Here

really
Steps) :
a

that

at all.

all the sounds

the

tone

understand

music

to

step in

piano without
only too easy

making

must

first

very

to

sure

to make

(Child'sFirst

says

touch

make

do

he must

take

never

instrument,

carefullyexplained

He

production, be

the

to

This

beat

pulse ahead,
its
of a whole
piece toward
originalview of his regarda

or

Matthay

Tobias
which

ing form,

twenty years,
the

by

more

and

is

he has

87

advocated

for the

last

being accepted generally

rists
up-to-date of the English theonow

teachers.

In

and what must

regard to key mechanism
be done to produce all varieties of touch and
exhaustive
studies.
tone, Matthay has made
He
Playing) :
says (FirstPrinciplesof Piano
chief rules of technic, as regards the
"The
two
key, are, therefore:
Always feel how much
much
the key resists you:
feel how
the key
for

wants

every

each

for the moment

learn

may

only, and
hit

to
not

note.

Second, Always
sound

begins,so

listen

that you
the sound

direct your
effort to
You
to the key bed.
must

key down,

hit at it.

never

The

finger-tip
fall on the key, and in gently reaching the
may
follow
such fall by acting
key you may
up
against the key. This action against the key
of making it move
be for the sole purpose
must
"in one
which each give us
of the many
ways
And
quite a different kind of sound.
you
must
always direct such action to the point in
key descent where the sound begins."
I
same

quote
work

"(a)
of the

also

this little summary

from

the

It is

key

nor

only by making

move

that you

can

the hammer-end
make

sound.

Piano

88

(b) The

the movement

swifter

sound,

(c)

is obtained

The

the

beautiful

more

For

the

means

the louder

the

this swiftness

gradual

more

sound,

(d)
stringby

Mastery

the

brilliant tone

quality of

you

hit

may

of the

key, but do not, by

mistake, hit the key instead,
(e) You must
'aim' the key to the beginning of each sound,
because the hammer
falls off the stringas you
hear that beginning,and it is too late then to
influence

(f)

the

sound

except its continuance.

the key beds, because
squeeze

It is wrong
to
it prevents tone,

impairs musical result,

agility,and is, besides, fatiguing.
feel the 'givingway
must
point' of

impedes
(g) You
the key, so

that

much

is

force

you

may

be able

to

tell how

Never,
required for each note.
therefore,reallyhit the keys."
Mr. Matthay as minutely givesdirections as
nique.
to the muscular
problems of touch and techeties
For instance, he explainshow all variflectio
of tone, good and bad, are caused, all inof

the

Duration, and

attainment

Technique;

and

muscular

also

again, where

arm

it

of

Agility
explainsthe

actions

which

which

and
nature

ern
gov-

ease

of

of incorrect

prevent the

tainmen
at-

things. He shows where

weight should be applied,and
should
be eliminated; makes

of all these
the released

the laws

Tobias

Matthay

89

clear the two

oppositeforms of technic implied

by "flat" and "bent" fingeractions,and he goes
exhaustivelyinto the little-understood question
of forearm
cation
rotary exertions, the correct appliof which

he proves

play.
In speaking of methods
Mr. Matthay said to me :
note

every

"I

can

be

necessary

for

we

say

I have

I have

moreover

to

not

no

in

method

much

piano teaching,
of playing,and

faith in

people who

all
My teachings merely show how
playing,good or bad, is accomplished. There
certain principles,
however, which
are
every
player should know, but which, I am sorry to
as
by
yet scarcelyapprehended even
say, are
The
the best teachers.
perimented
great pianistshave extill they have hit upon
effects which
they can repeat if all conditions are favorable,
in the mood.
As a rule they do
and they are
know
the laws underlying these effects.
not
ask the greatest pianists,
for examYou
ple,
may
how
to play octaves.
'Oh, I play them
thus'
illustrating.Just what to do to attain
this result they cannot
explain. In my own
much
done
I have
case
experimenting, but
always with the view to discoveringhow things
the facts and laws governing actual
done
are
tone
production and interpretation.I made

have.

"

"

Piano

90

Mastery

playing,for I found
study of Rubinstein's
he played a great deal better than I did.
So
I discovered
to him,
things in listening
many
which he perhaps could not have explained to
a

These

me.

have

facts

are

incontrovertible

and

colleaguesto see the

truth of them.
More
than this,I have brought
older colleagueswho
had a
of my
even
many
life-time of wrong
mental
habits to impede
them, to realize the truth of my teachings.
self.
"The
of a teacher should speak for itwork
brought

For

many

own

my

of my

part I

never

advertise, for

of pupils this is no
point to hundreds
exaggeration in the least ! who are constantly
before
the public,as concert
cessful
pianistsand sucI

can

"

"

teachers.
there is

me
deeply,
thing that rouses
teachers
of
it is the incompetence of so many
play
piano. They say to the pupil: 'You
badly, you must play better';but they do not
tell the pupil how
to play better.
They give
and pieces,yet never
doses of etudes, sonatas

"If

get
worse

one

at the heart

than

the

of the matter

fake

at all.

It is

singing teachers;

!"
saying it is damnable
It was
privilegeto be present at some
my
Mr.
Matthay's private lessons, given at
Several young
men
were
Royal Academy.

even

feel

like

of

the
to

Matthay

Tobias

try for

of the

one

of

piece, one

same

medals, and
the

Caprices.
Matthay

listens to

of the work

in

and
and

head

playing the
Tausig Valse

complete performance

it

over

were

Strauss-

hand, then

goes

91

ginning
to the be-

turns

back

again

for corrections

lute
suggestions. He enters into it with absoof
devotion, directing with movements
and hands as a conductor
might direct an

orchestra; sometimes

he

in the treble to urge

the

pencil is

the

on

should

tone

chord

times

force ; at other

more

lays a restraininghand
where

down

dashes

player'sarm,

softer.

be

blue

His

busy adding phrasing marks.

In the pauses
he talks over
with the pupil the
character of the piece,and the effects he thinks
should

often

be made.

In

short his lessons

helpful and illuminating.

I also had the opportunity to
"Practise

Concert," and

were

little short

children, both

and

pupils'

results

of marvelous.

Invitation
and

of

much

to the

Liszt, with

every
The

memory.
often

the

tained
at-

Small

boys and girls,played difficult

the
for
two
Grieg Variations

pieces, like
pianos,the Weber
works
by Chopin
fluency. Almost
from

here

attend

most

are

tone

selection
was

power,

Dance, and

accuracy
was

always
and

the

and

played
musical

pupils

Piano

92

Mastery

thoroughly

seemed

the

and

doing

were

to

understand

certainly exemplified

maxim

"Never

make

the

the

music.

the

professor's

without

piano

they

trying

to

music."

Not

the

touch

of

meaning

They

what

afterward

long

book, which

new

Its

press.

Application
The

form

been

Laws

of

material

in book

claims

of

copy

the

from

title is Musical

terpreta
In-

Principles, and
ing.
Teaching and Performpresented

in the

repeated requests

it has

first

The

form.

attempt

no

come

and

was

lectures; on

issued

outset

in

received

just

had

comprehensive
its

their

to

author

at

such

treat

the

plex
com-

problem
selected

1.

exhaustively;he has, however,

tion:
points for elucidafollowingseven

the

The

difference

between

Practise

and

between

Teaching

and

Strumming.
2.

difference

The

Cramming.
3.
on

How

one's

one's

mind

can

be

brought

to

bear

work.

4.

Correct

5.

Elements

ideas of Time
of

Rubato

and
and

Shape.
its

application.

Matthay

Tobias

of Duration

Elements

6.

their

and

details

Some

Element

of

reader
with

to

the

to

as

must

think.

and

pause

the

cause

thoughtful

They

of the teacher

must

along

lines ; the

correct

constantly think
consist

teacher

merely
make

must

the way

and
book

to

with

illustrated

in

listen.

clear

the
it.

the
many

principle
who

He

shows

to

out

of each

cause

That

section
of

some

even

things up.
The
means

time

from

numerous

fault
of the
is

Rubato,
from

which

principleis

how

think

other

subject of Pedaling
of

does

faults; the

the

well-

frequently this
by the inexperienced,

that

rubato

rubato
true
breaking the time; whereas
bending of the time, but not breaking
we
give extra time to certain notes, we

take

doing :

examples

is misunderstood
seem

he is

Teaching

Element

compositions, by

explained.

what

on

thought
be assisted

must

pointing

to correct

devoted

known

and

great aim

to awaken

pupil

thought

his

to concentrate

be

ever

treated

are

illuminating originality. The

not

the

application of

Tone-variety.

themes

Such

by

and

Pedaling

application.

7.

to

93

means

is the

it.
must

notes, in order

is

If

to

aptly explained

illustrations.

The

Mastery

Piano

94

which

pedal,

the

There

page,

their

which

their

who

best

interests

and

ponder

the

of

these

the

most

sounds

his

pupils
pages.

his

at

every

earnestness,

stamp

imagination.
in

serious

on

and

expression,

reader's

is

fects
ef-

in

can,

to

care

tonal

paragraphs
sincerity

of

originality
on

teacher

in

fault

the

piano.

quotable

are

damper

all
and

inattention

to

the

from

coming

ruin

to

The

fingers.

the

phrasing

on

traced

be

of

made

bestowed

by
cases,

misuse

be

can

effort

and

the

deplores

author

selves
them-

Every

work

and

heart,

should

has

the

read

XIII

HAROLD

BURIED
the

pianist,

Harold

lived
the

alike
I

entered

and

speak,

as

with
a

squalid

what

wave

fairy's

and

here

down
I
95

am

now

into

vanish

wand.

the

dared
away,

Was
that

in

the

plain

hardly

in

in

climbed

ushered
I

very

openings,

at

rang

might

before

moment

street,

of

slits

courtyard,

within,
saw

tastes.

look

the

of

was

artistic

mere

one

and

never

street,

be

paved

Once

lest
the

would

commercial

stairway,

stone

abode.

to

not

crossed

master

uninviting

and

to

city,

home.

buildings

before

doorway,

artist's

the

seem

stopped

winding

wooden

they

"

the

one

of

refined

to

the

of

rows

noisy,

in

Paris,

Paris

those

of

entrances

old

made

with

the

people

walls.

has

behind

lining

TONE

which

in

is unfamiliar

buildings

much

of

Bauer,

that

imagine

All

heart

house

ancient

who

there

PIANO

thoroughfares

busy

the

One

in the

deep
narrow,

stands

OF

QUESTION

THE

of

BAUER

dusty,

beautiful

Piano

96

whose

room

appointments

absolute

Bauer

salon

lovely green
of

wide

dows
winwhich

garden,

restful

from

echoes

Chopin

the

to

repose

to

them

you

"

that

was

began,

but

had

an

the

the

whole

the

very

as

trend

Bac, for

perfect

thing

is

existence

would

to

way

hour's

thinking
"what

the

beauty

led

de

them, perhaps, will be

of

then

In

old.

"

even

and

is

building

years
rue

said,

tively
compara-

magnificent

are

without."

"I

he

old, forbidding looking

find

from

we

over

was

are

This

in the

city

may

grandeur

where

"there

hundred

least three

away

He

from

in Paris," he

left.

buildings,that within
palaces; at the back
a
splendid garden;
hidden

and

now

themes
lesson

away

remark;

this quarter of the

"

the

passing
of

at

instance

issued,

music

of the old houses, of the sort

one

my

few
doubtless

in the

me.

fast

answering

which

When

"Yes, this is
are

lesson

well-beloved

of

sonata.

out

came

giving

was

beyond,

again,

such

The

where

picture.

Mr.

that

and

exquisitetaste,

touch

final

gance
quiet ele-

all of

are

quietreign.
a

upon

the

whole

and

peace

open

adds

in

costlybut

"

Mastery

never

the

be

so

of
pected
sus-

music-room,

talk.
I

drove
of

our

down
talk

here," I

might

be,

Harold

for

already spoken on so
publication. It occurred

for
how

the

on

97

have

you

ask

Bauer

yourself secure

you

how

piano, and

jects
sub-

many
to

to

me

beautiful

tone

teach others to make

you

it?"

Mr.

Bauer

"I

thought

not

am

instant.

an

it ; in fact I

that I do make

sure

singlebeautiful tone on the

the piano can
tiful
on
piano. Tone
only be beauin the right place that is,in relation to
do not

believe in

"

other

You

tones.

touch

beautiful

when

two

which

through their
gives variety.

monotonous

We

see

or

this fact

voice; if
tone

it is

one

deadly

the

singletone on
variety; for
even

one

tone

of

result

may

are

monotonous.

singer or

OF

it is

TONE

the violinist

his instrument

tone

the nature

is
tone
straight,even
dead
tone.
Variety is life.
in the speaking
exemplifiedeven
speaks or reads in an even

VARIETY

"Now

the

sively,
played succesdifference of intensity,

notes

more

"

it,from

moves

instrument.

the

in

man

nothing about music, may

piano key, and that key will sound

whoever

the same,

the

or

knows

street, who
each

I,

or

beautiful

impossiblefor

which

does

can

not

him

have

make

through
to

make

shades

of

Piano

98

in it, however

variation

this

do

slightthey
it expressive. But
you
piano : you cannot color

render

which

the

on

tone; but

say

be,

may

cannot

single

succession

of

difference, through their

On

other.

the other hand

is beautiful

tone

any

this with

their

relation to each
may

do

can

you

through

tones,

Mastery

you

if in the

right

how
harsh it may
be.
The
place, no matter
break
from
emotion, or
singer'svoice may
simulated
emotion, in an impassioned phrase.
The
a

exact

note

beautiful

but

we

by

the

it may

one,

do

think

not

if heard

be

may

of

in

harsh

sound

in its relation

we

to other

moved

are

So

on

Thus

it sounds

tones

results in
"The

it is the relation
'beautiful

tone'

frequent trouble is

of
the

on

the

phrase which,
and unpleasant,

beautiful,for it gives the right meaning

effect.

be

discordant,

of the tones.
note

not

may

be very

that, for

one

alone, would

but

it breaks

even

back

meaning

piano there

which

on

tones

and

which

piano.

piano teachers

that

their
players generallydo not understand
linist,
instrument.
A singer understands
his, a vioand

flutist
a

pianist. As

and

they are

bother

he

only

has

rightunder

himself
for

knows

drummer

or

further.

those

who

come

his

keys

his, but

put down

to

hand, he does

To

obviate
to

me,

not

this

I have

not

ficulty,
dif-

had

Harold
this

model

complete

made.

You
of

time.

look

into

and

touches

"As

It

you

99

piano-key mechanism
touch
the key in a variety

of
can

the

will

results

is necessary

what

learn

happens

different

be

the

for

his instrument,
know

and

see

ways,

each

Bauer

pianistto

its construction,

inside when

he

key.
say, there

are

methods

great many

teaching the piano, but to my mind they are

apt to be long, laborious, and do not reach the
vital points. The
arrive at these
pianist may
of study and
after long years
experimenting,
of

but

much

of his time

will be wasted

in useless

labor.

"In
to

my

make

years

ago

own

case,

was

forced

headway quickly.
as

violinist,but

by necessity
to

came

there

Paris

seemed

no

There
opening for me then in that direction.
work
was
opportunity, however, for ensemble
with a good violinist and 'cellist. So I set to
work
the piano as quickly
to acquire facility
on
all the pianists I
as
possible. I consulted
knew
and
I knew
to
as
quite a number
what to do.
They told me I must spend many
technic alone before I could hope to
months
on
play respectably,but I told them I had no time
So I went
for that.
to work
to study out the
"

effects I needed.

"

It didn't

matter

to

me

how

Piano

TOO

looked

hand

my

able

soon

to

others that
Later

on,

But

when

the

believe

sound

end.

on

to

vince
con-

the effects I wanted.

leisure,I took

more

positionof
that

hand

much

externals, which

and

fingers.
is spent

time

do not

more

reach

the

instance, players strugglefor years

acquire a perfectlyeven

The

my

of the matter.

"For

ever

stood

effects and

they were

convinced

am

uselesslyon
heart

keyboard; whether

get my

I had

about

thought

the

on

curved, flat,or

fingers were
was

Mastery

in that

should

all.

at

be even,

scale.

I don't

Now

I don't

believe

either in tone

or

in

rhythm.

"

blurred

scale in which

and

into each

run

"After

scale
at the

all the tones

other; then

year'sso-called

his scale sounds

scale

efforts
at a
beginner's untrained
the speaker illustrated
like this"

piano with

like this"

"

to

were

he

tinued,
con-

ing,'
'correct train-

again he

trated,
illus-

playing a succession of notes with one

finger,each tone standing out by itself. "To
ous,
thinkingsuch teachingis not only erronemy
it is positively
poisonous yes, poisonous!"
"

"Is it to be inferred
of scale

"Oh,
in
over

that you

do not

approve

practise?"
I

advise

scale

passingthe

playing surely,for

thumb

is very necessary,

under

and

cility
fa-

the hand

J do not, however, de-

Harold

sire the even,

Bauer

101

scale,but

monotonous

is

that

one

full of

variety and life.

be
"In
it should
regard to interpretation,
full
of
tonal
and
rhythmic modifications.
Brieflyit may be said that expression may be
exemplified in four ways: loud, soft, fast, and
slow.

But

within

infinite shades
Then

the

Variety and

crude

to America

Paris

home

for

like to

give you

talk.

Here

here
the

is a

next

one
as

me

On

further

and

portanc
im-

to

from

my

I should

come.

illustrate this little

which
sat

after that

away

at

strong sunlightpouring in
at my

in.

comes

of supreme

are

season,

long time
pictureto

new

in this room,

made!

life!

Australia; this will keep

to

be

gradations may
personal equation also
differentiation

what

divisions

and

they are

"

"I go

these

taken

was

the
at

right
piano, with
dow
the big win-

left."

subsequent occasion, Mr.

Bauer

spoke

phases of his art.

"As
I do not believe in
already know
you
so-called
be prac'piano technic,'which must
tised
laboriouslyoutside of pieces. I do not
believe in spending a lot of time in such practise,
on

some

for I feel it is time

I do

not

wasted

and

leads

where.
no-

believe, for instance, in the

Piano

102

Mastery

struggle to play

scale should

be

never

varietyand

of
on

'even,' for it
A

The

only sense
applied to a

be

no

be full

must

scale is

perfectlyeven

level; it has

dead

made.
may

life.

scale.

perfectly even

life;it is machine-

in which

the word

scale is for

its

'even'

rhythmic

in this sense
scale
a beautiful
quality; but even
has
solutel
abslightvariations, so that it is never
regular,either in tone or rhythm.
"Then
I do not believe in taking up a new
composition and working at the technical side
of it first. I study it in the first place from
the
I see what may
musical
side.
be the meaning

the

of

what

music, what

ideas

it seeks

to

convey,

composer's mind when he wrote

it. In other words, I get a good general idea
of the composition as a whole ; when
I have this
I can
begin to work out the details.
was

"In
a

this connection
statement

Painters.
never

in the

been

The

made

was

by

interested

Ruskin

statement,

in his Modern

which, I think, has

ian
refuted, is that while the great Ital-

painters, Raphael, Coreggio,

have

ing
in read-

left many

and

and

the rest

imperfect pictures
and
studies in color, their drawings are
and
mature
finished, showing that they made
experiments and studies in color before
many
they thought of making the finished black and
immature

Harold

drawing. It
thought first before

Bauer

white

AVOID

"Because

study
of

us

the

have

"

seek.

we
or

our

do

We

I have

thought
to my

thus?

can

am

and

from

world,

the

it is to

need

to say

shall

am

with

once

be

can

iron

different

to-day.

give

How

Don't
two

Each
you

'Now

feel

we

shackles.

to-morrow

day
see

how

performances

shall be identical

piece which

better,

no

limit ourselves

to

not

rigid

piece twice exactly alike?

to-day from what I was

man

life.

new

same

are

way.'
at

us

play

yesterday,

the

some

"

the

same

different

what

do

we

reachingthe goal

of

want

and

to

up

position
conception of this comways
present satisfaction;I shall al-

It binds

How

not

out

it the

play

along

ways

We

powers.

way,

there

mean

limited

brought

were

trained

not

broader, less

RULES

certain

been

lines, does

I work.

the way

ancestors

piano

art

This

detail.

the technical

RESTRICTING

our

the

they put

seems

I feel and

is the way

103

in every

is

new

sible
imposof

the

lar?
particu-

possiblefor a machine to make

any
of repetitionswhich
alike, but a
are
with
active thought and
emotion, has

It is
number

human,
a

broader
"The

outlook.

question as

to

whether

the

performer

Piano

104

prets
experienced every emotion he interis as old as antiquity. You
in
remember
ing
discussDialogues of Plato, Socrates was
with another
sage the point as to whether
have

must

the

actor

an

have

must

in order

waxed
final

to

felt every

be

warm

argument

both

he portrayed

The

sides.

the

If

was,

artist.

true

on

emotion

sion
discus-

Socrates'

artist

true

through every experience in

then, if he had
portray it faithfully,

to

death

scene

picture it

to

must

order

lived

have

Mastery

he would
with

have

act

to die first in order

adequate fidelity!"

r
THE

to

N
QUESTION

OF

VELOCITY

In

speaking of velocityin piano playing and

how it is to be acquired,Mr. Bauer
continued
:
"I believe the quality of velocityis inherent
"an
integral part of one's thought. Even
a child,if he has this inherent
quality,can play
a
simple figure of five notes as fast as they
need to be played. People of the South
not
"

on

this side of

the

water

but

"

Italy, are accustomed

with their
gesticulate

hands

and

trouble

with

energy.

It is no

to

of

Spain

and

quickly; they

move

and

are

full of life

for them

to

think

velocity. Two
people will set out to
walk to a given point; they may
both walk fast,
according to their idea of that word, but one

Harold

will

the

cover

the

again
and

much

fast rule

the

to

as

be bound

of

There
of

others?

to

Can

that the

picture is

alive?

whether

it is

shades

not

enter

few

into the

the

no

is

fixed

composition;
The

main
and

meaning
I make

can

these

project this piece

so

If so, the fact

slower

questionat

OBTAINING

be

rules.

such

unit

time

can

tempo

by

quickly than

more

thing is: Do I understand

spiritof the composition, and
clear

105

this idea

limitingidea.

cannot

we

ground

I think

other.

Bauer

or

faster

as

to

does

all.

POWER

in what
players totally mistake
consists.
exert
They think they must
power
great strength in order to acquire sufficient
students
have this idea ;
Many women
power.
from contrast.
they do not realize that power comes

"Many

This
I do

not

with

all the

have

to

is the secret
to

mean

force

pound

and

say
we

of the effect of power.

that

have

we

at

must

times;

not
we

play
even

bang occasionallyto produce

effects.
This
the needed
only proves
be beautiful, though in
again that a tone may
itself harsh, if this harshness
in the right
comes
time and
place.
"As with velocityso with power;
there is no
fixed and infallible rule in regard to it,for that

Piano

106

would
the

due

The

of

used

the

out

This
the

lies

of

is

this

his

spiritual

of

and
the

the

with

the

content

and

perfection

emotion

and

content

bring

limitation

quality

contrast,

to

be

another
the

poetry,

thought.

to

be

only

Mastery

piece
and

meaning."

of

and

the

his

place

bring

power

are

degree

understanding

ability

it

in

the

before
to

ing,
feel-

executant's
of

choice

beauty

opportunity

the

degree

player's

the

to

out

all

to

its

listener.
the

higher,

XIV

VISIT

TO

RAOUL

TRAINING

"AN

M.

four

at

the

Raoul

had

been

owing

to

their

of

the

for

the

the

proved

meeting

you
Thus

of

Musical

by

be

no

hint
In

of

this

least

that

this
of

one

the

shuttered

what
case

may

did

we

107

present,
flat

hidden

find

to

wall,
which

windows,

not

and

indicated.

of

be

we

unpromising

which

facade

stern

Clicy,

been

those

buildings,
a

de

had

of

one

afternoon,

rue

which

of

rows

engaged,

welcomed

at

busy

number

apartment

broken

cians,
musi-

French

otherwise

hour

the

passer-by,

ments
appoint-

France.

of

to

famous

therefore

appointed

at

them.

await

make

to

being

city.

pianists

French

the

of

halted

give

day,
to-

you

studio."

Paris

difficult

any

through

the

will

representative

with

drove

It

his

very

opportunity

At

he

Pugno;

in

for

arranged

in Paris.

out

great

CHILD

been

courteous

America

or

has

o'clock,

wrote

It

THE

audience
with

PUGNO

behind
the

man

Mastery

Piano

108

sought

we

but

in the front

directed

were

The

house

the

custom

portion of the building,

court.
a large,
cross
square

to

built

was

in

around

this court,

constructingthe

was

as

older

of

sort

dwellings.
At

last

discovered

the

right door,
housekeeper.

we

which

opened by a neat
"M.
Pugno is not here, he lives in the
to our
inquiry.
country," she said, in answer
(How difficult these French musicians are to
be one
and
all "in the
to
find; they seem
country"!)
have an appointment with
"But, madame,
we
M. Pugno ; will you not be good enough to see

was

if he is not

She

here

left

all?"

after

standing, but

us

immediately with the

had
only that moment
which
In

foyer

she would
another
and

sanctuary.
in

an

were

At

Oriental

were

rich

in

that M.

Pugno
his studio, to

entered

moment

us.

had

we

crossed

the

tiny

standing within the artist's

felt as though
first glance one
chamber

Heavy gold
hung over
walls

message

conduct

almost

returned

covered

objets
profusion; an

of

silver

and

doors

and

with

d'art
open

Eastern

some

were

Turkish

windows.

rare
many
scattered

door

led

out

arch.
monbroideries
em-

The

ings;
paintabout
into

RAOUI.

Pro

xo

Visit

Raoul

to

pretty garden, where

fountain

raised

A
a

divan,

at

made

into

On

basin.

the

had

as

on

of

ental
Ori-

throne,

to

come

held

room

draperies

this divan,

and

bloomed,

of

were

great pianistwe

109

its marble

side

one

which

over

stuffs.
sat the

flowers

dripped
dais

Pugno

He

see.

statelyand imposing figure as he sat

there, with his long silverybeard and his dignified
bearing. Near him sat a pretty young
a

whom

woman,

Boulanger,

we
a

learned

soon

and

composer

Mile.

was

musician

Nadia
of

liant
bril-

attainments.

regret that I

"I
you
my

in

English,
own," began
of the

wave

"You

unable

am

as

M.
for

to

know

piano playing

speak

with

of

some

rather

but

courteous

be seated.

to

us

with

converse

language

no

Pugno,

hand

wish

to

ideas

my

on

lieve
teaching. I bechild can
a
begin to study the piano at
a
early age, if he show any aptitude for
very
he begins the better, for
it; indeed the sooner
then he will get over
of the drudgery by
some
or

"

the time
about

he is old

enough

on

to understand

little

music.

TRAINING

"Great

care

of the child who

must

has

THE

CHILD

be taken
some

with

talent

the

health

for music,

so

Piano

110

that

all

After
first

as

robust

importance,
child in

"A
five

overdo

shall not

he

or

Mastery
piano study.

physicalcondition

for without

good

it one

health

six years.

trained

in his

from

He
the

can

is of the
do little.

can

begin

must
start.

as

be most
As

the

early

ciously
judiear

is

such

of

tention
prime importance in music, great atshould be paid to tone study
ing
to listenthe various
to and
sounds,
distinguishing
and to singing them
if possible,
in solfeggio.
"At the outset a good hand positionmust
be
Then
secured, with correct fingermovements.
there must
be a thorough drill in scales,arpeggios,
chords, and a varietyof fingerexercises,
before
The
kind of pieces are
taken up.
any
student
in early years, is expected to
young
play various etudes, as well as the technic
studies I have
mentioned
Czerny, Cramer,
In my
Clementi, and always Bach.
position,
of the facultyof the Conservatoire,
member
as
"

"

students

great many

personally accept
must

give

be
my

talented
time

to

pass

before

me.

If

any

pupils,they naturally

and

advanced,

the

children.

as

I cannot

Still it is interesti

child-thoughtdevelop."
the charming
turned upon
The conversation
absolute
where
studio with its lovely garden
quiet could be secured in spiteof the noise and
to

see

the

"

bustle
The

Visit

of

Pugno

of the busiest

one

studio

Raoul

to

itself,we

111

quarters of Paris.
told, had

were

formerly

belonged to the painter Decamps, and some

his.
of the picturesand furnishingswere
once
A
the
fine portrait of Pugno, life size,filling
whole

above

space

He
and

painting,
When

it

"he

found

was

piano, claimed

kindly rose,
sought a

presented

We

the

"

it with

the
his

as

we

our

admired

tention
at-

the

photograph copy.
he possessed
last one
compliments.

position,
Boulanger's work in coma
subject which seemed
deeply to
interest M. Pugno.
"Yes, she is writing an opera ; in fact we are
writing it together; the text is from a story
of d'Annunzio.
I will jot down
the title for
you."

of Mile.

spoke

Taking

paper

which

I held in my

hand, he

wrote,
"La

Ville Morte,

de d'Annundo;

4 Acts

et Raoul

MusiquedeNadiaBoulanger
"You

will

certainlyhave

performed

in

it is finished; I will tell them

when

America,

it

Pugno"

so," I said.
The

great
the

"Yes,

we

pianistsmiled

suggestion
will

come

with
to

blandly

evident
America

and

cepted
ac-

satisfaction.
and

see

the

Mastery

Piano

112

when

performed,

work

it is

completed," he

said.
With
took

expressionsof appreciationwe

many
leave

our

of the

Oriental

studio

and

its

distinguishedoccupants; and, as we regained

de Clicy,we
said to ourthe busy, noisy rue
selves
of
that we
had just lived through one
the most
unique experiences of our
stay in
Paris.

(The

is the last interview

above

from

this

away

French

great

few

months

ever

artist, who

taken

passed

later.)

The

following items concerning M. Pugno's

of teaching and
manner
personal traits,were
Germaine
Schnitzer, the
given me
by Mme.
accomplished French
pianistand the master's
most
gifted pupil.
"Pugno had played the piano almost from
infancy,and in early youth had taken several
piano prizes. Later, however, he gave much
his time

of

more

neglect of
his serious

the

to

attention

happened

in this wise.

Edward

Grieg,

coming
over

to

his

Paris.

piano

reverted

was

the

It
noted

Pugno
Concerto

the

instrument.

former

the

to

organ,

was

to the

announced

ing
seem-

How

piano
that

Norwegian, was
ing
was
one
day lookwhich had recently

Visit

appeared.
'I

said

not?'
the

when

piano,

which

Pugno

play the

you

asked

he comes?'

113

work

for

friend.

pianist/ objected Pugno.

'Why
his friend; 'you know
enough about

no

am

don't

'Why

the composer

Raoul

to

there

and

to learn

still four

are

weeks

in

took

the

the Concerto.'
the

advice, practisedup

Pugno
work, played

it in the

given by Grieg, and scored a success.

of age.
then thirty-nine
This
He
was
years
the beginning; other engagewas
appearance
ments

concert

and

followed, and

successes

into

of

one

the

great

thus

he

veloped
de-

pianists of

France.

pianist;he

had

a born
"Pugno was
gift for technic, and

therefore

himself

teaching technical

much

about

practisingthem.

nor

pupil

contained

remarks

nor

the music

He

and

pupil,of
was

refused
course,

fond

of

the

troubled
cises
exer-

work

of

faults, he made

explanations,but

book

The

technical

If

never

natural

to

simply
listen any

a
no

closed
ther.
fur-

retire^ in discomfiture.

playing along with

the left hand), or

pupil (generally with

singing the melodies and themes, in order to
tion
give him ideas of the meaning and interpretaof the music.
This gave
independence to
the pupils,though it often afforded them much
the

amusement.

Piano

114

advanced

"With

and

translated

the

feelingsand

emotions

showed

he

counterpart in
and

goodness

you

are

what
and

themes

he

them;

students

music

about

much

Mastery
Pugno
it could

how

'Above

control

you,' he

filled with

had

into

originated

all emotions

tones.

express;

back

passages

which

spoke

find their

all let kindness

kindness, your

'if

wrote;

once

will be

tone

beautiful !'
instruction

"Pugno's
the inner

on

the

art

of

he concerned

himself

saying
without
was

"I

to

himself

read

master;
him

and

not

the

absorb

that

Pugno
teaching the
with

the latter

It goes

out
with-

pupils

made

indeed

those

at

for those who

between

said

about

talented

teacher

follow

have

little.

interested

wonderful

insightto

side ; about

very

only
such

talent

able

that

under

progress

of talks

meaning of the composition,and

interpreting it, rather than any
the technical

trainingon

the form

took

all.

He

had

lines, and

the
were

siasms.
his artistic enthu-

did

not

concern

technical

side

his best

of

pupil,
he rarely touched
technical points. I
upon
notable exception. He
mention
must
a
gave
technical principle,
one
me
expressed in a few
heard of
simple exercises,which I have never
piano playing.

Even

me,

A
from

Visit

one

any

else.

has

helped me
knotty passages.
to

jot them

any

down

Raoul

to

The

one;

am

of this

use

amazingly
I have

Pugno

to

115

principle

conquer

ercises
given these exwillinghowever, to

never

for

you."
(The followingis a brief plan of the
sketched by Mme.
as
Schnitzer)

"Pugno
fourths

to

This

many

wished

the

cises,
exer-

and sixtythirty-seconds
be played with the utmost
ness.
quickidea is not alone applicableto all

Piano

116

scales,but

in

culled

here

keen

have

few

from

the

the

inner

work,

in my

sentences

letters

many

preserved,

light on

more

difficult passage

any

interest

career.

there

and

his which

throw

and

progress

my

with

composition.

took

"Pugno

of

be used

can

found

Mastery

serve

may

to

of the

nature

man:
'

'I have

mind

young
so

that your

endeavored

to make

clear to your

the

thoughts expressed in music,

understanding and your emotions

link
all this has created
a
might grow;
of gratitude in you
affection within
and
an
I have opened the windows
for you
and
me.
have given you
light,and I have reaped the
also

satisfaction
'

'Hear

of my

sowing.'

all the music

you

can

"

do

not

miss

the

of

pianistseither good or bad; there

is always something to be learned, even
from
a
player if it is only what to avoid!
poor
in those there are
Study great works, but even

any

"

figures and phrases which need not be

brought into the foreground, lest they attain
too much
significance.'
Richter's
chestra
Or"(After playing with Hans
some

'What

exhilaration
What

force

intoxication

and

within

of sound

collaboration
us,

which

in
sways

what

"

music!
us

and

throbs

and

compared
this

feel

have
with

myself
giant

him,

to

lead

him

orchestra.

orchestra,

with.
where

can

expression

an

the

converse

art

finds

called
amid

greater

expressing

What

which

medium,

117

and

instinct!

music,

to

Pugno

developing

us,

sentiment

through

Raoul

to

through

each
be

Visit

keep

will

for

pace

calm

him

"

and

other;

embrace
in

play
grand

small
it

subdue
for

except
orchestra!'

authority
The

him.
it

me;

under

does
such

each

supplement

We
of

moment

and

master

too

him.

piano

not

alone

tempt

me

conditions

with
"

'

his

become

is
to

XV

THUEL

THE

A
Paris

"MELODY"

AND

PROMINENT

figure

is Thuel

Mr.

of

He

has

his

instrument

More

studied

this

worked
what

he

what

no

he

As

Technical
He

him

Mr.

rise

capable

splendid

power

able

been

the

who

methods

other
in

his

to

simplify
so

takes

do
last

not

own

perience.
ex-

the

there

is

turning

heights

of

high

rank.

for

him.

exist
of

the

is

many

gradations

limpid, clear,
of

fortissimo; delicacy,
118

road;

ual
spirit-

supreme

that

in

water.

ing
amalgamat-

touch

A
of

the

material,

Burnham

the

of

masters

labor.

useless

to

come

mastery.
and

discovered

technical

in

in

Paris.

thinker

himself,

for

for

in

of

musical

of

teacher.

who

home

sides

life

and

greatest

best

difficulties

has

before

is

has

pianist

his

both

found

of

lost

the

has

fabric

time

with

has

He
whole

made

things

out

musical

American,

has

he

the

in

pianist

an

on

than

with

is

years

HAND

"COLORATURA"

Burnham,

Burnham

number

has

BURNHAM

tints;
veloc-

Thuel

Burnham

119

variety are all his; together with all

this he has a sympathetic insightinto the mood
Of
late he
and
meaning of the composer.
has been
giving several recitals of a semiprivate nature, at which he has brought out
of the larger works
in his repertoire.
some
ing
These
recitals have taken
place in his charmstudios, and it was
good fortune to be
my
concertos
two
were
played,the
present when
MacDowell
in D
minor, and the Grieg in A
ity and

minor.

Mr.

the

works

and

has

is

Burnham
of

great American

our

prepared

entire

an

music, which

Dowell's

composer,
of Mac-

program
the

included

Sonata, Polonaise, and

of

many

of

admirer

warm

Tragica

the

shorter

pieces.
In

with

conversation

Burnham

teaching,he
helpful points,explaining how he
to

methods

Mr.

technical

of

difficulties to

the exercise

of

few

varies

the

tone

give

out

melody, you
weight of arm

tone, the

reduced

minimum

TOUCH

condition

of

wish

produce.

to
want

on

the

the

hand

of the music,

the character

and

you

OF

position and

according to

many

gave

had

gard
re-

through
simple principles.

PRINCIPLES

"The

in

If

you

full, luscious

key,everything

Mastery

Piano

120

clinging,caressingpressure of
have
the 'Melody
then, you
finger. Here
Hand,' with outstretched, flat fingers. If, on
the contrary, you
want
work,
rapid passage
with clear, bright, articulate touch, the hand
stand up in well-arched, normal
must
playing
and
position,with fingerswell rounded
good
Here
have the 'Technical'
finger action.
you
relaxed, and

'Coloratura

or

Hand.'

HAND

MELODY

"The
to

so

with

is weighty and 'dead,'

Melody Hand
gers;
speak. The touch is made with flat finthe ball of the finger comes
in contact
the key, the whole
hand
and fingers
arm,

are

relaxed

the

keys

loose

as

"

as

possible. You
loved

caress

though
a
they were
part of you; you cling to
very
them
to something soft,velvetyor downy
as
with pressure,
always."
pressure,
pressure,
(This illustration recalled to the listener's
though

as

you

them,

as

"

mind
about
She

the

best,"
I love

"To

asked

was

mother

stories,the one
Kitty Cheatham's
little girl caressing a pet kitten.

of

one

or

which

the kitten.
rather

"Of

best

loved
course

"

love

her
her

"but
hesitatinganswer;
and she has fur!")
kittytoo
acquire the melody touch, I teach it
was

the

she

"

Thuel
the

with

simplest exercises,
When

only single tones.

the pupil
piece, like a Song
"There

Burnham

121

the

works

idea

it out

without

three touches

with

sometimes

in

is apprehended,

lyric

some

Words,

by

delssohn.
Men-

for

melody playing:
First, the down
touch, made
by descending
and
hand; second, the up touch, made by
arm
elevatingthe wrist, while the finger lies upon
the key; third, the wiping-off touch, which
the fingeroff the key, with an
and
draws
arm
hand

are

movement.

THE

"The

TECHNICAL

technical

hand

HAND

employs finger touch

tary
fingeraction ; the hand is held up, in miliments
position,so to speak; the finger moveare
quick, alert and exact; the hand is
alive, not dead and heavy, as is the melody
hand.
The two ways
of playing are
quite opposite
in their fundamental
character, but they
and

be modified

can

"For

hand
well

and

blended

the technical
is in arched

rounded

and

or

in endless

coloratura

touch, the

five

position,the

fingersare
tips are on the

curved, their

keys, everything is rounded.

is lifted,it naturallyassumes
positionuntil it descends to

ways.

When
a

the

more
same

finger

rounded

spot

on

Piano

122

the

there

which

from

key

Mastery
it

lifted,as

was

five little imaginary black

were

though
spots

on

keys,showing exactlywhere the finger-tips

The
should
rest.
fingers are lifted cleanly
and
evenly and fall on the keys no hitting
tween
nor
striking. I make a great distinction bethe coloratura
touch
and
the melody
touch.
The first is for rapid,brilliant passage
what
iridescent
work, sparkling, glittering,
the

"

"

will

you

arched

but cold.

"

hand

touch

scale

said,with

ody
Melfinger action.
warmth
and
feeling;is

expresses

Then

there

for

movements,

arm

as

raised

the heart.

from
up

and

It is made,

the down

are

chords, and,

and

of course,

and

coloratura
arpeggio work, with
touch.
I generallyexpect pupilswho come
to
of preparato go through a short course
me
tory
study with my assistant,Miss Madeleine

Prosser, who
does

has

been

with

thorough work

most

ASSIMILATION

"Many
ideas

as

to

touch

to

and

for years,

and

in this line.

OF

pupils come

me

PRINCIPLES

me

with
what

no

very

inite
def-

press
they may exif they feel a

through it. They think

sufficiently,
they will be able to use
passage
the righttouch for it. Sometimes
they may be
able to hit upon
the effect they want, but they

Thuel
don't know

Burnham

quite how

repeat it another

123

they got it,nor

time

will.

at

player sees
what

once

great
how

touch

actor

certain
is

illustrates what

be

can

mean

at

it.

express

so

when

that

he knows

passage^

requiredto

the

believe

principlesgoverning certain touches

thoroughly learned and assimilated
the

they

can

he knows

"

press
employ his features and body to exthe thought of his lines.
When
go
you
to the Theatre
Fran9ais in Paris, you know
is thoroughly
of the company
member
every

to

trained
aware

to

in every
that each

such

an

fall into

the

So

various

actor

that

extent

of

his

features

the

with

emotion

the

touches

and

comes

I have

ever
when-

for

pianist he should
his finger-tips.

referred

which
has

sion.
expres-

have

"

at

are

expression
naturally

curves

up

beyond is to express himself,

easilyand naturally,when he
as

You

art.

studied

has

required lines

certain

phase

The

the

step

he will do

such

aration
prep-

to.

MEMORIZING

subject of
memorizing. Some
pupils think if they play
of times they will
the piece a sufficient number
know
because
not
it; then are troubled
they can"I

am

at

often

all times

questioned

remember

on

the

the

notes.

Such

Piano

124

players

know

must

the

from

away

their music

play it
piano.

to

memorized

every

piano,

require
that

if

the

be

able

to

who

without

me

of

able

are

the
I

having
piece

recite

and

tried it

on

learn
can

the

thoroughly

so

correct

piece

to

the instrument,

from

away

note

and

students

I have

them.

Mastery

or

measure

phrase, the pupil can go right on from that

point, without being obliged to start farther
back, or at the beginning. In some
cases,
method
of
however, if the pupil has her own
and it is successful, I
committing to memory,
have no desire to change it.
OCTAVE

"For

STUDIES

study, form the hand with the

'octave grimace,' that is with
arched
hand,
In
the unemployed
fingers slightlycurved.
gin
Betouch of course
staccato
use
lightwrist.
octave

"

with
the

one

'wiping off'
beats

more

ending
above

the

in sixteenths

beat

touch.

in notes
passage

mentioned.

Build

of the

up

finish with

and

more

value, always

same

the

with

This

and

touch,

same

exercise

as

be

played
the full length of the keyboard, in all keys, and
also chromatically. It can
be played in the
fashion, using four-voiced chords instead
same
of

octaves.

When

such

an

can

exercise

can

be

Thuel

in

For

pieceshave

the

he

Op. 53,

notes, which
there

is

need

no

in

for the

have

to

ist.
pian-

Polonaise
learn

the

the

from

away

piano ;
practiseof the

exhaustive

for

time, octave

Chopin's

merely

be done

can

at

terrors

no

octaves

would

125

minutes

for twenty

prolonged
passages

Burnham

passage.

KEEPING

UP

REPERTOIRE

keep repertoire in repair,one

should have it arranged so that old pieces are
week.
once
a
over
Group your repertoire
gone
It might be
into sections and programs.
wrell to begin the week
with Chopin, playing
through the whole list;after which pick out
the weak
places,and practisethose.
Tuesday,
"In

order

to

Then

way.

this

kept

treat

him

and

concertos,

same

ern
music, mod-

chamber

music.

repertoire is

the whole

systematicway

the

in

Liszt, Russian

comes

composers,
In

and

Schumann,

take

up.

DETAILS

"My
hours,

at

to

least

PRACTISE

given up to practise,my
these
practise
teaching. Of
hour
is given to technic,
one

mornings

afternoons

OF

are

scales, arpeggios, octaves,

I believe in

taking

one

chords

selection

and

"

of

Bach!

Bach, say

Piano

126

Invention,

Two-voiced

all

and

keys

The

this

few

degree

of

"I
in

am

at

and

fine

is

useful

to

the

to

up

one

instead

better

fect
per-

highest

touch

style,

and

make

friends

in

Op.

his

and

visit

tone,

for

his

As

you

gest,
sug-

Chopin's

of

53."

certainly
to

his

native

sincere

genial

buoyant,

compositions

motif

the

Music

pictures.

colors.

certainly

anywhere,

color,

Certain

should

in

success

degree

etudes;

to

certain

Burnham

Mr.

them

color.

Polonaise,

great

is

is it not

especially

"

embody

red

highest

with

susceptible

express
to

to

bring

it into

completeness?

anything

seem

the

Invention

many,

so

very

should

it to

it,

perfecting

transposing

"

So

treatment.

playing

of

flat

and

ways

polishing

possible.
for

various

it in

playing

Mastery

art

and

and

look

forward

land.

His

musicianly

personality
himself

will
where.
every-

XVI

EDWIN

SOME

ESSENTIALS

WHEN
the

thinker,

it is

to

such

meet

when

ideal

Hughes,

teachers

of

as

of

one

himself
a

home

true

beautiful
and
and

and

works,

in

has

met

has

years

where

important

he

and

artistic

playing.

As

cities

of

he
has

feels

gratifying
of
127

name

and

in

study

also

acted

established
he

has

Here,

between
a

pianists

surroundings,
time

Edwin

Mr.

art.

his

Such

made

After

he

the

place

world.

the

music

with

take

can

among

where

have

and

visiting
who

dividing

concert

Hughes
most

of

and

special import,

old

Vorbereiters,

Munich,

in

the

Leschetizky,

the

of

meeting

in

Europe.

with

Vienna

the

himself

for

place

points

American

an

profit

worker

personally,

spot

and

pleasure

interesting experience

an

thought

my

PLAYING

musical

discuss

particularly

and

of

one

to

was

with

always

opportunity

some

read

ideas

an

PIANO

OF

has

one

published

in

HUGHES

found

amid

he

lives

teaching
Mr.

pianist
success

Germany,

in the
while

as

teacher

almost

he has been

every

State

Texas, and

to

Mastery

Piano

128

sought by
in

America,

also from

students
from

Canada.

What

from
Maine
has

special satisfaction is that during

of pupils have come
the past year a number
to
from
the Conservatory here in Munich.
him
They have been greatly pleased with their
to
only regrettingthey had not come
progress,
given

him

before.

As

to

method
the

him

whether

in its

he

uses

entirety,Mr.

the

Leschetizky

Hughes

testified in

affirmative.

Leschetizky about the

probably
'Leschetizky Method,' he would
laugh and tell you he has no method, or he
tell you
would
his 'method'
consists of only
two
things firm fingers and pliablewrist.
which
"These
the principlesupon
I base
are
the technical training of my
pupils. I first
establish an arched hand position,
and then test
the firmness of the fingersand knuckle
joints
At first the joints,
by tapping them.
particularly
the nail joints,are
apt to sink in
very
when
tapped by a lead pencil;but by having
the pupil continue
at
the tapping process
ing
home, it is not long before he acquiresthe feelof conscious
firmness
in his fingers.
"Along with this exercise it is most impor"If

were

you

"

to

ask

Edwin
tant

to

begin

at

finger,the
The

with

once

129

wrist

the effort to

otherwise, from
of

Hughes

wrist

may

wrist

exercises

exercises, as

acquire firmness

become

stiff and

consist in

wieldy.
un-

raising

and

lowering this joint,with the hand and arm

supported first on each fingerseparately,then
and
five fingers. The
on
two, three, four
wrist should not be so limp as to be incapable
of

rather

resistance; but

it should

be

like

I call it'spring-wrist,'
capable of every degree of resistance or nonresistance the qualityof tone demands.
for
"High finger action is not so necessary
beginners as most piano teachers imagine. It
is much
easier to teach pupils to raise their fingers
tion
high than it is to teach them the acquisi-

fine steel

spring
"

legato touch at the piano, which

is only to be attained
by playing close to the
ficult
keys, without raising the fingers. It is difto get pupils to play a perfectlegato who
of training with
had
have
high finger
years
of

the

action, something which

non-legato and
difficult

more

staccato

which

be taken

finger work

legatotouch
TONE

"The

should

has

been

up

for

after the
mastered.

PRODUCTION

production is one
subject of tone
is much
neglected by piano teachers.

Piano

130

this

from

Viewed

Mastery

standpointthe piano

apart from

instrument

every

respects the organ.

some

'cellist
before

flutist has

or

he

quality on
beginner on
he

his

tone

instrument.

the

for

of

to

time

some

musical

good

what

through

go

the
fore
be-

respectablemiddle C; but
can
a totallyunmusical
anybody, even
person,
play middle C on the piano without the least
in tone
trouble.
It is just this ease
tion
producleads to carelessness
at the piano which
of tone produced ; and so piano
to the kind
as
teachers, above all others, complain they cannot
get their pupils to listen to what they are
playing. Pupils should be made to listen,by
of a specialcourse
in tone
means
production,
which

make

violinist,

young

Think

has

violin

an

other, except in

study

to

produce

can

is

can

should

go

exercises

hand
used

in hand
at

the

nical
the tech-

with
very

beginning.

Otherwise
when
and

they imagine they are making music

they place the printed page on the rack,
set the correct
keys in motion.

"There
is

so

is

easy

for the

no

other

to 'bluff' a

character

of

general public often

instrument

largepart
the piano
think

with

which

of the audience
is such

it
;

that the

it fine music

if the

able
Pianists of considerplayer makes a big noise.
reputation often take advantage of this

Edwin
lack

of

discrimination

recital audiences,
seem

correctlythe
"Of

Hughes

the

on

131

the

which, above

part of pianoall the other

diences,
au-

peculiarlyincapable of judging
musical
value of a performance.

hundreds

of

piano

which

recitals

take

place yearly in the musical centers of

Europe, only a comparatively small number
of

are

it

real musical

In

interest.

cases

many

though the players were

merely
known
repeating something learned by rote, in an unpeat
language; just as though I should reI might
in Italian.
The
words
a
poem
after a fashion, but the meaning of
pronounce
seems

most

as

of them

could

I make

RHYTHM

"The

would

be

others

IN

blank

to

understand

PIANO

subjectof rhythm

me

"

so

how

them.

PLAYING

is an

important one,
attention
and more
should be given it. Lessaid that tones
and rhythm are
chetizkyonce
the only things which can
keep the piano alive
solo instrument.
I find in pupils who
as
a
much
to me
come
so
deficiencyin these two
subjects,that I have organized classes in eartrainingand rhythm.
"If pupils have
of
naturally a poor sense
rhythm, there is no remedy equal to practising
with
of
a
metronome,
using this instrument

there

course,

its

in

down

rhythm,
a

results

daily until

torture

of

Mastery

Piano

132

the

abilityto
to

judiciousslowing

mechanical

The

use.

and

measure,

be

must

evident, when,

are

three

count

four

or

the notes

group

of

sense

of

to

piece

correctly,can be taught to any person, if one

has the patience;but for those delicate rhythmic
nuances
required by a Chopin mazurka
Viennese
waltz, a specific
rhythmic gift
or
a
be

must

"Leschetizky says
subjectof technic; I
spoken a dozen
during all the
His

the

possessedby

interest,of

pupil.

little to his

remember

cannot

words

to

time

lies

course,

interpretation,and
consideration
only as a means
of

the

pupils on

me

have

the

on

known

ject,
sub-

him.

in the matter

wholly
technic
and

his having

into

comes
never

as

an

end.

"Leschetizky likes to have the player talk

to him, ask questions,do anything but sit still
and not speak. 'How
do I know
you comprehend
stand
meaning,' he asks, 'that you undermy
what
I am
talking about, if you say
be silent
nothing?' At first a student may
from
but if he is bright he will
nervousness,
soon

him.
Lord

'catch

on,' and

see

Leschetizkysays
made

the ten

what

is

sometimes

commandments

expected of
:

'When
He

the
omit-

Edwin

Hughes

the eleventh, "Thou

ted
If

is not

one

with

time
"As

high school
of Advanced

technical
I consider

The

hundreds

with

has

technical

the

of

but

hard

Joseffy's

use

Piano

of exercises

the

have

stands

is not

found

out

dry

vital connection

problems

been

ingenuity,and

author

book

The

page.

technics

big

have

may

in technic

wonderful

most

musicianship of
every

stupid."

Playing with my
work
leads to the highest possible
development at the keyboard,
it the last word
in piano technic.

pupils. This
and

be

this master.

School

shalt not

quick,one

very

133

vised
de-

the
on

series of

with

all the

in the literature

piano.

teaching,I consider a second piano an

absolute necessity. There
so
are
things
many
in piano playing which
be put into
cannot
trate.
words, and the teacher must
constantly illusHow
teach the interpretation
one
can
for instance, by merely
of a Chopin nocturne,
talking about it. I can say, 'play loud here"In

soft there'; but

toward
One

than

far

do

such

artistic

conception

cannot

indicate

the swell

and

rhythmic

tonal
and

how

an

thousand

by

the

other

nuance

of

piece?
melody, the

a
a

go

the

of

of

things in

livingexample.

directions

groupetto"

any

other

Through

way
imita-

Piano

134

tion

learns

one

reaches

Mastery

rapidly and

point where

the

the

surely,until
wings of one's

one

own

individuality
begin to sprout.
ABOUT

"On

MEMORIZING

subjectof memorizing who can lay

rules for this inexplicablemental
down
ess,
procwhich will hold good for every one?
For
myself, I hear the notes mentally, and know
their positionon the keyboard. In actual performance
much
be left to fingermemory,
must
but one
must
actually have the notes in his
mind
well as in his fingers. Before
as
a
cert
conall my
I go over
mentally, and
program
find this an excellent
method
of practisewhen
To those
travelingfrom one cityto another.
I say, you
who
ous
must
study with me
try variversal
unimethods
of memorizing; there is no
each must
find out by experiment
way;
the

which

suited to his individual

is most

"With

pianistsvisual memory
plays the principalrole

some

printed page
with
on

the

or

memory

keyboard

believe
these
which

others visual

in

of

in

the

orizing;
mem-

of the notes

memory

stillothers ear-memory,
harmonic
progressions. I

the

ways,

is most

of

with

the

making

different
one

case.

pupil
so

familiar

that he

helpful to

may

him.

with

all

find out

Edwin

Hughes

135

"For

I
hands
and
arms
pupils with weak
recommend
simple gymnastic exercises to be
done morning and evening. Physicalstrength

is

very

essential

necessary

technic ; the student

who

thingsmust

it in order

possess

KEEPING

"The

TECHXIC

for

would

IN

brilliant

accomplish big
to

succeed.

REPAIR

pair
keep one's technic in reis to be constantlyworking at it. Technics
is the mechanical
part of music-making;
be
to keep it in good working order one
must
constantlytinkeringwith it,just as the engine

only

way

driver tinkers with

with

to

his locomotive

his automobile.

his technical

In

or

the

feur
the chaufcourse

of

intelligent
pupil will
larly
recognize certain exercises which are particuimportant for the mechanical
well-being
of his playing; from
these exercises he will plan
his dailyschedule of technical practise.
"In
order to keep a large repertoiregoing
at the same
time, one must have a weekly practise
plan, which will allow for a frequent repetition
of the pieces. Those
pieces which have
been
recently added to one's list will require
more
frequent repetition,while those which
have been played for a longer period may
be
left for

an

study every

occasional

brushing up.

Frequent

Piano

136

the

keeping

to

his

in

his

talent

music,

of
we

of

still

to

pupils

of

music

of

piano

study

which

it their

there

is

be

teacher
and

easy

about
music
have

plished
accom-

It

done.

in

America

interesting
Just

these

to

ditions
con-

excellent

very

study
no

musical

have
to

think

America

In

we

such
that

gifts

from

ability.

and

make

average

is still much

the

little

music-making

although

piano

children,

Europe."

ing
grow-

have

life work.

brought

have

to

making,'

moderate

of

methods

the

there

office

make

than

and

who

Europe
and

their

'in

much
the

in

more

music

making

standpoint,

is

toward

CONDITIONS

intending

music

of

those

are

and

mended
recom-

incentive

greatest

people

whereas

profusion

only

be

to

EUROPEAN

many

study

profession;
a

the

as

repertoire

VERSUS

America

'In

else

vately,
pri-

or

art.

AMERICAN

pianist,

up

publicly

everything

is above
to

either

others,

before

playing

Mastery

for

can
Ameri-

counterpart

in

XVII

FERRUCCIO

ARTIST

AN

As

man's

the

with

of

of

footlights, in

the

how

can

privilege

has

opportunity,

an

that

this

times,

with

even

aloof.

most

difficult
I

way

quite

to

see

in

this

to

him

see

me.

to

Not

way,

following

find

to

"While
137

selves
them-

and

the

take

many

hold

his

at

home

quietly waited,
note:

me

and
him

until
am

ceedingly
ex-

only
house

have

might

at

such

thankful

was

call

to

was

man.

Busoni

approach,

wishing

more

told

timate
in-

obtain

who

artists

him

as

is to

clusion
se-

more

granted

when

unannounced,
fortune

good

the

could

been

was

far

the

and

privacy

the

be

tive
execu-

from

artist

it often

those

or

away

one

the

of

difficult

creative

the

gives

home,

it is always

get in touch

to

him

meet

knowledge
Knowing

the

of

environment

character,

interest

deep

To

the

of

and

his

of

surroundings

musician.

glare

HOME

surroundings

matter

AT

reflections

often

are

BUSONI

willing
by

I
not

the

storm

received

fond

of

Piano

138

Mastery

to tea
interviews, if you will come
afternoon, you will be welcome."

is located

Busoni

in

the

handsome

Platz, in the

newer

western

Busoni

Mme.

in

us

as

section

Luise

of Berlin.

arrived, and

who

the

of

corner

Victoria

we

to the master,

us

nook

met

stately Wohnung

overlooking

day
Thurs-

on

rose

from

ducted
con-

cozy

libraryto greet

us.

brought in and our little party,

which
included
a
couple of other guests, was
of French,
soon
chattinggaily in a mixture
German
and
English.
During the sprightlychat I could not help
glancing from time to time around the great
sat, noting its artistic
library in which we
and the rows
of volumes
rows
furnishings,
upon
in their costlybindings,which
lined the
walls.
Johnson
One
Dr.
appreciateswhat
Tea

was

soon

meant

when

shelves

filled with

get
as

near

he

said

enough

the choice

that

books
them

to

of books

he
to

whenever

he

always

wanted

read

indicates

turned
Presently Busoni
composing a rhapsodic on

to

their

saw

to

titles,

character.
me:

American

"I

am

Indian

themes."
"And

he

was

"From

where

did

you

capture the themes?"

asked.
a

very

charming lady, a country-

Fhntii

"

"iinirtulit '"I Tylrr

Ferruccio
of

woman

has

helpfulto

most

of

the

that

in

She

Curtis.

great interest in the idea and

"One

and

139

Natalie

Miss

yours,

taken

been

Busoni

me."

German
are

you

have

accepted an
Spain?"

has

music
about

nounced
an-

papers
leave

to

offer elsewhere

Berlin,
was

"

it

mitted,
leavingBerlin for a time," he ad"and will go to Bologna
perhaps you
in Spain," with a sly side
thought that was
twinkle
in his eyes.
glance and a humorous
ing.
"My offer from Bologna appears most flatterI am
vatory,
appointed head of the great conserbut I am
not obligedto live in the city,
I shall,however, go
to give lessons.
nor
even
I
there for a time, and shall probably teach.
six largeorchestral concerts
ing
durto conduct
am
"I

intend

"

the
absent

season,
as

close up
autumn.
one

can

much

but

aside

this I

from

I wish.

We

can

be

shall

probably
house here and go to Italy in the
our
Living is very cheap in Bologna;
real palace for about
rent
$250 a
a
as

year."
Mme.

Busoni

now

parts of

the

house.

room,

which

invited
We

inspectother
joining
passed to the adus

contains

to

many

rare

old

paintings and quaint old furniture

Busoni
said,with
-"everythingold," as Mme.

prints and

Piano

140

this

In

smile.

Mastery
stands

room

harpsichord,

keyboard and brilliant red

It is not an antique but an excellent copy
by Chickering.
with

its double

Farther

is

on

veritable

case.

made

musician's

den,

with

upright piano, and with a large desk

crowded
with pictures and
On
mementoes.
the walls hang rare
of Chopin
portraitschiefly
and Liszt.
the salon,
came
Beyond this room
with its two
grand pianos side by side. This
is the master's
teachingand recital room, and
here are various massive
piecesof richlycarved
Mme.

furniture.

Busoni

to the elaborate

called

chandelier

attention

our

in old silver,of

quisite
ex-

workmanship, which, she said, had cost

her a long search to find.
several
There
are
portraitshere of the composer-pianist in his
as
a
youth one
boy of twelve, a handsome
"

lad
and

"

his curls, his soulful

bildschon, with
his

big

Busoni

collar.

white

joined us

soon

conversation

turned

was

eyes

in the salon

and

the

to his activities in the

field.

new

"When

you

you

will

and

in London

"Ah,
London;

come

London!

have
and

finished the

play

also," he
I

am

it is beautiful

it to
was

us

rhapsodic

new

in America"

urged.

almost

there.

homesick
I

am

fond

for
of

Ferruccio

America,
some

years;

American

just

You

too.

son

my

citizen.
when

assuredly

play

do

Busoni

know

the

born

was

Yes,
not

yet

will

know,

rhapsodic."

141

lived

there
he

there;
return,
and

for

then

is

an

though
I

will

XVIII

ADELE

AUS

ANOTHER

opportunity

invited
She
the

afforded

was

also

where

city,

so

One

this

her

of

her

in

ears,

artist.

have

not

than

one

The

time

is divided

"I

and

give

of

couple

amount

the

spacious

Ohe,

whose

mode

cated.
lo-

are

German

they

mosphere
at-

sonality
peron

now

count
ac-

wears

her

over

which

playing
studies,"

own

my

almost

no

lessons,
have

never

pupils studying

must

of

between

them.

for

time

artists

down

fashion,

of

portion

true

drawn

Ohe

home.

in America,

softly

composing,
the

der

an

comes
be-

vastly.

time

"My

Berlin

pianistic tours,

Madonna

her

the

remembered

hair

brown

her

of
der

Aus

entering

Aus

home

western

has

various

the

other

on

home

is well

see

in

many

Adele

HOME

Frl.

newer

feels

that

rooms

her

the

in

lives

to

AT

when

me

visit

to

me

OHE

ARTIST

ANOTHER
artist

DER

time

be both
I
142

talented

consider

with
and

necessary

in

cert,
con-

began
for

more

me

at

eager.

for

of

practise depends,

Olie

der

Aus

Adele

on

course,

143

quickness of

general,I may
say four,
five hours
at most
are
or
quite sufficient,if
The
with
used
absolute concentration.
ity
qualIf the
of practise is the great essential.
In

comprehension.

under

passage

is not

consideration

understood,

it will be only
going over
the convain repetitions
struction
; therefore,understand
in the
and meaning of the passage
repetitions
beginning, and then a thousand
ought to make it perfect.
"There
is so much
practisewhich can be
the instrument, by reading
done
from
away
and thinking
the notes
the printed page
from
a

thousand

times

them.

about

Is

this understood

in America?

listen to your

Always
you

make

of

the very

the

on

first

playing, to every note

piano; I consider this point
importance. My pupils are

who
those
are
or
generally well advanced
intend
making music a profession. I have,
taken a beginner. This
however, occasionally
to every note, of trainingthe
point of listening
should

ear,

stand

LETTING

"In
to

be

with

regard

good

tone

HAND

THE

and

FIND

foundation.

ITSELF

I endeavor
not
position,
pedantic. If pupils play
make
can
reasonablygood

to hand

and

narrow

the very

at

Piano

144

Mastery

them

effects, I take

the

at

point

where

they

if the
bring them forward, even
hand
like.
position is not just what I would
If I stop everything and
do nothing
let them
but
hand
position,they will be discouraged
think they are
and
again.
beginning all over
This
tal.
detrimenbeginning again is sometimes
To take a pupil at his present point, and
him
also Liszt's idea.
He
along was
carry
did not like to change a hand
positionto which
the
accustomed
for one
player has grown
which
unnatural, and which the pianist
seems
has to work
a
long time to acquire. He felt

and

are

that

to

try

one's

time

There

be spent to

take
"I

shall

Europe

are

play
the

in America.
have

made

so

many

coming
know

-I

several

sister,who

my

just passed
So

you

see

"However
the

concerts

numerous

under

after

I have

great

have
sad

am

not

fond

progress

quite

much
of

well

lived

be
I

as

there.

circumstances,

zest

are

me,

long
to

America,

you

recitals

shall not

country

and

tours

and

always accompanied

away

but

season,

your

I left it the last time

as

tage.
advan-

more

legitimatepositions,
hand
is a separate study, and
is apt to
natural
the positionmost
to itself.

each

in

could

had

illness.

return.

and

making

mire
adin

Adele

and

music

convictions

work

simply

ask

before

pleases

are

learn

you

not

you

plaud
apnot

are

it is

you

you,

When

it.

to

up

when

you

do

You

to.

like it you

not

Even

so.

say

that

do

you

of

musical

else says

one

critics tell you

If

to

own

admire

not

some

145

the courage

neighbor's opinion

it.

to

have

do

because

Ohe

der

you

; you

the

or

your

afraid

And

art.

your

should,

Aus

only

time
rag-

not

afraid

what

is better

honesty which leads

coming
You
to progressive results.
are
rapidly beis best.
I
to judge what
competent
in
the most
have found
appreciative audiences
It is this

so.

say

you

America."
Aus

Miss

Woman's
Music
Not

woman's

the

over

Our

who

has

located

was

well

Several

some

There
German

of

large

paintings

They

H.

on

all

the

walls

illustrate

herself.

examples
A.

time
are

of

of

composers

sent

in other

originalityhang
home.

for

represented.

this institution

Women

Mrs.

own

Ohe

exhibition

an

country

their work.
been

der

was

in music.

work
all

there

ago

Department

Aus

by

relate of the

to

The

founded

was

much

had

Lyceum.

long

from

Ohe

der

A.
in

of

Beach,

Munich,

branches

of

cities.
size and
of

the

striking

pianist's

religious themes

and

height

of

was

alone;

his

but

the

sister

last

in

Herr

Aus

who

passed

der

the

Ohe,
at

away

the

career.

said
and

of

brother,

only

"Yes,"
brother

work

the

are

pianist's

Mastery

Piano.

146

have

been
and

America,
have

my

art."

mother,

"my

composer,
taken

now

away,

am

since

quite

XIX

SPENCER

ELEANOR

MORE

LIGHT

ELEANOR

her

found

the

noise

look
and

she

seems

of

to

have

secured

comforts

of

German
"I

she

this

years,
seem

to

to

from

windows

and

the

garden,

quiet,

ful
peace-

artist's

an

Spencer

has

keep house,

with

American

an

so

tired

in

home,

velopmen
de-

solved
all the

great

have
so

like

been

the

almost

land,

living in pensions

of

little apartment

said, "and
"I

how

in the

away

Her

court

essential

Miss

there.

city.
grew

took

of

visit

far

traffic.

inner

so

pened
hap-

season,

my

city,

wide

Indeed

problems

the

of

American

apartments

environment

the

coming

during

bustle

upon

first

charming

section
and

out

Berlin

in her

Schonberg

the

for

in

be

to

IDEAS

whose

SPENCER,

is announced

tour

LESCHETIZKY'S

ON

away

foreign
more

to

it

which

so

much

from
cities

like home
I

two

over

have
147

that

ago,"

years

better.
for

America
where
to

me

have

than

only paid

two

nine

lived
my

tive
na-

short

Piano

148

visits

eagerly

But

years.

perhaps you can

looking forward

and
I

nine

those

during

America,

Mastery

am

love

how

imagine
to

coming

my

tour.

"The
in

first

eight years
then

Chicago, and

York.

Here

Mason.

was

Europe

for further

another

master

felt

the

than

firm

need

of

had

one

I have

had
and

do

cannot

labor

to
am

practise 'all my
studies

with

the

I had

long

very

Leschetizky,for I
thorough preparation
is nothing like a
There
rock

build

to

great things without

hard

what

for

ashamed

spare

time,'

to
as

it; though, of
than

one

I have
say

course,

five hours

it.

tained,
at-

so.

leagues
col-

of my

concentration

necessary

practisemore

so

to

to

not

expresses

I went

although
not

New

to

William

fifteen

study, and

more

spent

were

Dr.

yet had.
technical foundation; it is

upon;

cannot

about

Vienna,

to

with

first,it was

at

I went

life

family moved

my

studied

When

before

of my

if

one
one

tage.
to advan-

practisingtechnic
outside
of pieces; I have
always done so and
This
still continue
to do it.
brings the hand
into condition, and keeps it up to the mark, so
that
difficult compositions are
more
readily
within
the technical
the grasp,
and
require"I

thoroughly believe

in

Eleanor

in them

ments

the hand

are

Spencer

When

easilymet.

more

is in fine condition, exhaustive

practisein pieces is
much

149

and

wear

tear

of

not

necessary,
force

nerve

nical
techand

is saved.

this technical

In
hour

but

or

practise,to which I give an

daily,I use very simple exercises,
contains some
principleof touch,

more

each

one

movement

or

and

thumb

tone

; staccato

and
of the

condition.

under
or

various

technic

hand;

Hand
different

clingingtouch
other

over

forms

;
are

thumb

qualitiesof
scales,arpeggios
used.

Part

study period is always given

to

Bach.
"I

Bree,
before

began
to

my

studies

in Vienna

get the preparatory

with

Mme.

foundation, but

her lessons with those of

long combined
the professor,and later went
to him
entirely."
"Just here I should like to mention
a trifling
in
understood
not
one
point, yet it seems
America
by those who say they are teachers
of the Leschetizky method.
These
teachers
claim
that the professor wishes
the fingers
placed on a straightline at the edge of the
cases
keys, and in some
they place the tip of
of its key, so that it exthe thumb
in the middle
tends
considerablybeyond the tips of the other
fingers. Is this the position taught by the
Vorbereiters, or favored by Leschetizky?"

Piano

150

Mastery

out
merrily.
rang
of the
first I have
heard
ever

Spencer'slaugh

Miss

is the

"This

Such

seem
position must
strained and unnatural.
Leschetizky, on
contrary, wishes everything done in the

idea!

natural

easy,

very

way.

Of

at

course,

the
most

first,when

seekingto acquirestrength and firmness

and fingers,one
of hand
must
give time and
thought to securing an arched hand and steady
these confirst jointsof fingers. Later, when
ditions
have been
thoroughly established, the
hand can
take any positionrequired. Leschetizky'shand often lies quite flat on the keys.
has a beautiful piano hand; the first joints
He
of the fingers have
so
long been held firmly
curved, that they always keep their position,
what
he is doing; if he only passes
matter
no
is in
his fingers through his hair, his hand
shape.
teacher!
"Leschetizkyis indeed a wonderful
divine how
to be reThe player,however, must
ceptive,
how to enter into the master's thought,
one

or

is

it may

understand,
may

suffer
I

lessons.
Those
most

who

hard

go

nor

grasp

the

master's

terriblyduring
have
are

illuminative

If he

him.

with

the

witnessed

equal

to

the

instruction.

does
words

ordeal
such

situation

of

not

he
the

scenes!
receive

Eleanor

"I

devoted

so

work
I

I do not

trust

being

Spencer

enjoyed with

wish

exclude

to

think

their ways

and

other

masters

see

so

the

much

ideas, that,

schools.

most

in art

me,

seem

pleasant
un-

dread

good
to

that

master

I should

one

in, the

and

of

one

beautiful

great and

enthusiastic

venerated

of traits,and
of.

impression of

my

narrowness

be accused

the

give you
to, and

151

to

in others,
all

very

things
closely

related.

MEMORIZING

"How
first

play

do

it

over

familiar

memorize
a

with

few

unless

very

learn both

times

to

become

what
some-

or

take

and

two

measures

each

intricate;sometimes
hands

shape. Then
study it,committing it

its form

begin to analyze and

by phrases,or ideas, one
I do not always
time.
I

composition?

together.

It is

hand

at

alone,

it is easier
a

to

good thing

line, to build each

study out the melodic
phrase, to work with it till you get it to suit
the larger proportions,the
Then
come
you.
big climaxes, which have to be thought out
A composition
and
prepared for in advance.
that you can
should be so thoroughly your own
tion.
play it at any time, if your hand is in condiOr, if it has been laid aside for a long
to

Piano

152

time,

subjectof

"The

overlooked

often

repertoireshould
lines.

broad

on

days should bring it back.

forming a repertoireis one

of

couple

Mastery

be
A

of the

works

of

The

comprehensive and
pupil intending to

professionshould
piano,not only the

music

understood.

not

or

built
make

know

the literature

small

and

unimportant
(as is too

the great composers

case) but the big works as well. If

well grounded in the classics at an early

the

often

is

one

great benefit afterwards.

it is of

age,

AND

VELOCITY

gaining power,

heavy

POWER

"For

chords

of five notes

beneficial;combinations

are

very

that take

fingersare most useful.

"The
principleof velocityis the doing away
all unnecessary
with
movement
raising the
But
fingersas little as possible,and so on.
in early stages of study, and at all times for
in all the

"

slow

be

must

"I
years,

me,

raised.

gers
clearness,the fin-

Leschetizky

is

great

solutel
fingeraction; he holds it to be abfor fingerdevelopment.
necessary
have been concertizingfor the last three
This
does
and
not
studying alone.

believer

mean

and

exactness
practise,

in

I have

but

learned

only that

all the masters

I have

come

to

can

teach

placewhere

Eleanor

felt

what

is

had

in

have

we

No

find

to

master

movement.

which

and

think

has

not

is

also

There

hagen
on

the

recitals

Miss

for

has
her

musical
success

there.

in

but

has

with

work

I
of

in

ica.
Amer-

Staven-

by
which

only

brilliant,

played

new

chestra
or-

by

short,

and

is

enjoy

greatly

course

elty
nov-

ing
play-

shall

with

on

received

singing

America,

been

and

England

tone,

play

and

to

the

the

best

continent,

commendation

plastic

She

temperament.
in

that;

us

Concerto

quite

appeared

everywhere
pure,

out

well."

as

Spencer

orchestras
and

side.

orchestra,

with

various

other

is

orchestra,

and

piano

for

yet
a

is

charming

is

It

teach

considerably

There

season.

work

must

alone.

play

Rimsky-Korsakow
one

153

can

ourselves

probably

next

that

alone,

go

me.

shall

"I

to

Spencer

is

win

touch,

certain
hosts

to

of

and
have

friends

XX

HOCHMAN

ARTHUR

infinitude
Arthur
in

artist

depicts

them

is

capable

of

tonal

ideally
to

beauty
"The

the

to

Inability
points

the

should

An

artist

the

composition

deeply

imbued

so

phrasing

and

the

meaning

of

all this

forth

often

tonal

of

cause

its

piece.
154

shading.
these

of

artistic

two

failure.
his

make
and

plays,

spirit,that

dynamics
the

and

thoroughly
he

in two

lacking

importance

which

with

the

most

understands

phrasing

"

the

grasp
be

may

respond

instrument.

essentials
to

of

variety

will

as

The

canvas.

who

bring

pianist is

modern

important

keys

"He

keyboard, just

wonderful

an

pianist,

playing.

the

upon

and
the

from

the

musician

true

awaken

at

have

Russian

piano

its

and

shading,

should

palette," remarked

young

about

paint pictures

piano

his

on

the

chat

recent

should

how

colors

of

TONE

EMOTION

painter,

Hochman,

the

like

PIANIST,

COLOR

AND

ACTION

WITH

"A

CAN

PIANIST

THE

HOW

he

be

will

which

best

When

he

own
so

know

express

has

risen

Arthur

heights,he

such

to

Hochman

is

155

law

to

in the

himself

marks
what
phrasing, no matter
stand
As
the printed page.
a rule
may
upon
the editing of piano music
quate,
is extremely inadethough how can it reallybe otherwise?
How
is it possible,
with a series of dots, lines,
dashes and
accents, to give a true idea of the
It is
interpretationof a work of musical art?
tween
not
possible;there are infinite shadings bevarieties
piano and forte numberless
of touch which have not been tabulated
by the
of

matter

"

schools.
and

Great

d' Albert

editors like
have

classics clearer

done

and

"Four
who

They
and

things

would

are

make

are:

artistic

FOR

artistic

an

Variety of tone
phrasing; True
Colors

some

beautiful, the

so

red, for instance

warm

make

browns, and
as

wonderful

selves
they themgradations of
be expressed

PIANISTS

for

necessary

magnetism.
are

the

words.

into

put

never

can

REQUISITES

FOUR

make

to

million

are

tone, which

by signs nor

much

the student; yet

to

realize there
touch

Biilow, Busoni

von

mean

then

the
in

success

pianist
public.

color; Individual

feeling;Personal
so

much

various

to

shades

me;

of

the

soft

golden yellows, rich,

We
can
liquid blues.

combinations

with

them

as

Mastery

Piano

156

paintersdo. ,To me dark red speaks

mysterious."
something tender, heart-searching,
the

ever

of

Here

Hochman

Mr.

his

piano with an expressivefragment

deep feeling. "On the other hand, the
of yellow express
ness";
gaiety and bright-

at the

words
full of

shades

here

the

illustrations

fire,in crisp,brilliant
were

illustrated

all life and

were

colors

Other

staccatos.

represented.
just as effectively
"What
I have
board,"
just indicated at the keycontinued
the artist,"givesa faint idea

of what

can

I feel that

why

their art,

of

be

or

done

with

tone

pianistswho
do

not

coloring, and

neglect this

this side

see

of

side

it,are

beauty. I could name

missing just so much
in the world of music
one
a great name
pianist,
with an
a
man
absolutelyflawless technic,
yet whose playing to me, is dry and colorless ;
it gives you
ideas, nothing you can
no
carry
"

it is like water

away:

Another, with

water.

"

great variety of tonal beauty, gives me

pictures of
Gabrilowitsch; he is for me

ideas

"

many

MAKING

"In
I do

the

my
not

own

work

loudest

tone.

note,

as

is

PIANISSIMO

playing,when
to

name

the greatest pianist.

CLIMAXES

up

His

many

climax
most

I color

and

make

phrase,

pianistsdo,

that

but

Hochman

Arthur
rather

the

of the

soft note

lyric playing.

to

Here

mean.

is

crescendo,

as

you

which

might expect

instead

been

taken

of two

the

the

loudest, you

sharpness has

it,the thing you

of

up

highestpoint,

to be the

it is soft:

measures,

I build

at the

and

what

you

melody.

see,

that
out

show

fragment

soulful

find

phrase; this applies

will

containinga
you

157

did not

happened; and so there

surprises, tonal surprises tone
has

constant

are

colors

"

pect
ex-

not

for.

looked

generally thought

is

"It

should

attend

recitals and

many

study

pianist
the effects

trary,
by other pianists;I, on the confrom
I gain more
hearing a great

made
feel

The

singer.

that

human

instruments, and

voice

is the

greatest of all

the

player can have no more

convincing lesson in tone production and tone
obtain
from
listening
coloring,than he can
to
a
singer. The
pianist
great emotional
should
will

hear

learn

great

DO

NOT

for there

of opera,

he

of color, of effect,light and

much

shade, action and

WE

deal

emotion.

WANT

CUT-AND-DRIED

PERFORMANCES

"The

have

third

said, is

requisitefor
true
feeling.

the

pianist,as

I have

no

sympa-

Piano

158

Mastery

performance, where
dry, mechanical
effect is coldly calculated
beforehand,
every
and the player always strives to do it the same
How
he always play the same
can
way
way.
he does not feel the same?
when
If he simply
seeks for uniformitywhere does the inspiration

thy

with

in?

come

"The

artist will

true

time

performance. At one
tender, melting mood;
exalted

or

He

one.

give a

never

at
must

he feels,and

he will be

performance

and

he

be

may

another
be

mechanical

in

free to

in

daring
play as

artist

to
enough never
The pianistwho
plajTswith
overstep bounds.
true
never
play the
feelingand 'heart' can
same
composition twice exactly alike, for he
feel precisely
the same
twice.
This,
never
can
of course,
applies more
especiallyto public

"Another

essential

much

be

and

kept

closed

and

DISSECTION

to

take

it

OF

no

piration
Resmatter

is exerted.

all difficult passages,

through the nostrils,as

"Yes, I do

control.

natural,

physical strength

fortissimo and
must

others.

is breath

be easy

must

how

playing for

the

In

lips

respirationtaken
always ought to be.
DETAILS

great deal of teaching,but prefer

only

such

pupils as

are

intelligent

Hochman

Arthur

advanced.

and

With

hand

about
ends

the

of

hand,

are

all relaxed.

am

immensely

each

In

it is then

for

lights,and
intended

was

in

Russia,

studying

seven

Scharwenka,

then

and

But

others.

learned

from

is himself.
work
have
the

and

appeared
largest

Mr.
in

composition.

expected

and

later.

man's

done

recital

Stavenhagen

greatest
great

playing
the

Xaver

all that

has

one

Berlin,

with

years

tors,
ac-

first.

the
to

came

d' Albert,

when

cities of

Hochman

published

eight
with

mastered,

pianist from

or

lyzed.
ana-

setting, the

colors!"

afterward

with

and

the

have

and

is dissected

about

particular

stage

others,

shoulder,

composition,

the

for

The

otherwise

the

all is understood

ready

the

Born

and

careful

When

firm, but

teaching

ticular
par-

very

touch.

from

arm,

Everything

note.

"I

be

am

and

position

and

wrist

pupils

fingers must

the

159

in

leading

deal

be

can

teacher
of

Europe,
orchestras

cert
con-

and
in

America."

has

done

Numerous

doubtless

considerable
songs

larger

works

work

have
may

been
be

XXI

TERESA

TECHNICAL

EARLY

and

remember

it

it

"

whole

is

Carreno

"

loved
her

the

across

and

conscious

her

round

red

sash

she

During
recalled

the

than

she

and

manner

sat

she

as

of
at

her

but

playing
air

bored
lalike

play

to

buoyancy
the

wrists, and

and

piano;
the

"

Carreno,

Mme.

amused

incident, which

above
memory
you

that

in the

days

the

with

talk

recent

conversation

mastering

stage, her

arms

wore!

especially the
assure

able

her

as

first time

longed

gracious

mastery
white

be

to

as

fire, enthusiasm,

How

it

only

not

of

I was,

the

playing

charm.

appearance,

walked

The

Teresa

fascinated

full

so

imitate

to

now

her

was

brilliancyand

"I

how

girl, with

that!

ful
youth-

ever

again."

well

heard

"That

fascinating pianist,

us

young

TRAINING

critic remarked,

MUSIC

with

CARRENO

then

piano,

of
at

when

the

sash.

heart

turned
with
160

feel

no

her,

older

it," she said.

wore

to

questions

particular

reference

of

TKKKSA

CAKKKXO

Teresa

to

remarkable

the
"The

was

said.

"I

loved

began

to

pick

little

161

of the artist herself.

began my studies at a very

great advantage to me," she
the sound
of the piano, and
I

bits

out

than

more

began
nine

technic

fact that

early age

Carreno

of

three.

when

tunes

At

six

and

was

half

study seriously,so that when I was

was
playing such pieces as Chopin's

to

Ballade

in A

the utmost

flat.

Another

advantage

ideal

teacher

loved

the

in

to

fact which

me

father.

my

that

was

He

of

was

I had

an

that

saw

piano, and decided I must be properly

was
taught. He
passionately fond of

music, and

if he

had

been

not

statesman,

laboringfor the good of his country, he would

He
undoubtedly have been a great musician.
developed a wonderful
system for teaching the
do
piano, and the work he did with me I now
with
thing he invented
pupils. For one
my
series of stretching
and gymnastic exercises
a
which
for me,
are
splendid;they did wonders
and
them
I use
teaching.
constantly in my
But, like everything else,they must be done in
beneficial.
the right way, or they are
not
580

"My
technical

father

EXERCISES

TECHNICAL

wrote

out

for

me

great

exercises; to be exact, there

were

many
580

Piano

162

of them!

Some

Mastery

consisted

of difficult passages

the great composers

from

hand

written

for

for two

hands,

amount

of work

had

one

"

which

"

that each

so

do.

to

them.

These

he would

hand

Thus

equal training,and

between

perhaps originally

580

arrange

had

the

both

find

same

hands

my

difference

no

exercises

took

just

three

days to go through. Everything must

be played in all keys, and with every possible
cato,
legato, staccato, half-stacvariety of touch
"

and

so

(Think

of

teachers

ye

time

to

also, with

on;

ing."
shad-

of

drill in pure
technic, O
students, who give little or no

such

and

such

all kinds

outside

matters

of

etudes

and

pieces!)
"Part
shown

of

how

my
to

training consisted
I
criticize myself.

listen,to be critical,to judge my

for

what
The

if it
was

not

was

the

much

can

of

the

and

matter

earlier this

attribute

to

up

be
my

correct

being

learned

must

it

see

myself.

the better.

subsequent

to

work;

own

mark

learned

in

success

I
to

ability. I still carry out this plan, for

there on
the piano you will find all the notes
and
for my
coming recitals,which I work over
of
take
with
me
everywhere. This method
study I always try to instil into my pupils.
this

Teresa
I tell them

one

any

the

piano, but
speak! I can
them; the

only
they must

I learned

to

amount

for

for themselves.

do

teacher

zealous

my

transpose,
father

My

me.

was

'You

can

if you
doubt

insisted

the

to

spur

"With

etude

must

never

do

key

for my

be

also

play

to

an

father.

I could

perform

doubt
This

play
and

and

it in the

I did!

exercises,I had

great deal

say,

ambition

I could

key;

seem

merely

fire my

other

all the technic

also;

many

of

Each

Czerny.
transposed, for it

would

twice

same

etude
So

I may

at

all,I

in the
that

say
was

able to

ever
what-

play

key.

"For

then

one

So

year

I had

less than
22.

it

teacher; he

tactful
would

him

pride: I would show

key of D, or in any

in any

did

play this in the key of C, but I

can
play it in the key of D.'

was

etudes

natural

so

but

commanded,

never

Op.

piano

transposing. I absorbed this idea

when
unconsciously,and hardly know

almost

and

certain

the

make

to

on

TRANSPOSING

OF

item

lot of noise

was

upon

to

them

do

VALUE

163

make

can

I want

rest

"Another

Carreno

my

did

nothing

but

first piece,which

was

technic,
ing
noth-

the
you

Capriccio of Mendelssohn,
I had been well grounded
see

164

I have

indeed

these

so

days

been

gratefulall my
which

we

hear

of

methods,

new

many

Mastery

foundation

thorough
In

Piano

so

was

many

life for the

laid for

me.

'short cuts,'

mechanical

and

wise,
other-

studying the piano; but I fail to see

they arrive at the goal any quicker, or
thorough musicians than those
any more
wellcome
by the royal road of intelligent,
of

that
make
who

directed

hard

Asked

how

the

least

Mme.

work."
she

expenditure

Carreno

"The

obtained
of

great power

with

physical strength,

continued:
of

secret

power

lies in relaxation;

or

This word,
is relaxation.
might say, power
You
however, is apt to be misunderstood.
tell pupils to relax, and if they do not understand
laxation
Rehow
and
when
they get nowhere.
the
does not mean
to flop all over
rather, to loosen just where it
piano; it means,
is needed
else.
and
For
the heavy
nowhere
I

chords

in the

arms
Tschaikowsky Concerto
my
are
absolutelylimp from the shoulder; in fact,
I am
That is why
I have arms.
not conscious
the slightest
I can
play for hours without
relaxation, for
fatigue. It is really mental
one

has

to

first before

hands,

We

think

it; it

it

be worked

can

have

must

to think

be
out

it and

in the
in

mind
and

arms

then

act

it.

Teresa

Carreno

165

"This

pressed
qualityof my playing must have imBreithaupt,for, as you perhaps know,
it was
after he heard
me
play that he wrote
his famous
book
on
'Weight Touch,' which is

dedicated

to

of this

work, by the way,

the

on

have

first.

told

is the result

referred

the

is

she

closelythe

am

mind

to

and

resembles

This

Rubinstein.

London,

to

it

As

of

being
piano.
as

"and

little incident.

taken

was

of

cians
musi-

relaxation."

artist's hand

answered,

hand

ment
improve-

an

specialquality of
convinced
this quality

exceptional adaptabilityfor the

"Yes,"

tion
edi-

of controlled

to

revised

artists and

Many

I have

me

tone; if this is true

and

second

me.

on

brings
child,

small
one

occasion

of Rubinstein; he was
played in the presence
troduce
inunder
his wing, and
delighted,took me
all about as his musical
me
daughter.

afterward

Years

located

at the old

housed

so

at

lunch, my

Clarendon
of

men

many
aunt

to

came

we

and

York,

and

Hotel, which

has

New

The

note.

seated

were

first
at

mostly occupied by elderly ladies,who

at us
a
shy slip of
curiously. I was
and
to raise my
hardly ventured
eyes
the
sat

first look
a

around

gentleman.

the

room.

glanced

at

day

table

stared
a

girl,
after

Beside
his hand

me
as

it

Piano

1GC

rested

closely;how

much

hand!
the

looking
We

and

Klind

work

said

of

he has

himself,

should

We

he

has

"I
time

wonderful.

being

Your
a

do

play

discover

heart

and
you

the

is

from

it is because

American
is

have

commercial

and
so

each

here
far

is very

think

in music

and

much

mercenary

great deal of idealism

is the very

great service

America,

country

know

progress

in this work.

development

Europeans

not

in

how

musical
This

spirit. If

they

love to

filled with

Goethe

Klindworth"

the

for

in his editions

pianisticworld.

The

grown.

of

of

wonderful

As

monument

him

the

come

say

Biilow

von

can

pianist,

friends

good

Chopin!

braced
em-

ladies!"

of the

and

to

He

!
and

accomplished

own

revere

always
I

we

his

done

turned

"What

has

Beethoven

carved

slowly up

observing

"Both

Klindworth
of

he

commented.

stein's
Rubin-

of

me

life,mentioning

worth.

she

mine,"

then

more

Rubinstein

was

all those

of its musical

and

looked

Berlin, the home

of

spoke

it

"

me;

before

me,

traveled

eyes

face

at

then

"

it reminded

My

gentleman's

was

is

table

the

on

Mastery

at

marvel!

here, and

home.
There

idealism

soul of music.

"I feel the artist has

such

beautiful

calling

Carreno

"a

see

the

glorious
the
ideal!"

beauty

message
and

to

167

educate

"

grandeur

of

his

people

to

of

art
"

XXII

WILHELM

BACHAUS

do

"How

The

German

question
close

hand,

lightly

the

grand

pianist

technical

his

ran

point

would

answer

point,

Then

make

just

want

to

"I

piano

in

and

as

general

or

has
I

sit

just
could

the

about

apt

than
to

to

sometimes

seat
most

sit too

been

taken

show

you

168

want

another.

try

are

it.

want

will, if I

it at

lower

working

"

as

or

them

produce

it

get

fingers

talked.

he

effect; but

same

particular

stool

repairs,

the

change

piano,

reproduce

can

am

who

until

stood

time,

to

as

say

this

piano

time

from

keys

some

the

over

the

spacious
when

York,

listening, criticizing, judging

by

tain
ob-

Bach-

his

in

Ritz, New

and

its

over

illustrated

seated

asked.

was

at

"In

the

at

apartments

which

artist, Wilhelm

comfortably

was

effects

piano?"

young

aus,

the

produce

the

from

DISCUSSED

PROBLEMS

TECHNICAL

out

how

at

use

amateurs,

high.
for

low

My
a

few
it is.

WII.HKI.M

HACHAT-S

Wilhelm

Then

Bachaus

169

old-fashioned

lieve
enough to still bein scales and
of the
arpeggios. Some
to have
no
players of the present day seem
for such things,but I find them
of great
use
importance. This does not necessarilymean
that I go through the whole
set of keys when
I practisethe scales; but I select a few
at a
I

am

time, and

work

simple
and

thumb,

forms

the

under

way,

with

I start

just

"

the thumb
each

movements

those.

at

hand

lously
ridicuthe

over

the hand

"

especiallyfor

few

gios.
arpeg-

The

principleI have referred to is the

doses
of this remedy,
difficult point; a few
however, bring the hand up into order again."
The
the
to
pianist turned
keyboard and
illustrated the point very clearly.
"As
considerably
see, I slant the hand
you
the keys," he said,"but this oblique posiacross
tion
is

the hand

comfortable, and

more

itself to the intervals

to

or

Some

may

the

passing

think

stick

much,

but

means

the scale becomes

don't

care

twice

have
a

to

week,

overhaul
to

see

smooth

that

the

in scales.
elbow

too

that, if by this

for

my

commodate
ac-

of the arpeggio,

thumb

out

ONE'S

OVERHAULING

"I

of the

can

and

even.

TECHNIC

technic

once

everything

or

is all

Piano

170

and

right
"

in

come

of

in

them

touches, but

scales

share

of

legato,

and

and

tise
prac-

in

that

legato,as

difficult and

arpeggios

criticism.

staccato

in

mostly

more

other

is

what
some-

beautiful

more

than

others.

the

have

"Perhaps
for
it

stays with

kind

of

natural

it to

offer

never

and

perfect
the

the

Of

would

not

too

much

An

artist
self
him-

public to keep

condition

"

for

he

but

the

public anything

best.
at

others have
to
laboriously as some
I practise technic
However,
daily, and

do.

it

to

mean

say

have

must

work

only

I do

that

d' Albert.

part of the work.

any

in

up

has

so

easily,

has

Hoffmann

me.

tude
apti-

it

acquire

to

it to himself

owes

called

natural

practisetechnic; I
lapse; I love the piano

neglect

to

be

might

could

technic;

I have

course

that

it, so

and

allow

what

technic; that is I have

natural

the

course

their

for

Mastery

not

to

as

add

that I find

time.

day

to

can

When

on

it,not

more."

Speaking
Bachaus

"Why,
and

tour

the

of

do
I

great deal in

try

action

to

give
of

one

will

short

hour

fingers, Mr.

continued:
yes,

wherever

raise

necessary

ringers

my
"

no

more.

whenever
Do

you

Wilhelm

know

Breithaupt?
technical

such

of

holding

for

the

down

of

sense

in this

fingers

they

rhythm

As

vate
cultiing
lack-

are

I sometimes

difference

and

the musical

the

always

not

are

it to

the

see

lifting
do.

who

in those

particular sense.

the mechanical

and
I

of

approve

approve

ing)
(illustrat-

practise,but
I

to

not

these

as

some

rhythm

myself, just

171

he does

exercises

metronome,

the

"for

Well,

technical

others, for

it

Bachaus

use

between

rhythm
by

same

any

means.

"Do

know

you

Brahms?
as

I
see,

you

think

great deal

them

carry

of

Exercises

around

of

them,

and,

with

me;

they

excellent.

are

ask

"You
are

when

about

me

for

easy

time

me

they

course

tire the

were

work

are

hand.

octaves.

It is true

but

remember

difficult.

not

little at

octave

is

good

to

they
the

only

them.

small
nor

ternati
alOf

hands;
over-

time, in frequent
to

work

develop

wonders.

wrists

for

playing.

"You
That

boat

at

strain

to

doses, ought in six months

Rowing

The

difficult for

taken
A

can

constantly

more

be

must

care

now,

they
is to

so

Technical

these

ask
is

if I

very

can

tell how

difficult

I obtain

question.

Why

power.
does

Mastery

Piano

172

child

swim

almost

immediately,
it for a long time?
while another cannot
master
To
the first it comes
naturally he has the
it is just so with the
knack, so to speak. And
It certainly
is
at the piano.
qualityof power
due to physique, nor
not
to brute
strength,
one

learn

to

"

else

only

the

it is the

No,

power.

athlete

would

have

'knack,'

the result of relaxation, as

you

sufficient
rather

or

it is

suggest.

subject of velocity. I never

I
do.
work
for that specialthing as some
terfere
seldom
practisewith great velocity,for it inI preferto play more
with clearness.
ness
slowly,giving the greatest attention to clearand good tone.
By pursuing this course
it.
I need velocityI have
I find that when
"I am
no
pedagogue and have no desire to
be one.
I have no time for teaching;my
own
work
fill all my
studies and concert
days. I
both teach and play
do not think that one
can
teaching I should no
successfully. If I were
cizing
doubt acquire the habit of analyzing and critiof others; of explaining and
the work
showing just how a thing should be done.
"Take

But
not

play

the

am

not

always

know

'as the

bird

song.

critic
how

nor

teacher,

produce

to quote
sings,'

an

so

I do

effects.
old

man
Ger-

Willielm

Bachaus

MODERN

MacDowell

"Your

music,

MUSIC

has

in

minor,

pieces and the Sonatas.

there

concertos

There

not

are

minor

in G

Saint- Saens

by Neitzel,
I do

work;

America.

side, and
present

it is

This

tour.

second

which
Berlin.

is

is also

it has
it

certo
Con-

interesting
been played

most

that

the

on

here
is

other

during
fine

my

work,

put his best thought,

was

and

honored

guest

Brahms

himself.

orchestra,and

which

York

the New
of

Von

Brahms

phony,
Sym-

memorable

soloist
Biilow

event

days
which

the

was

conducted

played his

the

Bachaus

Mr.

student
during my
a
specialconcert, at

occurred
It

with

reminded

was

eloquent reading of

Concerto,

afterward
I

the

CONCERTO

I listened to the

soon

Rubinstein, and
There

has

BRAHMS

Brahms

piano
quite true.

power."

feelingand

As

of

Concerto

the author

short

the MacDowell

played
bring it out

I may

into which

gave

many,

have

with

the

of

for modern

which

recall

not

familiar

am

As

minor.

nice

some

some

is the Rachmaninoff,

mentioned, the D

in

written

pretty music; I

some

Concerto

his

PIANO

173

second

in
the

great
the
Con-

Piano

Mastery

Hamburg

master

174

The

certo.

in
his

the

touch

dry

he

but

the

sat

at

his

long

laurel

first

wreath.

to

study

ought
"In

to

the

have

to

studying

orchestra,
but

all

the

is

doing.

orchestral
me."

must

other
I

such

so

end
a

came

this

he

had

episode

in

counseled

Americans

vogue

here.

work,

for

know

only

parts

always

score,

not

then

appreciate

great

no

Concerto

The
and

was

Brahms

work.

admire

there

later.

Richter;

Hans

and

performance

and

days

the

he

as

head

mentioned

few

played

beginning
he

cheering,

figure

his
;

and

commendable

grand

course

and

under

Vienna

his

enthusiasm

Bachaus

Mr.

with

Of

with

imposing

an

piano,

applause

"I

me

made

immense

huge

work

term:

hard

somewhat

was

the

beard.

aroused

to

piano

played
and

dexterity,

of

the

tuoso,
vir-

the

of

acceptance

present

on

not

was

my

each

what

are

Brahms;

piano

and

part

own

instrument

"

study
that

concerto
can

see

with

it

all

the
fore
be-

XXIII

AND

AMERICAN

AMONG

held

has

in

musicianship
A

rank.

high

he

years

teachers

American

takes

effort
left

its

impress

of

students

made

and

American

of

It

whole

ing.
playscientious
con-

have

must

rising

tion
genera-

this

country,

in
and

is

advancement

of

study

Lambert's

be,

willingly

of

the

living
whom

high

for

aim

player;

unwillingly,
the

hand
175

ing
work-

flattery
render

nor

in

ever

sound

those

and
no

and

who

view.

thorough
under

come

Scales

supervision.
or

native-born

influence

can

escaping

no

aims

teacher

the

to

have

to

gain

of

indifferent

Mr.

and

thorough,

lines

progress

high

such
us;

love

course

these

teachers

much

of

There

of

sound

of

art.

among
nor

teaching

the

and

the

means

teacher

of

along
upon

for

standard

century

bert
Lam-

twenty-five

over

the

art

of

Alexander

For

aloft
the

quarter

TEACHERS

EUROPEAN

the
must

must

daily
be

bread

put

in

Piano

176

good shape,
the

the

firm,
fingerjoints rendered
body supple, before pieces
Technical
tinue
constudy must

and

arms

Mastery

thought of.
hand
in hand
along the whole course,
with
sake,
piece playing; technic for its own
outside
the playing of compositions. And
Is the technic of an art ever
why not?
quite
are

finished?
shelf

and

''Have
aims

of

in

kept
you

not

be

ever

considered

be

always

it

Can

laid

complete? Must
working order?
seen
changes
many
in the conditions

students, and

the

on

away

it not

in the

of

piano

York, during the years you

teaching in New
have taught here?" I asked Mr. Lambert, in the
of

course

"Some

conversation.

recent

changes, it

answered;

"but

I must

also

say

that

attending piano teaching

are

peculiar. We
here, teachers

anywhere,

and

artists.
teacher

in

that

or

not

the

he

are

Yet

seen," he

is true, I have

have

some

who

can

in

the

America

excellent
hold

ers
teach-

their

capable of producing
let a pupil go to the

this country, and

she is still

the

ditions
con-

chances

own

ished
finbest
are

ishing'
to 'finlooking forward
with some
European artist. They are
satisfied until they have secured
eign
the forthis is true of
stamp of approval. While
advanced
in evimore
pianist,it is even

Lambert

Alexander

in

dence

player. He, too, is

the 'superior advantages,' as he
European study. He may have

the

mediocre

of

dreaming

calls them, of
foundation

no

able

he must

ask

is

think

able

have

we

as

be

even

still thinks

correctly,but
students
here

little difficult to

not

may

"

if I

fully believe
as

upon

good instruction

as

That

scale

abroad

go

"You

just

to build

play

to

177

Europe?
I

off-hand.

teachers

the

on

any

in

as

answer

some

obtain

can

other

in America

side; in

some

they are better. For one thing they are

I
morally better
repeat, morally better.
another
For
they are more
thorough: they
take more
interest in their pupils and will do

ways

"

them.

for

more

When

such

found, he certainlydeserves
and

gratitude of

alas, he
After

seldom

he has

fashioned
student

him

into

is apt to

master!'
to

afterward.

coming
of

American

say:

'Now

"

may

the other
who

the greatest

But

have

abroad

I will go

that famous

or

anything

to me,

student.

is the result?

On

deep respect

gratitude.
everythingfor the pupila
well-equipped artist,the

this

What

the

is

experiences the

done

for lessons with

amount

the

teacher

European

He

never

be

heard

hand, I have
been

years

foreign masters,

never

may

of

pupils

with

yet who

some
are

Piano

178

full of faults
me

years

of them

come

with

tense

POWER

"How
with

Some

it takes

positionand condition
and
body, with faulty pedaling, and
lack of knowledge of some
of the fundamental
principlesof piano playing.

arms

with

kinds, faults which

to correct.

touch, with

hard
of

of all

Mastery

do

WITHOUT

teach

little effort?
Your

EFFORT

them

to

Relaxation

acquire
is the

power

whole

is

really quite heavy, it

Act
this principle
on
weighs considerable.
then: let the arms
fall with their full weight
the keys, and you
will have all the power
on
and
rounded
you need, provided the fingersare
secret.

firm.

That

arm

is the

other

half

of

the

secret.

fingerjointsmust be firm, especiallythe

third joint. It stands to reason
be
there can
this jointis wavwhen
no
ering
no
brilliancy
power,
and wobbling.
"I
teach
arched
hand
position,and, for
children and beginners,decided finger action;
the fingers are
to be raised, in the beginning,
though not too high. Some teachers may not
teach finger action, because
they say artists do
not use
it. But the artist,if questioned,would
tell you
he had to learn finger action in the
beginning. There are so many
stages in piano
The

Alexander

The

playing.
in

order

good,

enough

less

sufficient

the

scarcely
do

the

respond

fingers

though

compositions.
of

study
ever

Part

of

and

Bach.

wrote

for

I
the

Inventions,

Well-tempered
and

insist

scales

they

use

piano;

Clavichord,

arranged

the
and

Two

edge
knowl-

and

English
the

by

not

difficult

and

and

with

do

everything

almost

ished
fin-

ment.
require-

thorough

arpeggios,

French

Fugues,

it

thoroughly

who

me

has
same

more

playing

are

on

the

mental

to

come

he

played
so

every

perform

the

be

motion,
to

pupils

scales,

in

may

perceptible

any

"Sometimes
know

passage

fingers
and

play

still

while

his

stage

to

and

action,

clearness

stage

middle

control

finger

with

raise

development

the

In

179

must

finger

touch.

clear

passage
with

beginner

acquire

to

secured

Lambert

organ

Liszt."

serious
Bach

Three

Suites,
ludes
Pre-

THE

SCOPE

EACH
for

plays

experience,

life.

Such

truth

and

heights

She

is

explain
as

well

well

as

experience,
and

"The
see

the

that

thing
hand

the

the

and

the

second

when

the

fingers

be

to

is in

are

of

be
the

properly
180

Art.

on

able

of

rich

cerity
sin-

deepest

speaks,

to

talk

to

she

as

for

is to

pupil
I

position.

correct

joint

is

enthusiasm.

done

should

the

"

able

of

artist

must

Zeisler

fulness

depth

the

wrist

with

the

of

authority

first

that

Out

conviction

with

Mme.

demonstrate,

of

out

now

rhapsodist

no

for

it,

practical musician,

as

play.

as

plays,

dreamer,

thoroughly

of

as

"

reached.

are

and

seeking

ever

until

ture,
na-

art

on

expression

progress,

keyboard

no

sincerest

deeper

human

into

grasp

mentality,

the

greatest

and

Zeisler

of

growth

insight

outlook
a

continually

Bloomfield

the

clearer

broader

feel

we

us,

TECHNIC

Mme.

as

year,

PIANO

OF

about

on

middle
rounded.

plain
ex-

level

finger,
The

knuckles

Zeisler

Bloomfield

Fannie

will then

elevated; in

somewhat

be

181

selves,
of themnaturally take care
other points of the hand
being correct.
Two
of
importance:
things are
supreme
namely, firm finger joints and loose wrists;
fact

these

they

will

must

be
I

insisted

sometimes

playing, if

own

but
has

one

can

ever

firm

use

I wish

the

from

on

in my

wrists

make

to

ginning
be-

very

fect;
ef-

certain

safely affirm, I think, that no

ing
me
seen
play with weak, bend-

fingers.
WHAT

"Piano

technic

includes

into it

goes

INCLUDES

TECHNIC

so

much;

thing
everytion,
dic-

arithmetic, grammar,

"

language study, poetry, history,

painting!
to

be

had

we

first

to

stages there

in any

other

learnr^Prales

mathematics.
to

know

the

learned, just as

school
and

In

Just

musical

such

and

rules

are

In

study.
of grammar

rules

plicable
ap-

are

performance.

the rules of versification in order

must
to

scan

know
the laws of
poetic stanzas; so I must
to be able
to punctuate
rhythm and meter
musical
phrases and
periods. Pupils who
have
long passed the stage of division and
fractions
time-values

do

not

seem

able

of the various

to

notes

determine
and

groups

the
of

Piano

182

notes

used

must

be

so

music; they do

in

with

done

So

on.

you

EACH

see

PUPIL

is

to

wide

very

DIFFERENT

PROBLEM

pupil presents a
of
physicalformation

different

"Each
as

know

not

and
talented

ideas

what

dotted notes, and

triplets,
'justtechnic' includes a

things;it

of

multitude

Mastery

talent.

hand

Those

problem
tellige
body, in-

and

who

subject.

the most

are

factory
always prove the most satisstudents.
They grasp the composer's
times
quicklyenough, it is true, so that someficult
take up a difin a few days, they can
composition and dash it off with such
do

not

showy effect as to
listener;but
to work

polish
to

out

blind

the eyes

these

students

are

points of

the

the fine

it artistically.

get righto^wn

Neither
to the bed

of the superficial

are

not

ing
will-

piece and
ing
they will-

rock

of technic

seriouslyand thoroughly.
is suggested they grow
If this course
restive,
think they are being held back, and sometimes
teacher.
superficial
prefer to study with a more
The
is they never
really amount
consequence
if these same
to anything;whereas
playerspossessed
along with their talent
perseverance
they could become
great artists. I would
serious
rather
have
earnest,
an
intelligent,
and

work

at that

Fannie

pupil,

who

is obedient

than

very

giftedpupil.

When

together.
a

marvelous

the

by

and

musician
of

that

is that

should

He

of

There

the
of

may

go

person,

STUDY

and

should

insist upon,

and

before
of

and

much

so

as

learn

familiar

about

how

clear to

Without

the

Greek

with

know

make

can

pedaling.

words

my

be

must

of the scale and

chords

rules

the material

of

structure

pupil

My

knowledge,
pedals are
must

one

the

analyze them,
the

in

go

training.

teacher

foundation

the various

him

seldom

two

pupil should study harmony.

have
edge
a
practicalworking knowlkeys, chords, and
progressions.
be no
for him
need
to study orchestratio
know
or
composition, but he must

music.

to

The

is the result,if assisted

HARMONY

thinga

183

willing to work,

find both

you

right sort

"One

Zeisler

Bloomfield

to

this first,before

this
the

of

use

him.

He

coming

to

me.

TO

ACCORDING

"Experience

counts

teacher, but much

beginner
has

must

go

more

for
with

RULE

much
the

the

with

pianist.

The

according to rule, until

thoroughlymastered

the rules.

He

he

must

Piano

184

hands

his

he

because

think

not

Mastery
sees

certain

ing
great artist hold-

times

at

way

"

ing
turn-

his

unemployed fingersfor octaves

perhaps, or any other seeming eccentricity,
is at libertyto do the same
that he himself
learn to play in a normal,
things. No, he must
safe way
before
attempting any tricks.
What
eccentric to the inexperienced
seem
may
under

student

be

may

quite

of

legitimatemeans

artist,
producing certain effects to the mature
who through wide experience and study knows
just the effect he wants and the way to make
it. The
artist does many
things the pupil
should

not

capabilitiesof his
in

certain

imitated

wrist, that
or

sense,

by
If

The

attempt.

the

I
I

hand;

own

of

chord

bring

may

qualityof tone
student
might
high wrist was

his

at

that

be under

habitual

little

or

passage
out

the

knows
technic

individual;it should

learner

play

artist

not

is,
be

experience.
with high

no

certain

effect

less
point,the thoughtthe impression that
with

me,

which

is

give single
coach on
lessons to any one, nor
singlepieces.
of the interpretationof a piece,
In the case
student can
a
get the ideas of it from hearing
not

true.

it in

them.

For

this

recital, if he

reason

can

I do not

grasp

and

assimilate

Fannie

ON

it be

can

That

is

defined?

arrive
"

scherzo

the
its

on

the

arouse

all.

We

piece,and
meaning.

try
it

Is

soulful; is it

and

blithe

be

metronome

reliable.

not

are

should

it

depend

cannot

they

of

to

subject;

first of

it is serious

then

"

idea

some

then

largo
We

at

wide

try

imagination of the student

speak of the character of
to

185

INTERPRETATION

"Interpretation!
how

Zeisler

Bloomfield

Those

and

gay.

tempi, for
mann
given in Schu-

We
generallyall wrong.
try to feel
the rhythm of the music, the swing of it,the
spiritof it. In giving out the opening theme
or
subject,I feel it should be made prominent,
are

attention,

arrest

to

listener;when

piece,it
is

it appears

be

can

effect

of

played

as

to

this

at it

way.

One

one

way,
should

see

the

not

expect my

just as

other

times

varied.

or

run

does

is soft
not

in the

Variety

whether

decreasing or

the

to

sage
pas-

increasing

and

matter

the
so

next

much

individuality.I may
another
player an opposite
be broad-minded
enough to

varietyand

secure

look

at

it clear

have; but

with

vice versa,

or

make

softened

must

we

tone, whether

loud,

to

beauty

of

each

pupils to

I do them.

interpretation.I do
do things
me
or
copy

I show

them

how

I do

it,

Piano

186

them

leave

then

is

then

but

"America

made

understanding and

even

the critics,
many

deal

about

small

towns,
I

asked

am

last sonata

the

The

sometimes

in

listen

to

How

are

"The
at

talent

is here.

We
and

foreign name
musicians
to the wall

in

America

the best

by

ski.

are

little town.
that
on

These

(for one
places in

But
with

work

note.

every

best in music
to

them?

how

"

easilytricked
serious

title;our

much
with

and

ented
tal-

constantly being pushed

are

some

so

attempt the

it knows

much

in

even

is that it does not

with America

all realize how

great

delightto play

they to learn what is

are
willingto give it

trouble

in

progress

why

attention; they hang

we

too

ness
weak-

of

audiences,

rapt
unless

result

pleasureand

audiences

to

appreciationof music;

of Beethoven

just such

it.

in flabbiness.

of them, know

music.
a

attempt it

not

marvelous

the

are

they see
later things
as

only result

it will

has

the

should

pianissimo is not
of strength.

true

to.

it out

of

one

beginner

for

soon,

work

to

''Pianissimo
teach.

Mastery

with

unknown
are
season
our

name

the

people who
at least),who

music

schools

and

ing
endtour

get
col-

leges,crowding
makes

me

all

the

over

them
my

not

to know

idea

of

to

Some

of

them

artists.

concert

to managers

what

or

for

from

me

become
I

If

mend
recom-

institutions,should

something? Ought

students

my

have

ours.

come

count

It

taken
against this utterlymis-

country.

word

not

187

musicians.

students, who

excellent

most

native

our

fallacious

talented

many

out

bitter

very

and

Zeisler

Bloomfield

Fannie

do, and what

can

artist?
instead
But
required of a concert
of their securing an
engagement, with such a
recommendation, a foreigner with the highis the one
sounding name
invariablychosen.
is

When

first started

on

career

my

deavored
en-

ing
hearin every
to get a proper
way
in America.
But not until I had made
a
for

name

myself

here, in my
are

now

own

in

Europe

land.

fightingfor

All

was

honor

the musical

recognized

to those

who

independence

of America!"

Not
Mme.

long

GROUP

after the

OF

QUESTIONS

above

Zeisler, I jotted down

conversation
some

with

questions,

leading to further elucidation of her manner

of teachingand playing,and sent them
to her.
The
her
artist was
then fully occupied with
and
later went
to
tours
long and arduous

Mastery

Piano

188

My questionsremained unanswered
she next
When
played
nearly a year.

Europe.
for

she

York,

New

hotel.

she entered

As

she held

preserved
have

now

we

(1)

to

me

the

to

room

the paper

bit of paper

the

greet

this

will

talk

What

the

over

do

means

had

she

answered;
it,and

sent

topics you
for

favor

you

the

long.

so

since you

ever

me,

containing

conscientious," she

kept

her

to

come

expressed surprisethat

very

am

"I

hand

in her

questions.
"I

for

sent

in

gest."
sug-

gaining

power?
"I

can

say

There

none.

"

for

is

necessity
acquire power;
no

to
using special means
ficient
when
everything is right you will have sufcannot
help having it. If
you
power;
know
the piece thoroughly,your
fingers
you
have acquired the necessary
strength through
the time comes
that when
efficient practise,
so

to

make

the

strength to
as

it should

comparative
on

of
son

an

desired

them, provided everything is

make

be with
term

your

at best ; one

boastingabout

pianistmay
I

I could

play

reminded

am

connection.

little fellow,

his mother;

is

Power

technic.

largerscale than another.

amusing incident in this
Paul, when

the

have

effects, you

was

not

My

fond

of

seem

to

break

him

Zeisler

Bloomfield

Fannie
of it.

189

gument
day he got into an arwith
another
boy, who asserted that
ter
his father, an
amateur
pianist,could play betthan Paul's mother, because
he 'could play
I don't know
whether
louder, anyway.'
they
fought it out or not ; but my boy told me about
the dispute afterward.

'What

do

'If you

his

nice,' was
in

at the

he

said, you

almost

(2) What

do you

"They must be
new
pupil comes

the

is

everything right

both

power

made
to

strong

at

several

when

months.
use

the
The

few

and

ity
veloc-

into

can

so

be

be

plished
accom-

it takes

sometimes

it must

is it to attempt

fingersare
fingersmust

thing we do
position,and
If the pupil

correct

weeks;
But

When

once.

the first

me

firm.
and
fingers rounded
intelligentand quick, this

what

little fellow

unconsciously."
do for weak
fingerjoints?

get the hand

in

in.

have

must

come

is to

such

was

technic, then

your
will

soft

time!

"As

with

great

him.

and

nutshell:

makes

enough and loud enough,

fast enough, and
it sounds
It is the whole
answer.
thing

play
enough and

slow

think

you

asked

player?'I
'

One

done.

Beethoven

weak

that

keep their

Of

sonata

they

rounded

cave

posi-

Piano

190

and

tion
the

be

weight

this work

strong enough
be

can

done

the

at

As

handle

faults

than

keyboard;

their

to correct;

well and

make

wood

is

to have

look

ounces,

As

they

responsive.
un-

easier
no

cate
to their little deliless

heavy

than

the minimum
grow

and

be

increased.

my

instrument

can

so

They ought

pretty.

muscles, with action much

two

I generally

their hands

to hold

keyboard adapted

are

say,

elders; they have

they like

them

you

table, but

under

up

think, for this work, children

"I

use

bear

to

them.

put upon

you

prefer

to

Mastery

would

lame

their

little

the

weight of the clavier.

gain strength,the weight
If they should attempt to
with its heavy action, they

hand

in

few

moments

or

fingers could not stand up under

the weight."
of finger action?
(3) Do you approve
"Most
emphatically. Finger action is an
absolute
essential in playing the piano. We
have finger development. As
must
say,
you
selves;
the fingersequal in themmake
can
we
never
we
might practisefive hundred
years
without
rendering the fourth finger as strong
as

the

thumb.

the
that

weight

Rather
and

all will sound

let

us

learn

to

of each
pressure
we
equal,whenever

so

just
ad-

finger,
wish

Fannie
do

Bloomfield

Zeisler

191

gard
pupils that in rein this reto strength, their fingers are
lation
with
to each other," and the pianistdrew
her pencil four little upright lines on the paper,
representingthe relative natural weight of the
four
fifth finger," she said,
fingers. "The
"figuresvery little in scale or passage playing.
of study the pupil learns
By correct methods
of the stronger fingers
to lightenthe pressure
and proportionatelyincrease the weight of the
weaker
fingers."
of technic practiseoutside
(4) Do you approve
of pieces?
of time given
The amount
"I certainlydo.
the pupil'sstage
to technic study varies with
of advancement.
In the beginning, the whole

them

four

to

hours

cut

been

down

to

and
sufficient,

some

with

devoted

degree

some

have

short time

be

must

When

tell my

so.

of

attained, the
two

when

hours.
one

will suffice to

to

technic

tise.
prac-

and
facility
amount

Later

one

is far advanced

put the hand

trol
con-

be

may

hour
a

is

very

in trim

rapid, brilliant arpeggios, or an etude

much
sary.
fingerwork may be all that is neces-

player gains constantly in strength

while
and
technical
control
studying pieces,
provided correct methods are pursued. Every
"The

Piano

192

is first of

piece

foundation

Mastery

all

must

be

then

be

do

you

can

The
study in technic.
prinrightly laid; the ciples
and
applied to etude

piece."
What

(5)

technical
"That

consider

the

vital

most

points?
is

about

difficult question,involvingeverything

the
are
playing. There
scales of all kinds, in singleand double notes.
Arpeggios are of great importance, because,
in one
form
or
another, they constantlyoccur.
Octaves, chords, pedaling, and so on."
"The
trill,too," I suggested.

piano

"Yes, the trill;but, after all, the trill is

somewhat

individual

players

naturally,or have very little

trouble
with it; others always have
or
more
less difficulty.They do not seem
able to play
trill. Many
unable
to finish
a
rapid, even
are
to

seem

it off
for

have

Some

matter.

deftly and
certain

become

so

to

easy

to

trill

they
the monotonous
tion
repetiout
go into the ending with-

break."

(6) What
velocity?
"I

artistically.They can
of repetitions
number
; when

accustomed

it is not
a

it

make

that I made

means

the

same

do

you

to

answer

to the first
"

advise

none.

to

this
I

never

secure

question
work

Fannie

know

there

the

and

means

Zeisler

193

up velocity. That
that generally takes care
of itself.

matter

If you

it

do

nor
velocity,

for
is

Bloomfield
I work

piece absolutely,know

the

effects you

to

want

what

make,

will be little

in getting over
the
difficulty
this
keys at the tempo required. Of course
does
not
apply to the pupil who is playing
with weak
fingers,uncertain touch and
wrong,
all the rest of the accompanying
faults.
I

grant that these faults may

in

not

be

so

apparent

A pupil may
be able
pieceof slow tempo.
to get through Handel's
Largo, for instance;
make
he can
though his fingers are uncertain
sound
the theme
while a
half-way respectable,
piece in rapid tempo will be quite beyond him.
The
in the Largo just the same,
faults were
but they did not show.
Rapid music reveals
them
Certain
most
at once.
require alcomposers
a
perfect technical equipment in order
with
their music
to render
adequate effect.
a

is

Mozart
looks

of

one

simple, and

these.

Much

of

his

music

is

reallyquite easy to read;

but to play it as it should be played is another
to my
thing entirely. I seldom
give Mozart
endless
scales, arpeggios and
pupils. Those
passages,

dare

not

this music

which

blur
with

must
or

miss

be flawless, in which
a

single note!

To

just the right spirit,

you

you

play
must

Piano

194

yourself en

put

it

which

is not

of

emotion

of

more

than

"For

myself,

of my

of

era

and

mincing

ever

Mozart

(7)

in

was

Chicago

of my

is

of the

most

exposed'

so

do

you

"If you mean

I don't try to

keep

have

and

hundreds

it is

One

Mozart

certo
con-

ward
after-

when

one

plays

his clever

was

I would

all my
hundreds

difficult tasks

joinder."
re-

keep repertoirein
own,

my

music.

colleaguesthat

accomplished. 'Yes,

How

music

yesterday,

Orchestra.

one

to

one

one

uets.
min-

it,but

of

Mozart's

successes

the

been

to-day, but

I love

remarked
it had

crinoline,

Mozart's

say

in

epoch

century back.

greatest
with

had

to

mean

the

emotional; it is filled with

the

not

the

"

snuffboxes

powdered wigs,
don't

with

rapport

written

was

Mastery

answer

pieces up,
of

pair?
re-

that
for

them, and

I
I

works.
study new
A certain number
are
always kept in practise,
different programs,
ments
according to the requireof the hour.
My method of practiseis
to play slowly through the piece, carefully
noting the spots that are weak and need special
I give a
these
certain
To
treatment.
must

number

always

of

save

time

to

repetitions,and

then

repeat the

Fannie
whole

Bloomfield
if the

weak

Zeisler

195

equal in
smoothness
If not, they must
to the rest.
have
more
study. But always slow practise.
Only occasionallydo I go through the pieceat
the requiredvelocity.
"My pupils are always counseled to practise
ing,
slowly. If they bring the piece for a first hearit must
be slowly and
carefullyplayed;
third hearing,and they know
if for a second
or
it well enough to take it up to time, they can
ing
play it occasionallyat this tempo before comBut
to me.
to constantlyplay a piece in
rapid tempo is very harmful; it precludes all
thought of analysis,of how you are doing it.
When
are
playing at concert speed, you
you
time to think of fingering,movement
have no
condition
or
are
beyond all that. It is
you
only in slow practisethat you have time and
opportunity to think of everything.
take the case
of a pian"As
illustration,
an
ist
He
in a travelingconcert
must
company.
pieces night after night,with
play the same
For
the
no
opportunity to practisebetween.
first few days the pieces go well; then small
There
and weak
errors
spots begin to appear.
is no
time for slow practise,so each nightly
repetitionincreases the uncertainty. In a few
months
his playing degenerates so it is hardly
to

see

"

places are

Piano

196

fit to listen to.

playing."
do
(8) How

Mastery

This

is the result

you

keep

of constant

fast

technic

to

up

the

standard?
"If

one

scales, or

is far advanced
a

brilliant etude

in condition.

vacation,

After

may

the muscles
One

one

few

and

may

principles,but

be

arpeggios and

will

put the hand

has rested, or had a

foundational

some

movements

up

exercises

and

necessary,

to

regain control

and

often

have

to

ger
fin-

limber

ness.
quick-

review

first

technical

gained
refacilityis soon
if it has
been
once
quired.
thoroughly acIf one
has stopped practisefor quite
is slower, and
needs
to
a
period, the return
be more
carefullyprepared.
"I
considerable
use
Czerny for technical
with my
pupils. Op. 299, of course,
purposes,
and
earlier or easier ones;
then Op. 740.
even
A few of the latter are most
excellent for keeping
one's technic.
The
Chopin Studies,
up
too, are daily bread."
(9) The best way to study chords?

"From
Small

the wrist

hands

must

of

and
course

with

fingers of

begin with

steel.

smaller

positions."

(10) What

gymnastic

exercises do you

gest?
sug-

Fannie

"Whatever
hand.

the

between
be

to

training
hand

need
and

fingers

The

stretch
is

the

tight

given,

properly

flexible

often

and

special

massaged

the

web

of

rendered

it

strong."

firm

If

hand.
is

sure

flesh

may

difficult

more

to

hand

flabby

loose,
and

is

this

be

to

stretch

strengthened
but

massage;

the

hands

197

the

for

necessary

them.

also

than

seems

Tight

limber

Zeisler

Bloomfield

by
task

technical
to

render

XXV

AGNES

MORGAN

SIMPLICITY

ONE

the

of

busiest

teachers, whose
lessons

in

than

is

has

And
is

knows

the

where

pupils, which
of

dispels much
and

is

is
the

of the

one

and

that

world

the

has

done

risen

now

and

choose

piano
she

to

her

her, for

to

of

why

reasons

only

work

great comfort

drudgery

cess.
suc-

unobtrusively
the

pick

can

more

increasing

teacher

she

Mrs.

Morgan.

through

The

dred
hun-

in this field for

quietly

teacher

pupils.

point

own

it

the

piano
the

touches

ever

accomplished,

of

her

by

with

so

York

taking private

Agnes

laboring

yet

this

all

almost

decades,

two

New

students

Mrs.

been

TEACHING

of

list of
season,

mark,

Morgan

PIANO

IN

ing,
teach-

loves

her

work.
When
till after
easy
means

teaches

one

six
find

to

and

however,

every
a

an

of

day

leisure

methods.
such

from

nine
the
in

hour

By
interview

198

in the

it is not

season,

which
fortunate

was

morning

to

discuss

chance,

recently

sible.
pos-

Agnes
The

questions had

what

By

Morgan

art

been

girl

but

the

teacher?

pupils

many

needed

touch

with

that

tracted
at-

her

instruction

this

modest,

draws

so
are

yet ready

not

are

When

young

assistants

five

those who

and

which

magnet

her

to

this teacher

has

art-student

is the

to prepare

profitby

to

serious

What

me:

is it
following? What
side not only the society

large a
brings to her
so

which

in upon

borne

influence

or

199

in

came

unassuming woman,
who
with
and
simple cordiality,
greeted me
spoke with quiet dignity of her work, I felt
that the only magnet was
the ability
to impart
definite ideas in the simplest possibleway.
"Dr.

William

Mrs.

began

touch
it

born,

possibleto

make

child
and

arm

and

firm

wrist
nail

that

as

that

be

can

cal
musi-

found

but I have

pupil

studied,"

she

made;

can
even

whole

secret

lies in

relaxation, with

arched

hand,

this.

do

can

tone

whom
to say

made

not

instruct

so

beautiful

as

"used

Morgan,

was

with

Mason,

The

joint.
FROM

INSPIRATION

AMERICAN

AN

TEACHER

"I

who

feel that Dr.

made

me

see

always played

Mason

the
more

reason
or

himself
of

less

was

the

things.

one

I had

for
brilliantly,

Piano

200

technic

Mastery

rather easy

came

to

I had

me.

studied

Leipsic,where I may say I learned little or

nothing about the principlesof piano playing,
but only 'crammed'
of difficult
a great number
compositions. I had been with Moszkowski
can
also; but it was
reallyDr. Mason, an Amerigan
teacher, who first set me
thinking. I befor
the reason
to think so earnestlyabout
doing things that I often argued the points
with him, until he would
out
laugh and say,
in

'You

one

go

the

reach

that time

and

way

point in

same

I have
my

teacher

cannot

stand

the

each

profitby
pupil, for

This

has been

not

the end.'

on

gone

evolved

another, but

I go

system

own

to

"

form.
not

I have

doing things.
be

fool

experiencegained through
is a separate study.
each one
growth of perhaps twenty-five

as

I have

of

until

on

from

And

still. I would

the result of my
subject of piano technic

years

and

both

we

in the

present the
concise

most

constantlylearningwhat

been

essential,and

effort to

what

can

is

be omitted.

SIMPLICITY

"Simplicity is the keynote of

try to teach only the essentials.
many

etudes

and

studies

work.

my

that

There
are

Czerny,for instance, is splendid. I

are

I
so

good.

believe in

there is not

it all,but

Bach.

with

have

we

Pieces'
Whenever

we

I approve

time

not

should

like.

with

those

Even
time

So

of it.

for much

time
of

studying everything
of his for piano, from
the 'Little
and
to the big Preludes
Fugues.
up
I can
But
I use
Bach.
here again

have

we

201

Morgan

Agnes

to

use

Still I
who

do

have

of

Bach

best

much

as

the

not

as
can.

great deal of

Invention
practise,I get in a Bach
whenever
possible.
"When
who is just starting,
a
new
pupil comes
of
has been
or
badly taught, she must
She learns
course
begin with hand formation.
to

to

the

form

of the hand

arch

finger joints,especiallythe
the

hand

Nothing
things are
who

done

toward

accomplished.

have

years,

be

can

the

from

away

and

and

nail

joint.

piano, at
playing
I often

playing

difficult

who

consider

themselves

show

them

I form
a

table.

till these

have

been

When

firm

secure

pupils

music

for

far

of

some

vanced.
ad-

these

simple things,they consider them far too easy

do them.
until they find they cannot
times
Somewith such pupils
be done
nothing can
until they are
to rock
willing to get right down
bottom, and
to

the

the

leani

length

of

mentality of

how
time
the

to

form

the

hand.

required, it depends

pupil

and

the

kind

As
on

of

Mastery

Piano

202

Some

hands

flabby,and

of

hand.
and

them

render

it is

course

ACTION

the arch

of the

hand

cultivate

intelligentmovement

tips,and

for

this

As

and

great need
is

course

and

finger
pendabl
strong, dedents
stu-

young
of the

fingers,

raised

the nail

too

comes
jointbe-

controlled, there is

fingeraction.

for much

less and

we

the

fingersbeing

more

acquired by

in

action

advance,

we

firmer
so

of

disapprove

high.

Of

knuckle

have

must

is formed,

have

must

we

joint.

nail

but

difficult to

more

strong.
FINGER

"When

soft

naturally very

are

not

ity
Veloc-

less action

of

the

is

fingers; force

gained by allowing arm

weight to rest on the fingers;lightnessand
gers
weight off the findelicacyby taking the arm
holding it back.
"

"I

use

no

instruction

books

exercises,

drill, but

give

them

from

various

must

govern

When

they are
is only development.

work

own

my

Certain

sources.

scale

select

or

principles

from the
daily practise,
mastered
in simple forms

the

in octaves, sixths,or
form

technical

for

wrist

Loose

other

am

later
cises,
exer-

forms, should

part of the daily routine.

playing,for

first.

So

should

firm believer in scales

Agnes
Chords

all kinds.

of

Morgan
are

203

item

important

an

few
students, uninstructed
practise. How
in their principles,ever
play good chords?
They either flapthe hand down from the wrist,
with a weak, thin tone, or else they play with
stiff,high wrists and arms,
making a hard,
do they use
harsh tone.
In neither case
any
time
to
arm
weight. It often takes some
make
them
the principlesof arm
weight
see
of

and

fingergrasp.
QUESTIONS

"Another

OF

point

attention

which

it deserves

have

true

is

PEDALING

does

not

receive

pedaling.

Few

the
dents
stu-

idea of the technic of the foot

to know
pedal. They seem
only one
the damper pedal, and that is to
to use
way
down
hard
it, perhaps giving it a
come
on
I give specialpretime.
thump at the same
paratory
exercises for pedal use.
Placing the
heel on the floor,and the forepart of the foot
the pedal, they learn to make
one
on
sion
depreson

the

with

this

can

to

every
be

stroke

done

with

the beat, and

of the metronome
ease,

then

on.

In

so

two

when

sions
depres-

this exercise

pressed fully down; on the

contrary there is but a slightdepression;this
vibration on the pedal has the effect of a conthe

pedal

is not

Piano

204

stant

shimmering

which

is

to

of

no

fashion

be

I feel

; so

have

"Yes,

find

to

take

than

time

The

day.

was

teachers,
whatever

to

the

the
of

view

deal

and

hours

is

study

music
feel

They

do

it.

wealthy

influence,
to

this

ety
soci-

couple
of

case.

endeavor

its uplifting

respect

carefully

and

its

well

they attempt.

compared
for

and

necessary

foundation

and

tendency

ennobling

and

"While

and

practise

just

among

good

the

discovered

pupils

out

go

of

I know

in

pedal

of

who

indeed

wrist.

I had

though

as

serious

more

formerly
and

the

lustrat
il-

flexible

as

uses

artist

needs

the

tones,

portion

pliant

present
far

with

properly;

numbers

girls

people;
yet

as

the

pedal

who

else

one

Here

"One

the

the

upon

convincingly

use

should

ankle

light

Prelude.

Chopin

ankle

of

beautiful."

very
most

Mastery

to

the

beautiful

important,

is after
the

training

knowledge
results

of
in

all
for
how

but

the

nical
tech-

small

part

rhythmic
to

musical

produce

sense,

good

tion."
interpreta-

XXVI

EUGENE

HEFFLEY

MODERN

TENDENCIES

EUGENE

HEFFLEY,

President

York,

pianist

serious

most

in

Pittsburg,

aims,

came

1900,

at

himself

in the

has

and

devoted

teacher,

master;

he

the

has

of

Dowell
Mac-

place

metropolis,
sincere

ing
inspir-

most

numerous

young

pianists

as

success

and
from

thoroughly

trained

winning

are

the

as

New

York

make

of

well

as

of

suggestion
to

first

ideals

high

New

came

himself

proved

who

artists

of

profession

and

and

Club,

to

He

MUSIC

Founder

teacher

and

himself.
for

the

PIANO

MacDowell

the

of

IN

and

teaqhers.
Mr.
for

the

older

the

on

thought,
musical
and

masters,
alert

discover

did

He

when
in

they

a
a

much
for

enthusiasm

arouse

of

to

In

America.
205

new

new

to

ways
al-

trend

of

gospel

in

make

MacDowell's
as

were

reverence

progressive,

is very

composer,

new

art.

entertaining

while

Heffley,

an

yet

almost

equally

known
positions,
com-

heard
un-

broad

Piano

206

spiritdoes
works

introduce

he
the

of

the

studio

audiences

for

of

Reger,

others.

that

gather
with

recitals,come

our

things,

new

here

in

heard

them.
his German

works, and

Florent

the

the expectation

being enlightened in regard

seldom

and

Schmitt,

like to learn these

students

"My
and

and

the

school, Debussy,

Florent

Poldini

his students

to

modern

ultra

Rachmaninoff,
Liadow,

Mastery

we

do

to

new

appoint
dis-

not

Schmitt, in spite of

thoroughly French in
his manner
and idiom, though they are not of
the style of Debussy; he has written
some
beautiful things for the piano; a set of short
maninoff
RachI rank
pieces which are little gems.
his
use
highly,and of course
very
the
Preludes, not only the well-known
ones
is

surname,

"

and

minor

number;

opus

but the set of thirteen

"

they

are

most

in

one

interesting.I

has
good deal of Russian music ; Liadow
beautiful things;but Tschaicomposed some
kowsky, in his piano music, is too complaining
and morbid, as a rule, though he is occasionally
It seems
cheerful mood.
in a more
as
though
music
has said all it can
say along consonant
look
must
lines, and regular rhythms. We

use

for

its advancement
; not

only in

in the

realm

this but in the way

of
of

nance
Disso-

variety

Heffley

Eugene
in

How

Rhythm.

which

art,

well

as

know

to

at

once!

us

in musical

attracts
as

what

composers

three

sometimes

rhythms,
ones
going

different

modern

these

their

vary

207

four

or

It is the

and

pected
unex-

literary

in other

don't want

is

want

things: we
coming next; we

to

be

surprised.
"Of

the classic literature,I

when
I

do

I used

can.

Haydn;

his Variations

students

my

as

And

Bach

Sonatas

toward

fine;

are

prefer Haydn also. I

in the value of polyphonic
study; it is a necessity.
a
towering figure,such a

mental

and

than

to

seem

thoroughly believe
music

inclined

have

Bach,

Mozart

give more

to

latterlyI

now;

much

use

is such

of

strength in musical art. Bach was

of
essentiallya Christian, and this element
devoutness, of worship, shines out in everything
rock

he
without

this

Mozart,

he

One
the

was

cannot

music

of

worship,

have

not

for

Mozart

wrote

beauty

of sound

pagan.
foresee

of

believe

did

the idea of sheer

Schonberg?
opinion I might

form

; in that

will

sense

has

if Strauss

in

from

merely

the future

to-day; what
I am
holding

live.

will

Berlioz, nor

it,nor

doubt

how

that music,

not

element

Tschaikowsky
even

do

wrote.

will

judge

it think

abeyance

regarding his

it.

work

of
any

till

Piano

208

had

have

only

can

three

I have

say

The

it to admire

certain

heard

the

music
"In

I had

regard

in

profoundly

was

the third

on

especiallythe

work,

of the most

some

ful
beauti-

listened to.

ever

to

much

found

string Quartet

time

it better.

parts of it,and

part, contained

latter

his

first time

felt that

kno.w

to

the second

by

occasion

time

more

times.

moved

Mastery

the

technical

training my

pupils receive, it is not so easy to formulate

of teaching. Each
manner
pupil is a separate
my
study, and is different from every other.
As

I have
To

well

you

be

little use
a

true

indeed

one

who,

of

for there

are

find what

the

likes to do and
be

many

to pour

the

is in the

pupil
can

teachers.

the two.

filled with

what

man':

piano method.
ing
the piano is a high callpedagogues but
many

real

few

between

out

'method

for the so-called

learning,endeavors
the pupil; whereas
draw

not

am

teacher

comparatively
distinction

know,

has

do

true

and

much

knowledge

teacher

into

seeks

pupil. He strives
aptitudefor, what

best.

The

is

pedagogue

rules
his

make

teacher

to
to

he

must

something of a psychologist,or how can he

correctlyjudge of the pupil's temperament,
his tastes, his mentality, and what
to do for

him?

Eugene
"When

209

I must
make
a
pupil comes,
hood
appraisement of his capacity,his likelithe subject,
his quickness of intellige
to grasp

mental

new

his

has

health, and

be

pupils can
who

Heffley

treated

so

in the

No

on.

same

two

One

way.

little

who
lowed
folhas never
continuity,
out a serious line of thought in any
rection
dibe treated
must
from
quite differently
of an
one
opposite mentality and experience.
It would
be useless to give Bach
to the first
pupil, it would
only be a waste of time and
patience: he could not comprehend the music

in any
the
a

he would

sense;

have

great things that Bach

of treatment

course

hate

conception of

no

stands

would
to

one

and

thoughtful turn

of

mind, you

any

amount

"A

of

serious

more

might give

of Bach.

student

hand,

of

him

make

only

music; whereas

Such

for.

with

must

training.

The

either at the

go

poor

touch

through

hand

is first

keyboard

or

and

oped
undevel-

regular

placed
on

course

in

tion,
posi-

table; the

fingersare taught to start with up movements,

the liftingmuscles
need
as
special attention.
A muscle
or
a
finger,is either taut, flabby or
condition
I strive for
to
stiff
; it is the taut
make
the finger responsive,like a fine steel
spring.
"

Piano

210

Mastery

rect
absolutelynecessary to establish corfinger action at the outset; for the sake of
finger development, clearness, and accuracy.
When
singlefingerscan make accurate up and
down
gether
we
can
movements,
put two fingerstoand acquire a perfectlegato. I teach
three kinds of legato the passage
legato,the
singing legato,and the accompanying legato;

is

"It

"

the

pupil must
the others.

each

hand

firm

believer
of

and

study

of pure

advances

we

different

with

am

technic

side
out-

movement

works

scale

or

or

touches

variety of

up

quite earlywhat
hand
one
doing a

"

touch

one

"

hand
while

staccato

the

from

arpeggios with a
playing a passage
the other plays
out
with-

taught technical material

book, Mr. Heffleyreplied:
if he

"No,

I
as

other.

vice versa."

legato,and
Asked

chord

touches, scales, arpeggios

in scales and

out

take

I institute

octaves.

different

generallyuse
it

covers

the

it is compact,
one

know

must

polyphonic technic

I call

work,

in the

practisewith

technic

alone, for you

the student

playing

I advise

ing
attempt-

pieces.

"As

This

the first before

master

volume.

also

the Heinrich

ground

concise, and
use

Mertke

very

Germer
torily;
satisfac-

complete
to

some

in

ex-

Heffley

Eugene

Every form
all keys; I

tent.

in

out

kinds

find

of students.

few

be worked

must

the books

for all

useful
that

add

I may

paratively
com-

use

etudes.

"If the student

as

of exercise

211

seems

to have

fect
imper-

very

but
rhythmic sense, I use the metronome,
for I want
lish
to estabsparingly as possible,
of rhythm.
the inner sense
"In regard to memorizing.
I give no
cial
spe-

advice, but counsel

the

which

way

him.

the student

is easiest and

There

three

are

music:

employ

to

natural

most

distinct ways

of

to

mitting
com-

the

Analytic, Photographic,
and
Muscular.
The
picks
Analytic memory
the passage
it is
apart and learns just how
constructed, and why ; the Photographic memory
the veritable pictureof the passage
can
see
before

the

is not

have

very

the
I

"One
and

the

fingers find the

reliable method, but

learn

to

Analytical

way,

while

eye;

lets the

memory

has

mind's

this

in

mental

abilityto
strongly recommend
point I make much

musical

question

Color,

think

as

using

the

the

course

the

music

pupil
in this

it.
of in my
a

interpretation. It
of

This

pupils

some

is the best ; when

memory

that is Tone

notes.

Of

way.

Muscular

marks

teaching,

distinct
is not
of

factor

in

merely a
expression,

Piano

212

such

than

subtle
seek

MF,

FF,

as

after.

that

Mastery
and

PP,

it is the

"

Sometimes

for several minutes

over

so

qualityof
with

work

to

pupil

until

do

to

more

tone
a

singletone,
he has

really comprehends what

it is

on;

he

duce
pro-

the

ber
rightqualityof tone, and can rememhow
he did it. The
fully,
pedal helps wonderfor it is truly the 'soul of the piano.'
"Some
tion,
pupils have fancy but no imagina-

and

the

vice

The

versa.

terms

not

are

onymous.
syn-

Reading poetry helps to develop

aesthetic sense;
ture.
pictureshelp also, and naI must

pupil'strend

take
necessarily
of

into account

temperament

while

the

ing
instruct-

him.

"Interpretativeexpressionis not a positive

but a relative quantity. One
player'spalette
is covered with large blotches of color, and he
will paint the picturewith bold strokes; another
work.
delights in delicate miniature
will conceive the meaning and interpreEach
tation
of a composition through the lens of his
temperament.

own

endeavor

stimulate

to

imagination of the pupil through reading,

through knowledge of art, through a comprehension
the

of the correlation

"The

musical

exacting

of all the arts.

interpreter has
and

cult,
diffi-

most

far-reachingtask

to

per-

Heffley

Eugene

213

plays one part night after

night; a painteris occupied for days and weeks
is absorbed
with a singlepicture;a composer
work
for the time being on
one
only. The
the other hand, must, during a recital,
on
pianist,
An

form.

actor

sweep

of

gamut

sion
expres-

simple, the pastoral,the pathetic,the

the

the whole

over

passionate,the spiritual he is called upon to

This seems
portray every phase of emotion.
than is set before any other
to me
a bigger task
class of art-workers.
be able
The pianistmust
plicity
with appropriate sentiment
the simto render
"

and

Haydn,
heroic

fresh naivete
the

Mozart;
of

measures

of the earlier

grandeur

of

classics,

Bach;

the morbid

Beethoven;

of

of

Chopin; the romanticism

the magnificent splendor of

the
gance
ele-

mann;
Schu-

Liszt.

choosing musical food for my pupils,I

strive to keep away
from
track of
the beaten
the hackneyed. The
mistake
made
by many
teachers
is to give far too
difficult music.
which
Why should I teach an old war-horse
for six months
the pupil has to struggle over
without
being reallyable to master, and which
he will thoroughly hate at the end of that time?
"In

The

Scherzo

Rhapsodies
where

he

can

Op. 31,
he

can

become

of

hear

Chopin,
in the

familiar

and

the Liszt

concert

with

most

room,

of the

Piano

214

piano

famous
learn

not

which

to

do

compositions.
know

not

less

many

hackneyed

frequently

so

should

Why

appear

"Herein

lies

the

of

one

broad-minded

the

on

concert

opportunities

great

teacher

to

be

ual
individ-

"

in

his

individuality

work.

According
will

his

work

to

be

his

valued."

he

pieces,

programs

for

Mastery

progressive

XXVII

GERMAINE

METHODS

MODERN

"!T

SCHNITZER

is difficult
term

to

me

method
for

hand

peculiar

other.

every

in this
differ

Not

one's

require separate

those

to

practise

thought,

listening
one's

own

from
to

do

is

all

ers,
playevery

different

from

is each

ual
individ-

player

one's

but

for

sort

different;

left ; therefore

be

can

right

hand

may

each

hand

may

undertake

alone,

for

the

Technic

playing,

and
215

it, plus

how
is

intent
to

the

the

ery;
drudgarduous,

evolved

music,

great

players;

only by

necessary

matter

no

hearing
great

acquired

aptitude

an

sufficient.

not

will

special

no

treatment.

have

willingness

is

only

technic

artistic
who

is

French

discussing

were

itself, and

to

particular,

from

"An

that

much,"

so

the

we

mentality

every

is

when

technic

of

means

"There

pianistic problems.
or

it

sive
comprehen-

Schnitzer

day,

one

STUDY

such

for

Germaine

pianist

PIANO

define

to

technic,

as

remarked

IN

from

from
much

listening
effects

to

one

Piano

216

strives to make.

Mastery

It is often

said that the

easilyjudge of the
producing, as he is too near
cannot

is

With

this is not

the

tonal

ist
pian-

effects he

the instrument.

My hearing is
that I know
the exact
acute
so
dynamics of
effect of light and
shade;
tone, every
every
thus I do not have to stand at a distance,as
the

me

if I could

painter does, even

to criticize my

case.

work, for I

close range.
hardly know when

can

do

so,

in order

do this satisfactorily

at

"I

it was

all events
start

had

not

sister

elder

Pugno;

she

then
a

tiny child

and

one

of about

technic; at

beginning. At the
with quite a simple
Paris, and

near

studying

good

industriously.She
the master,

lived

We

was
was

at the

lessons

some

teacher.

woman

I learned

student

with

and

said she would

day
seven,

she did
very

my

Raoul

practised
take

so.

small

to

me

was

thin

and

biggerthan a fly. The great man

I was
pretended he could hardly see me.
perched upon the stool,my feet, too short to
the extension
reach the floor, rested on
pedal
with
box which
I always carried around
me.
Bach
Inventions.
I went
bravelythrough some
with interest.
When
I finished,Pugno regarded me
"not

much

He
to

prepare

said he
some

would
more

teach

me;

told

Inventions,

me

some

Germaine

Czerny
cio, Op.

studies

and

22, and

Needless

to

Schnitzer
the

Mendelssohn

I knew

say,

in four

every

note

compositions by heart when

lesson.

Soon

then
fortnight,

every

he gave
"For

every

lessons

two

me

I took

bidden

was

Capric-

him

to

come

217

to

weeks.
of these
second

my

week,

him

to

come

and

finally

week.

the first five years

of my

musical

perience,
ex-

simply played the piano. I played

concertos
everything;
everything sonatas,
lesson to
absorbed
from
one
large works were
the next.
about
twelve
I was
I began
When
to awake
to the necessityfor serious study;
then
I really began to practise in earnest.
interest in my
took more
and more
My master
and
he was
at pains to explain
career:
progress
the ideas
the meaning of music
to me
of the composers.
Many fashionable people
took lessons of him, for to study with Pugno
his only
had become
fad; but he called me
a
I

"

"

"

pupil,saying that I alone

can
truly say he was
my
him I owe
everything. We
a

suburb

of

Paris,

as

my

musical

great deal of him

made

music

together part

When

he toured
he

wrote

me

father;

to

neighbors in
joined
adparents' home

saw

in America

were

his; we

him.

understood

of

every

and

other

frequently;I

and

could

we

day.
tries,
coun-

show

Piano

218

letters,for I have

many

you

number

Mastery

letters filled with

"

preserved a large
beautiful

thoughts,expressed in noble
language. They show that Pugno
most
refined, superior mind, and
a
a

and

and

alted
ex-

poetic

possessed
was
truly

great artist.
studied

"I
end

of that time

Saur

Saur.
was

with

he wished

to

me

These

I mastered

might

say

play

work, and

my

Nicholas

the

for Emil

certain

in three

in two

At

years.

points.
principlesof touch
me

acquired the
by his master,

"According
keys are not to

ten

delightedwith

was

to teach

anxious

him

Pugno

From
cated
advo-

Rubinstein.

months'

time,

or

lessons.

to

be

Nicholas
struck

the

Rubinstein,

with

tion,
high fingeracis the direct end of the finger used.
nor
The
point of contact is rather just back of the
that and
the ball of the finger.
tip, between
do not simply strive for plain
Furthermore
we
The
old instruction books
tell
legato touch.
and is the
be learned first,
that legato must
us
difficult touch
most
to acquire. But
legato
does not bring the best results in rapid passages,
for it does not impart sufficient clarity.
tillatin
In the modern
idea something more
crisp,scin-

and
half

staccato

brilliant is needed.
touch.

The

So

we

tones, when

use

sepa-

Schnitzer

Germaine
rated

hair's breadth

219

each

from

other, take

vibrant, radiant
lighter,more
quality;
they are really like strings of pearls. Then
I also use
touch, pressing and caressing
pressure
for the qualthe keys
ity
feelingas it were
I want;
I think it,I hear it mentally, and
I can
it. With
of touching
make
this manner
the keys, and this constant
search for quality
of tone, I can
tiful
make
any piano give out a beauif it seems
to be only a battered
tone, even
on

"

tin pan.
TONE

WHICH

VIBRATES

THE

THROUGH

WHOLE

BODY

"Weight
it I

use

whole
of

not
set

my
and

only

body feels
piano. Of

the

many

not

touch

course

and

arms

and

shoulders, but

vibrates
I

course

necessity;for

with

have

my

the tones

worked

out

of these

principlesfor myself; they have

been acquired from
particularbook,
any
of exercises, or piano method
made
; I have
I have
from
method
what
own
acquired
experienced in ways above mentioned.
ON

"In
have

is of

regard
no

I know

set

not

to

method.

how.

MEMORIZING

memorizing piano
The
After

music
a

comes

music
to

periodof deep

me
con-

Mastery

Piano

220

it is mine,
centration, of intent listening,

possession. You
his pupils to learn
four

or

from

the

have

to

All

this

When

piano.

make

play it, I know

I play a concerto
absolutely sure
each

know

and

alone

away

pianiststell me they
specialstudy of memorizing.
me

studied

I have

vises
Leschetizky adsmall
portion,two

Other

for

is not

manent
per-

say

hand

each

measures,

it

of the

the

other

only

not

am

piano part,

that

way.

When

it.

of

note

orchestra

with

my

to
piece sufficiently

the
every

"

note

it is not

"

but

also

instruments

I am
listeningintently to
play. Of course
the piano and to the whole orchestra
during a
performance; if I allowed myself to think of
anything else,I should be lost. This absolute

is what

concentration

TECHNIC

ABSTRACT

practisingtechnic

"About

this will not

of
do

not

technical

printed

pages

they

out

I,

seldom

taken

ciples
prinleast,

at

ous
however, vari-

of all difficult passages

scarcelyneed to
pieces I place on
them

the

once

I have
are

I make,

so.

exercises

of

itself alone:

mastered.

are

do

pieces.

programs.

but

to

for

when

necessary

technic

need

in

be

all difficulties.

conquers

with
out

me,

look
my
to

at the

recital
be

sure,

of their boxes.

Germaine

I do

What
do

mental

Schnitzer
the

is to think
with

work

piecesthrough

them, and

quiet and by myself. An

playing at the piano each day
for

"It must

hours

moment.

thought that

be

not

do

am

any

During the
preparing new
I work

season,

actual

is sufficient to

very

I do not

not

work

day

I fail to

of time, I make

amount

hour's

recital.

seriously.I
a
day ; if on

very

and

for this I must

be

prepare

221

it up

less than

at

the

for

programs
As

six

this

secure

earliest
when

months,

summer

hard.

study

the

next

I said, I take

the

difficult passages
of a composition and
the minutest
make
tail,
study of them in every de-

making all kinds of technical exercises out

of a knotty section, sometimes
playing it in
For
forty or fiftydifferent ways.
example,
take the little piece out of Schumann's
Carneval,

called

needed

study.

that

the

and

nine

from
end

of

one

that

satisfied

was

this I have

number,

never

for I

Reconnaissance.'

I gave

from

means

and

At

'The

am

I have

never

had

of my

pieceswhen

to

three
to

twelve

five

time

solid

in
knew

That

days

in the
the

it;

to
ing,
morn-

afternoon.

it

perfectly
with it. From
that day to
had to give a thought to that
it utterly.
confident I know
an

accident

to that

or

playing in public.

to any

In

my

Piano

222

Mastery

difficult task to
opinion a pianisthas a more
accomplish than any other artist. The singer
ist
has to sing only one
at a time ; the violinnote
'cellist need

or

but

use

the orchestral

Even
direct

his

experience

may

the

for notes.

who

aspiresto
him,

break.

perhaps half a
in each hand to play at once;
notes
every
be indelibly
must
engraved on the memory,
dares not make
a
one
slipof any kind.
"An

artist

New

York

may

play

each.

In

even

demands

Madrid

heavy,

play

to

have

"I

This

is

made

you

have, what

opera,
well

be

in

heavy
the

in

works

play

It is

that
Bach

severe

success.

in

tours

America.

I don't

country.

marvelous

or
"

too

win

realize what

for

It is Berlin

Brahms.
and

note

of programs

meat.

several

wonderful

Americans

fine

and

in Berlin

you

what

solid

dozen

together

Vienna

or

brilliant.

more

there, Beethoven
test

cities

sort

same

Paris

London,

selections will not

character.
be

the

in

these

class

about

The

may

"

has

playing

in

once

memory

without

on

go

before

score

slip of

awhile, yet he can

pianist,however,

hand

conductor

without

men

one

believe

great country
advantages are here,
a

great orchestras,what
! The critics,
too, are so

teachers, what

what

audiences

informed

and

so

just.

All

these

things

Schnitzer

Germaine

223

impress a foreign artist the love for music

that is here, the knowledge of it,and the enthusiasm
"

it.

for
and

name

from

getting about
thing I
orchestras

have

the

found

to

here

consider

'Beware'

career

easier
other
an-

greatest

played with

I also find you

audiences

be

to

ask

who

Of

expect.

success,

course

but

desire

try

are

to

vantage
ad-

about

advice

my

be

may

they

few

to

impresses me

the

have

before

over

to

offers

career

there, and

over

those

to

suade
disas

cry

out

entrapped into
ready, or know

there

they

are

cases

of

exceptions

are

general rule.

"People

to

go

(stimmung)

that

"

tell them

wherever
music

the

I have

It sometimes

phenomenal

could

have

you

try
coun-

For

Europe.

enthusiastic

most

lions' den, and

the

in

of all countries.

them.

to

than

it is much

so

Europe a musical
People often

making

what

coast,

united

one

anywhere.

"In

going

is

in the world, and

the orchestras

quickly and

more

thing America
coast

make

can

country in the world.

in any

one

artist

worthy

in America

success

surely than
"For

all my

Europe
much

they make
they are.

life,but I

can

get atmosphere

to

abused

their
I
say

term!
own

have

phere
atmos-

lived

in

I find musical

Piano

224

to

the

masterpiece,
music;
Or

if

at

the

better
a

in

am

than

even

the
the

in

America

country,
and

world."

if

in
am

of

am

in

Vienna

can

Schubert.

and

do

create

not

atmosphere.

"You

you

also

not

sure,

given

reminiscences

themselves

of

opera

is
I

be

Beethoven

of

facts

if

or

graves

these

musical

man,

Wagner

am

some

see

may

the

in

up

Wagner

To

some

atmosphere?

Bayreuth,

atmosphere?

Wagner

great

of

where

in

the
are

of

wrapt

musical

performance

Bayreuth

But

in

listen
to

or

performance

Metropolitan,

musical

visit

then

organizations

entirely

am

not

hear

these

incomparable

an

If

Orchestra,

when

Quartet,

giving

America.

Symphony

Boston

Kneisel

in

here

right

atmosphere

Mastery

may

your

be

your
musical

the

well

can

most

fine

rejoice

teachers

over

your

cians
musi-

and

growth.

After

musical

nation

while
in

the

XXVIII

GABRILOWITSCH

OSSIP

CHARACTERISTIC

AKTHUR
composer,
to

remarked

once

the

of

quality
produced

the

them

all

from

asked

quality

of

of

is first

how

we

fects
ef-

fore
be-

now

the

me

who

stands

this
is

unforgettable.

when

he

this

kind

was

for

opportunity

produced

artist

rare

luscious

quiet

singing

tone.

tone?
in

matter

of

and

expresses

artists

which

tone

morning,

he

then

listen

tonal

is Gabrilowitsch."

name

one

describe, whether
It

of

pianist

one

instrument,

beautiful

"A

is
his

"

give

to

how

chat,

various

reference

in

me,

variety

his

him

enough

the

by

quality

draws

and

tone

there

me

The

to

and

pianist

public:

"For
above

Russian

HOCHMAN,

PIANO

THE

ON

TOUCH

the

and

tone,

ideal, then

our

or

is difficult
in many

it.
225

we

hours.

memory.

modify
try

to

to

ality,
individu-

of

experiment,

experience

create

did

hour

one

of

that

Ah,

it until

remember

We
it

Piano

226

"I

cannot

tone,

but

there

are

fixed

do

does

for

players

wrist,

some

find

with

low.

of

are

and

Fingers
not

the

at

advise

comfortable

all forms

cramped
low

position

the

be

chords,

players

whose

joint

nail

is

under

apt

hands

to
are

as

fact

if for
is

the

the

weak

never

high

tone

or

is

remain

must

by
be

which

used,

either

long

so

firm.

In

condition

permit

crushed
as

be

hand

of

laxed.
re-

also, but

loose

be

be

must

always

can

the

as

out.

ples,
princi-

convenient.

wrist,

said, the

never

powerful

young

of

As

firm, and
of

stiff.

or

good.

long

be

position

position

so

purpose,

them

wrists

must

and

hand

of

that

the

adopting

is most

right

joint;

nail

their

foundation

often

must

high

curve

can

and

arms

cause
be-

another.
with

play

to

few

is that

one

for

straighten

course

any

different.

so

do

not

Some

others

while

be

can

are

it easier

anything

production,

tone

will

one

be

there

hands

and

Some

There

in

beautiful:

be

it may

think

not

tiful
beau-

characteristic

not

when

method

or

people

fingers,

it may

times

many

rule

What

produce

to

try

always produce

sometimes

that.

but

that

say

tone;

Mastery

the

weight

case

with

and

cate.
deli-

Gabrilowitsch

Ossip

TECHNICAL

227

STUDY

certainlyin favor of technical

be
must
practise outside of pieces. There
scale and
nome
arpeggio study, in which the metrobe used.
I believe in striving
But
can
"Yes, I

make

to

am

If

value.

scales
with

performed
of

tone;

should
as

technical

even

if

be

musical

played they should

are

be

beautiful

qualityand variety
attempts a Czerny etude, it

one

played

with

Beethoven

of

exercises

much

as

Bring

sonata.

musical

qualitiesof
'I'll play this measure

etude.

the

sixteen

finish

and

care

all the

out

Do

not

say,

times, and

then

nothing for mechanical

musical
ends merely, but everything from
a
standpoint. Yes, I give some
Czerny to my
etudes
I prefer
however.
students; not many
is a set of six
There
Chopin and Rubinstein.
Rubinstein
I use, including the
Studies which
I'm

done

regard

each

player

have

found

your

to

may

many

Dr.

own

Tcchnic.
extent.

it.'

Do

^tude.

Staccato
"In

with

I
To

illustrate the

have

technical
need

useful
William
used

material,

and

forms

tonic.

different

things
Mason,
this to

in

work

Touch

by
and

considerable

knowledge he was the

principleof weight, which

my

first to
is

now

Piano

228

Mastery

pretty generally accepted here

as

well

in

as

Europe.
ancient

"An

Seneca, is said
time

and

famous

have

remarked

to

reaches

the

philosopher,
by the

that

twenty-five,he
should know
enough to be his own
physician,
he is a fool.
We
or
might apply this idea to
the pianist. After
studying the piano for a
man

number
what

of years

if he

made
of

he

hands

have

often

and

find

They
than

invent

to

in those

"Two

of

their
done
much

made

the

own
so

fool.

the exercises

on

end

to

the list

forms;

to

fit their

mean
necessarily

of others.

their

usually made

are

exercises

not

hands

be

must

no

ficial;
bene-

most

are

technical

and

invent

this does

will fit the

pupils

is

legion. They
who

persons

There

books

is

name

he

so

always depend

by others?

method

able to discover

be

exercises

do

cannot

should

Why

should

he

of technical

sort

of

age

that

by
own

they

I encourage
my
technical exercises.

with

considerable

pleasure

more

cess,
suc-

in them

by others.

most

important principlesin

piano playing are: full, round, exact tone;

distinct phrasing. The most
fault is
common
indistinctness
or
leaving out
slurring over
lutely
in piano playing is absoClearness
notes.
"

essential.

If

an

actor

essays

the

role

Ossip
of

Hamlet,

he must

make

himself

and

Gabrilowitsch

229

first of all

speak distinctly
wise
clearlyunderstood; other-

all his

study and characterization are in

vain.
The
self
himlikewise make
pianist must
enunciate
understood; he therefore must
clearly.
VELOCITY

"You

of

velocityas difficult for some

there is a
players to acquire. I have found
general tendency to play everything too fast,
to rush
headlong through the piece, without
it clear and
taking time to make
intelligihle.
When
and
the piece is quite clear in tone
phrasing, it will not sound as fast as it really
all the parts are
in just relation to
is,because
speak

each

other.

there

is

she

it,then

it.

She

came

sat

mine, which

and
down

asked
to

me

the

remonstrated, but

me

that

her

tempo

she

had

heard
my

own

fact,
I had

Paris.
the
to

piece,

hear

her

piano, and

through the piece in a way that

it I could
hardly recognize it.

finished

I knew

of

this

of

play several times in

good pianist,got
very

rushed

illustration

to

learned

play

an

little Gavotte

occasion

lady,

As

she

so

torted
dis-

When
assured

exactly like mine as

me
play the piece three times.
her
tempo exactlyand showed
was

Piano

230

it did

while

that

Mastery
differ

not

greatly

so

because

slower
playing sounded
all clear, and
and phrasing were
rightlybalanced.

hers, yet my
notes

from

thing
every-

POWER

"How

do

depend

on

and

under

remain

for persons

enough

effect.

Power

of it

is

that

demands

course

of

The

hands, arid

and

arms

repeat, the nail joint must

under

It is

all circumstances.

forget this; one

to

easy

arm

or

not

fingersmust
strong enough to stand

be

to

weight

way.

firm

of

does

have

be relaxed.

as

this

give

not

wrists

trained

so

up

the necessary

force, and

nervous

be

the size of the hand

with

play

arms

Power

gain power?

quite small physique

of
to

be

must

so

looking after

it all the time.

MEMORIZING

"In
rule

or

to

seems
are

memorizing, I have
method.
Committing to

regard

comparatively
close

difficult
memory.

accord.

of its own

come

others, like
and

to

easy

memory

Some

learn

analysis. The
composition, is
is

surest
to

way

write

pieces

by heart;

fugue, require hard

Bach

There

to

special

no

to

it out

work
learn

from

great deal of benefit

in

Gabrilowitsch

Ossip
that.
a

If

or

person

the

it,the mind

vivid

impression.

When

write

out

to

in

be

as

to

piano

sition
compo-

compositions

forgotten,they

the later

pieceshave
less
is doubt-

This

after.

early impressions

enduring.
orchestral

"An
works

than

never

while

me,

well

as

to fix the

general experience,as

most

he

conducts
the

have

not

with

know

course

greater task

that

are

more

memory.

play

to

way

find

much

memory

constantly looked

are

When

visual

much

surest

early days

always

are

is

has

from

score

mind.

in

is

It

solo, yet it is the

learned

This

of

name

it down.

retains

the orchestra

part.

own

my

the

orchestra, I of

with

play

note

every

write

place,you

sees

eye

remember

to

want

you

231

score

conducting

Last

tracing
from

played

Rachmaninoff
Mr.

and

down

works

of
to

need

he

done

have

past few

years.

historical

of

the

the

piano

citals,
re-

certo,
con-

present.

in all,finishingwith

the

has

up

Concerto."

Gabrilowitsch

teaching,
concert,

growth

Mozart

nineteen

the

series

gave

the

him.

before

the

know

that

thoroughly

so

considerable
season

should

conductor

devotes

his

conducting, and

entirely given
time

to

recital

composing.

and

VON

HANS

BULOW

AND

THOSE

INTERPRETER

heard

who

his

during

and

Rubinstein

had

torrential

his

at

critics

to

to

call

thinker

and

though

reflected

the

work.

listener

came

uplifted,
touch

the

but

keys

all

his

1872,
The

mighty

in

were

his

it.

the

ture
na-

magnetism

personal

ences
audi-

American

the

in

mark

detail

caused

he

played

one

each

note,

expression

of
a

to

had

been
232

open

made

phrase
found

recital

awed,
the
to

as

saw,

be

to

deep

was

Rubinstein

subdued,

disinclined
that

careful

He

mirror,

quite

touch,

cold.
as

From
away

of

minutest

him

of

player

Clarity

analyzer;

dynamic

in

diminuendos,

found

was

caliber.

down

learned

once

conquered.

"

his

tened
lis-

1876,

pianism,

cital
re-

feet.

Biilow

Von

exactness

in

tone

before

everything

different

and

of

revelation;

were

the

and

his

.in

before,

whispering

variety

of

at

was

years

come

and

marvelous

that

of

in

tour,

few

splendor

crescendos

In

Billow

von

American

convincing.

carried

Hans

piano playing

to

TEACHER

AS

the

inspired,
piano
burn

or

and

HANS

vo\

Ilri.mv

Hans

those

under

scintillate

Billow

von

233

hands.

wonderful

hearing Von Billow, on the other hand,

the impulse was
to hasten
to the instrument
and
clear
so
reproduce what had just seemed
It did
and
logical,so simple and attainable.
difficult thing to play
to be such
not
a
seem
the piano
It was
like that!
as though he had
said:
"Any of you can do what I am doing,
if you will give the same
of time and
amount
After

"

study

it that

to

will teach
Von
works

Billow
of

was

Beethoven;

profound

student

his edition

of the

recitals

in America

works

better

he did

known

and

much

and

understood.

of the

great Pole may

of touch

beauty

always

was

his

his

these

to make

neglectChopin, and though

sensuous

sonatas

learning,clearness
smallest details.
Through

in the

of the music

of the

recondite

for

exactness

in

and

you!"

is noted

did he

Listen

done.

have

Nor

readings

have

lacked

terpret
tone, their in-

and

healthy, and

sane,

beautiful.
Toward

the

eighties,it
would

come

Berlin

in the Klindworth
unusual

famous

musician

and

during the

season

that
teach

to

and

obtain

Von
an

Conservatory.

opportunity
a

announced

was

to

of

end

Biilow

artist class
This

lessons

pedagogue, and

was

from

an
so

about

Piano

234

enrolled

pianistswere

twenty

of these

few

Mastery

with the master

came

where

he

then

was

Klindworth,

Carl
editor of

Chopin

Director

of

the

Klindworth
fact

the

sonatas.

that

to

and

It

high,wide

see

had

shed

edited

the

luster

intellectual

forehead

so

movements,

quick

capital.
when

music-room
to

shone

the

with

the class.

head,

his

institutions

morning

rather below

man

behind
bowed

the

of

school"

musical

many

bright May

of

many

the Klindworth

presented him

large

He

upon

entered

in him

hidden

were

men

proof is that he was

in Frankfort, and come

to

of the

guest, and

were

himself

his work

fame

was

with

two

music-ridden, music-saturated

Director

saw

The

is

Another

the youngest
of that

located.

school.

Berlin, in order

name

to

he

leave

ready to

fort,
Frank-

from

proved by the fact that

the
was
willing to recommend
of Beethoven, in spiteof
Edition

Billow

the

pianist, teacher, critic,

then the
Beethoven, was

and

close friends, which

Von

for the class.

his

They
height,

medium

whose

beneath

piercingdark

eyes,

glasses.
to

the class,sayinghe
industrious

many
as

and

he

looked

was

pleased

students.
around

alert; he seemed

the
to

see

His
room,

every-

Hans

thing

at

once,

could
The

the

class met

lessons
until

on

that

four

days

in each

from

nine

toward

only
and

indeed

Brahms

o'clock.

Liszt

was

week, and

in the

works

played, so nothing else

the class

mentality.

one

the

ing
noth-

that

saw

active

Raff, Mendelssohn
and

235

that

continued

well

announced

the students

and

escape

Billow

von

of

would

need
to

ing
morn-

It

was

Brahms,
be

taught
be brought to
have the place

of honor.
While

many

discussed

and

interestingcompositions were
ful
played, perhaps the most help-

thing about these hours spent with the

the running fire of comment
great pedagogue was
and
pretation,
suggestion regarding technic, interand music and musicians
in general.
Biilow
Von
fashion,
spoke in rapid, nervous
with a mixture
and English, often
of German
repeating in the latter tongue what he had said
in

the

former,

Americans

of

out

for

consideration

the

and

English present.
In teaching, Von
Biilow
required the same
so
qualitieswhich were
patent in his playing.
in phrasing and
Clearness
of touch, exactness
livery
the first requirements; the defingering were
of the composer's idea must
be just as
he had
were

indicated
ever

it
"

no

permitted.

liberties with

He

was

so

the text

honest,

so

Piano

236

Mastery

of
upright in his attitude toward the makers
sin in his eyes to
a
good music, that it was
alter anything in the score, though he believed
in adding any
of phrasing or
marks
sion
expreswhich
the

would

elucidate

showed

his intellectual

and

looked

for
the

intelligenceon
failure

this respect,

in

at

the

ideas

annoy

the

once

would

little Doctor; he would

and

begin

strides.

When

that

worthy

for

was
a

small

to

weather

things went
did not
course

to

be well

chief
and

with

concern

to

and

nervous

he could

see

he

be

to

so

When

excellent.

was

it behooved
meek.

tolerable

equipped

often

little

performance,
magnified as to

At

the

players

other

times,

much

smoothness.

to him

expected

was

the technical

on

make

clear

played

detached

He

technic, as

about

side; his

the

interpretationof the composition.

lessons

vey,
con-

castic
impatient,sarfloor with hasty

the

pupil coming

was

hend
appre-

fair in the class-room,

was

himself

trouble

of

become

in the student's

everything that
the lion began to roar,
to be circumspect and
the

sensitive

would

error

student.

endeavored

in this state

dwarf

when

he

of

sort

inabilityto

an

pace

subject;

same

part of the

did

or

the

the

of

some

said

of

grasp

of

intentions

he

Everything

composer.

he

the

content

In

phrases

the
and

Hans
for and

passages

played

an

One

of

entire

the

this eccentric

Nearly
mentioned

be

she could
heart.

by
this

for

least

two

at

of

only

not

As

note

hundred
than

for

no

he

pieces
fulfilled

piano

but

for

of the famous

directed

score

be

artist unless

conductor

of

could

ory.
play from memopinion that

more

course,

orchestra, he

given without

the
an

music.

Meiningen

could

considered

requirement,

orchestral

and

which

piano

expressed

play
He,

never

things about
prodigious memory.

his

was

work

pianist could

student, but

remarkable

most

often

the

237

composition.

he knew

He

or

with

man

every

Billow

von

before

work

every
him

"

sidered
con-

was
great feat in those days. He
in the
ceaseless
worker, and his eminence
a

mitting
largely due to unrelabor than to genius.
From
the many
suggestions to the Berlin
class,the following have been culled.
"To
play correctlyis of the first importance;
to play beautifullyis the second
requirement.
A
thing. Some
healthy touch is the main
people play the piano as if their fingers had

world

of music

was

more

rheumatic.
migranc and their wrists were
not
play on the sides of the finger nor
sideways stroke, for then the touch
weak

and

uncertain.

Do
with

will

be

Piano

238

"Clearness
and

one's

theme

new

theme, the

new

line

every

be

first

hearer;

to

be

difficult of all.

enters

figure,must

make

must

you

the listener;all the features

plain to

new

your

critic is the most

own

"When
it

always

are

must

and

content

have;

analyzed for
expression.

note

every

touch, tone,

first

must

we

measure,

"You

Mastery

be

of the

plastically

brought out.
"Brilliancydoes not depend on velocitybut
late
scintilis not clear cannot
on
clarity. What
of your
use
nor
sparkle. Make
strongest
leaving out the
fingers in brilliant passages,
fourth when
possible. A scale to be brilliant
and
powerful must not be too rapid. Every
be round and full and not too legato
note must
"rather
a
mezzo
legato so that singletones,
taves.
played hands
together,shall sound like ocdifficult things in
One
of the most
where
notes
two
rhythm, is to play passages
be pracalternate with triplets. Scales may
tised
"

in this way

alternatingthree

with

notes

two.

"We

must

in
discordant

way

make
to

passage

things sound
be
can

admired.
be made

by ingeniouslyseeking out
it and
holding that up in

the

well
A
to

best

the most

"

ably,
agree-

seemingly
sound

well

that

is in

favorable

Hans
Practise

light.
please
Think

the

Billow

von

in

different

imitate
octave

then

the

shade

bitte

the

on

piano
and

they
sharpness.

of the orchestra

having

color

and

Think

piano.

as

until

their

qualities of tone,

them
on

of

spite

of the instruments

their

chords

dissonant

ear

239

your

and

try
of

to

every

different

color;

playing.

(Also

coloriren!)"

If

Billow's
and

had

Brahms,

it would

Bach,
trinity,

musical

have

surely

fourth

been

ven,
Beetho-

divinityadded,

Liszt.

The

first

contained
day's program
chieflyworks by the
Au
bord
them
master;
Hungarian
among
d'une

Scherzo

Source,

Ballades.
Scherzo

The

light,flexible wrist;

to

March,

who

player

advised

was

and

and

rendered

practise octaves

the Kullak

the
the
with

School

Octave

especiallythe third book;

could
be read
through, practising
difficult and
seemed
passing

recommended,

was

the

other

books

whatever
what

over

was

termed

was

more

earnest

more

much

easy.

"

Of

the Ballades

the first

popular,the second finer and

though neither makes
very

noise.

Pclerinage received much

the
attention.
pieces played were,
Among
Les
Cloches, Chaftse Ncigc, Eclogue, Cloches
The

dc

Annces

Geneva,

dc

Eroica,

Feux

Follets

and

Ma-

240

zeppa.

Also

Etudes,

the

Mastery

the

Polonaise

all

last he remarked:

and

composed
of Liszt's

many

have

the way

some

is forced

to

was,

in

importance,"

he

each

word,

Then,

The

too,

of

careful

termed

the

of

excellent

an

the first

subdue

greatest

speaking

of

the

lips for

ing,
melody playeach

the tone.

note.

piano speak

pedals."
recommended
his

lighter

also,
concert

figure somewhat

then

"We

in

delightful of

slightlyslower,
and

was

low
fel-

As

the

of the

Liszt

the

aldesrauschen

charming,
"Begin

use

most

The

the hearer

after

up

they

saying.

of

make

cannot

Mazourka

one

kinds

is taken

we

very

pieces.

and

in certain

so

hand

without

movement

how

like that !'

of

of

piano speak.

with

unmusical.

to write

fond

was

case

unmusical

an

everything is

separate

the

as

the

make
use

wonder

considered

be sure,

can

passed since
ing
only just find-

people play Liszt

"Exactness

must

We

been

"You

is the

exclaim, 'What

to

Liszt

are

Such

works.

could

ever

we

have

people

fine it is.

how

two

and

play this; thirty years

out

in E, the

Gnomenreigen;
Impromptu, and the first

Valse

of which

was

Yet

big

aldesrauschen

Mazourka,

"tude,
it

Piano

increase

was
ber.
num-

louder
the

Everything

ment
move-

which

Hans

is

be

to

Billow

von

played

softly

241

should

be

practised

forte/'
Of

Joachim

Raff

Suite

Op.

important place. Each

most

minute

attention, the

Ethelbert

Nevin.

116, of which

the

the staccato
Then

the

and

the

left hand
the

dancers

floor, and

made

he

Valse

the

Op.

Von

71.

of

price
Ca-

in

notes

place where
unexpected slip on the

an

it be

as

sized.
empha-

little witticism,"

the

illustrated

somewhat

this

make

must

as

Suite

section

suggested

"We

said,

Op. 74,
little group

the

middle

particular about

against the legato right.

Polka, from

of

being played by

was

Scherzo

described

received

ceived
reMetamorphosen
the Valse
Caprice, Op.

master

left hand

came

Billow

The

the

held

91

number

Giga

hearing, also

he

the

at

passage

the

piano.
"Raff

showed

his earlier

in
will

century

find

"

Symphony,
Of
were

E.
was

himself

appreciation

more

which

cannot

for

Von

also

Billow

overtaking

be

said

sohn
Mendels-

of
his

in
of

symphonies
the coming
the

Ocean

instance."

Mendelssohn

played,

pupil
compositions;
a

the

CapricciosOp.

the

Prelude

deplored
the

works

and

the
of

5 and

22

Fugue

neglect

in

which

Mendelssohn,

Mastery

Piano

242

beauties of his piano

spoke of the many
tality
compositions. "There should be no sentimenthe playing of Mendelssohn's
about
selves.
music," he said; "the notes
speak for themand

"The

return

to

theme, in

or

song

every

particularlyto be
noticed, for it is always interesting
; this Fugue
in E should begin as though with the softest
registerof the organ."
deferred
The
has been
subject of Brahms
His
only that it may be spoken of as a whole.
work

instrumental

music

the theme

was

close friend
in touch
he
up

with

him

while

in with

came

sheet of music

ing
morn-

beaming face, holding

writing,
hand-

in Beethoven's

paper

had

discovered

and

warded
for-

nothing could
ceive
greater pleasure than to re-

It seemed

to him.

given

ber
num-

One

in Berlin.

Brahms

which

have

of the second, and

a
following lessons. Billow was
of the Hamburg
master, and kept

the

of

of his is

Biilow

that

this relic.
The

Variations

Brahms'
Biilow
noble

was

work

passages

very

work

first

exact

in

on

up
Handel

in

Brahms

with

illumined

explanations. He
the phrasing. "What

clear

about

and

class

theme.

perfect sympathy

of
with

taken

was

Von
this
many
was
can-

I)".

\VII.MAM

MASON

Hans

be

not

in

breath

one

breath," he

one

have

in

sung

their

next

"

Beethoven
and

not

Schumann

Beethoven,
their
word

at

and

terms.

own

composers

in

exact

terpret
inthese

Mendelssohn.

comes

all careful

about

markings

Brahms,
extremely careless.
Wagner have the right to use
Brahms
frequentlyuses the
where

sostenuto

played

expression and

is very

him

to

be

cannot

for

terms

own

243

said; "many

Brahms

points

Billow

von

others

would

ritar-

use

dando."
Of

the Clavier

said:

"The

taken

too

the

Capriccio, No.
fast.

Billow

Stiicke, Op. 76, Von

First

page

story begins

is

merely

the

at

not

must

second

be
lude,
pre-

page.

How

wonderfully is this melody formed, so

original yet so regular. Compare it with a
does
not
andante
Bach
gigue. Remember,
mean
dragging (schleppando) it means
ing
go(gehend)." To the player who gave the
play that as
Capriccio,No. 5 he said: "You
of Stephan Heller's.
Tarantelle
if it were
a
be carefully
Agitation in piano playing must
thought out; the natural sort will not do at
but seeall.
do not want
We
blind agitation,
ing
of
agitation(aufregung) A diminuendo
,

several

measures
one

each

should
for

be

F, MF,

divided

M,

into

P, and

tions,
sta-

PP.

Mastery

Piano

244

Zoological Gardens, where

about
learn much
legato and staccato
kangaroos."
the

Visit

Ballades

The

the

taken

were

light thrown

up

can

you

the

from

in these lessons,

their

tent
poeticalconrevelation.
The
often
a
was
gloomy
of the Edward
character
Ballade, Op. 10, No.
of the Scottish poem,
the poetic
1, the source
The
dwelt upon.
opening of this
story, were
first Ballade
is sad, sinister and
mysterious,

and

story. The

like the old Scotch

on

to

great smoothness
like

sound

second

pianissimo of
of this page
and

"

is worked

beats.
heartthe

the third

on

to

the middle

the end, the

to

descending
likened
to ghostly
tripletsin the left

were

the broken

accompaniment

chords

on

up

despair. From

utter
on

insisted

master

playing it the
but
throbbing

dies away

octaves

footsteps,while
hand

muffled

which

page,

chords

in

strong climax

upon

to indicate

seem

drops

of

blood.

The

third Ballade
from

Von

also received

Billow.

This

an

is

tion
illuminavivid

tone

motto
verse.
or
picture, though without
Starting with those fateful fifths in the bass,
it moves
two
over
fitfullygloomy and
pages

gay,

till at

the

passage

end

of

leads

the
to

second

three

page

chords

so

scendin
defull

Hans
of

grim despair

of

the leaf.

up

and

of

the

down,

who

had

and

now

salon.

but

prison
"

darkness.

player

"Stop!"

of the master,

You

ray

ing
hastily turn-

was

cried the excited

been

voice

pacing restlessly

hurried

"Wait!

now

245

impart the atmosphere

to

as

The

dungeon.

Billow

von

from

of sunshine

end

been

have

We

the

in

piercesthe

here
to
always pause
the contrast
make
more
impressive. There is
music
in this little piece than in whole
more
of
the modern
posers."
comsymphonies by some

Both

must

Rhapsodies Op.

second, he said,has parts

79
as

played; the
passionateas anything
were

the

in

Both
Gottcrdammerung.
fine and
interestingworks.
Again and again the players were
to make
everything sound well.

intervals,fourths
them

mild

for

instance, are

harsh

possible. For one can

staccatos
correctly,but horribly! Some
be

as

shaken
The

out

so

much

small

to

it.

easier

and

is

of the

At

by

complete.

sleeve

as

great work

occupy

Some

the

it

make

play
should

were.

is heard

attention

that

there

only

be derived
pleasure can
second
hearing things are
twelfth time one's pleasure

of

amount

from

seled
coun-

as

first time

is

are

the
the

The

pianist must

consider

the

Piano

246

in

listener

the

soften

With

rendering, and

endeavor

to

sharp discords.
of five notes,

play two and

sounds
more
distinguished.
that unlearning gives much
more
than learning.
a

group
three
it

then

"

Remember
trouble

this brief

In

the

and

its

and

as

teacher

no

to

thought

except by the

seen

notes

been

some

convey

of

remarks

lessons, with

fame

has

sons,
les-

concerning the music

interpretation. The master's fleeting
were
hurriedlyjotted down during

hints

sentences

Billow

of the Von

resume

desire

the

the

first

Mastery

teacher
now

may

of

their

But

owner.

became
be

of

so

as

ever

ing
be-

Billow's

great, these brief

value

some

to

both

student.

and

If it were

pictureof
that Berlin music-room, with its long windows
shine
opening out to a green garden the May sunstreaming in; the two grand pianos in

only possibleto

create

"

the center,

about

edge

the

row

of anxious, absorbed
of

the

room

"

and

students
the

short

figureof the littleDoctor, pacing up and down

the polished floor, or
seating himself at one
tion.
and then, to illustrate his instrucpiano now
This mental
picture is the lifelongpossession
of each of those players who
so
were

Hans

fortunate

can

safely
of

thorough

be

artistic

class,

think,

rectitude,
which

remained

with

constant

incentive

It

sessions.

that

of

musicianship

as

247

the

at

present

affirmed,

ever

that

be

to

as

Billow

von

the

and

exactness

there

were

the

members
and

ciples
prin-

culcated,
in-

of

tion.
inspira-

HINTS

ON

INTERPRETATION

FROM

TWO

AMERICAN

TEACHERS

WILLIAM

SHERWOOD

H.

DR.

AND

WILLIAM

MASON

WILLIAM

WHILE

by

He

surrounded

had

known

for

this

diction; but

the

attracted

four

corners

with

touch
him

the

with

hours,

its

its

Hours

day,

may
or

of

himself

the

most

teacher.
well

others

teachers

way

to

teacher,

is to

study

the

week,

is
248

but

given

of
a
over

with

quiet,
olis,
metrop-

exacting

lesson

of

freedom

exact,

the

in

come

some

its

drive,

round
the

in
of

stress

and

still be

net
magfrom

intimate

months,

rush

the

was

and

land.

summer

for

each

with

pianists and

remorseless

exchanged

and

pianist

director

Here

spot.

School,

specialties in voice, violin

famous

opportunity

Music

himself

of

the

during

retired

is

the

who

Perhaps

eminent

their

the

Summer

founded

SHERWOOD

student

young

attend

to

came

H.

giving,

rural

part
to

of

life.

each

relaxa-

Hints

Interpretation

on

tion, to be spent in the open,

with

249

friends

and

pupils.
It

under

was

such

Sherwood.

Mr.

conditions

I had

never

that I first met

heard

even

him

play, and was

glad the session opened with
His playing delightedme ; he
a piano recital.
and delicacy,
had both power
and his tone impressed
and
me
as
being especiallymellow
fine.
There
was
deep feelingas well as poetry
in his reading of both
the Chromatic
Fantaisie
F

of

minor

opinion

Bach,

and

the

which

were

on

the

This

program.

strengthened at
he gave frequent

was

in

Fantaisie

Chopin
each

subsequent

recitals and concerts

hearing,for
during the season.
sisted
conMy summer
study with Mr. Sherwood
tation
mainly in gaining ideas on the interpreof various
pieces. Many of these ideas
and I will
beautiful
and inspiring,
to me
seem
down
set them
as
fully as I can from the brief

jotteddown
pardoned a few

notes

be

With
gave

students

advanced

great attention
even

laid much

I trust

personal references,
to explain the
necessary

sometimes

are

the time.

at

stress

from
on

to

tone

the

the

use

study
of

which
tion.
situa-

Sherwood

Mr.

first

I may

and

lesson.

pretation,
interlie

slow, gentle

Piano

250

Mastery

practise and in playing; on the

of the tones, of getting behind
spiritualization
He
the notes to find the composer's meaning.
had, perhaps, a more
poetic conception of
I have known,
piano playing than any master
and
able to impart these ideas in clear
was
and
simple language.
mann's
SchuThe
first composition considered
was
in

motions

Nachtstiick, the fourth

had

middle

peculiarway
finger,as

chords,

at

the

of
on

same

should

be able

round

and

to

full.

play
In

"There
he

are

several

so

that the

the upper

the middle

great tenderness

He

turning the hand on the

pivot,for the extended
time
raising the whole

side of the hand,

outer

of the set.

and

melody

finger
notes

sired
section he de-

sweetness

dissonances

fifth

of tone.

in this

part,"

cented
acthey ought to be somewhat
In
suspensions I might call them.
and Handel's
time, the rules of composition
strict no suspensionswere
lowed
alwere
very

said, "and
"

Bach

"

indicated where
it was
not
they were
permitted to write them."
Chopin's etude in sixths came
sis.
up for analy"This
study needs a very easy, quiet,
ing
the motions
all glidingand slidlimpid touch
I
forceful.
rather
than
pushing and
would
advise
playing it at first pianissimo;
;

so

"

Hints
the

held

wrist

Interpretation

on

rather

high, and
preparation for

low, the knuckles

fingersstraightened. In
each
pair of notes raise the
down

brittle touch, if I may

a

be

to

hard

the word, but

with

with

not

"

use

soft, velvety one.

needs

what
some-

the

let them

fingers and

251

composition like this

taken
idealized,spiritualized,

out

of

everyday life. Take, for instance, the

Impromptu Op. 36, Chopin; the first part of
it is something like this etude, soft, undulating
smooth
oil.
There
is something very
as
spiritual,
heavenly, about the first
uncommon,
of that Impromptu
little of the
page
very
is in sharp
second
earth, earthy. The
page
"

"

to the

contrast

hard, everyday business

harsh, sharp
first page
don't
the

the bare

that

is what

hand

the first note

sixths

tones

reveals

the

should

firm

fifth

played

with

the

I have
for

at

the

it

it is full of

"

idea

the

might

that stand
them

I want

with

this etude

life

to the

of

that
I

get in this study in sixths.

printed page;

accent,

of

Well,

tones.

we

want

right down

first,it comes

on

spiritualized"

artist.

have

there

finger, and

In

the

left

clear, brittle
the

double

ment
creeping,clingingmoveIf I should
indicated.
practise
half an
hour, you might be surprised
haps
effects I could
produce. Per-

take

ten

hours, but

in the end

Piano

252

confident

am

I could

effect.
these

etudes

turned

the

the number

produce

I heard

at

this

In

pages.

this

Liszt
I

time;

one

and

undulating
floating,
play nearly all
stood
by and

etude

of sixths in each
wonderful

was

Mastery

he

doubled
the

measure;

fect
ef-

beautiful.

"The

22,
study, number
Chopin Octave
needs firm, quiet touch, elevatingthe wrist for
black keys (as Kullak
ing
explains) and depressbe
it for white
hand
must
keys. The
well arched, the end fingersfirm and
strong,
and
the touch
pressing, clinging, and
very
ever
to cling whenalways want
grasping. You
there is any chance
for clingingin piano
second
playing. The
part of this etude
should have a soft,flowing, poetictouch in the
right hand, while the left hand part is well
needs
The
thumb
a
brought out.
special
trainingto enable it to creep and slide from
one
key to another with snake-like movements.
in G major.
The
Barcarolle
"Rubinstein's
thirds

and

idea

first page

are

very

soft

and

good deal of extra motion

these thirds,raisingthe fingersquite high
lettingthem fall gently on the keys. The

gentle.
with

the

on

I make

of the

of

utter

on

the

first page

of this barcarolle

is

one

quietness,colorlessness ; one is alone

water; the evening is quiet and still;

Hints

not

breaks

sound

like

"

too, but

silence.

should
The

be

left hand

should

be

Herein
and

soft,

very

is soft

cented,
slightlyacpositive,the

lies the

idea

of

the

flow, the undulation

of

measure.

the

"Begin
second

first

measure

stand

coming in,
larger than
little

On

others;

puff

to

The

us.

preserve

advancing
The

moment

melody

and

the

use

"

ing.
noththing
some-

stand

out

accompanying
ebb

same

movement

in

cluding
con-

tangible voice

and

receding wave-like

exaggerated
ago,

in

upon

should

beautiful; the

clear, broad,
should

is

and

diminish-

ends

come

waves

The

should

we

page

you

higher

are

that

of vapor

As

great

it is here.

so

positive;here

more

chords

that

sixths

in

the

watch

some

the second

speaking

louder, the third louder

and

see

you

passage
a

softly,the

very

falling off again.

shore

the

on

measure

trifle

fourth

still,the

The

hushed

not; the first is

negative.
barcarolle,the ebb

the

the

first beat

the

second

like

253

airy cloud.

an

the second

each

Interpretation

tracery of thirds

delicate

thin

on

many

flow,
ment.
move-

spoke

ways.

of

Any

sharp, incisive
touch; but what I refer to is the reaching out
of the fingers for the notes, the passing of the
hand
in the air and
the final gentle fall on

one

can

hit the

piano,

with

Piano

254

the

in haste

key, not

to

get there, but with

reaching the key

of
throw

Mastery

in the

in time.

fidence
con-

If you

air it will

presently
fall back again with a sharp thud ; a bird rising,
hovers a moment
and descends
gently. This
barcarolle is not at all easy; there is plenty of
work
in it for flexible hands; it is a study in
controlled, held back,
pianissimo in power
stone

up

"

restrained."

Taking
Mr.

the

up

Sherwood

good

honest

of

said: "I like this

work

excellent

most

Toccatina

Rheinberger,
piece,there is

in it ; it is very

practise. You

effective,and

ought

play

to

this every

It is written
day of the year.
twelve-eighths,which give four beats to
but I think that gives it too hard
measure,

into

measure

each.
home

character.

square

also the music

strength to
"The
it.

of

through

Preludio

is very

Menuetto

strong of any

of the

elegance,and

the
and
each

slightlyaccent
and

is

more

at

Schumann,

of this sort, and

and
Bach; these give solidity

conception

your

went

The

of

Chopin
music
especially

I recommend

divide

temperament

your

in the music

We

would

parts and

two

Though

in

the

ideas."

of musical

Raff

Suite, Op.

94.

good," he said; "I like

is, musically, the least

numbers, but it has

is the most

popular

tain
cer-

of them

Hints
The

all.

Interpretation

on

Romanza

is

255

great favorite

of mine,

graceful, flowing and melodious.

concluding Fugue is a fine number; you

it is very
The

the theme

see

how

is carried

the

other, all twisted

from

about, in

hand

one

to

old Bach

way

sider
thought of doing. I conthis Raff
fugue one of the best examples
of modern
fugue writing."
fond
Mr.
Sherwood
of giving students
was
Wieniawski
the Josef
Valse, for brilliancy.

and

Handel

"There

are

made
it
"

never

in this
the

piece; one

the Prelude

effect you

begins
hand

in

the
but

amoroso,

be

can

liberties with

take

can

pompous

gives the

fifth page
after
whole

The

it.

staccato; all is

On

man

into

can

very

very

which

effects

imagination you have the better

I might call it a stylishpiece; take
as
capriciouslyas you like ; put all

more

it will go.

the

fine

many

Valse

proper

style,with right
exceelinglycoquettish.

you

it is marked

see

the

eight measures
thing away

young

to his father!

beginning of the sixth page is very piano

breath
than
and
a
light it is nothing more
of smoke, an
airy nothing. But at the poco
of reality;
piu lento, there is an undercurrent
The

"

the two

hard,

parts

are

going

earthlypart, with
thin

as

air.

To

at

the

accents,
realize

time

same

and
these

the

"

the

spiritual,
qualities

Mastery

Piano

256

playing is the very idealization of

The
Wish,
Chopin-Liszt Maiden's

in

"The

considered.

theme

encrusted

and

with

found

and

brought

being

able

to

You

notes.

idea;

Moment

is much

brought out,
the piece.

be

much

in

so

behind

is not

the

the inner

technic,

should

have

not

be

page,

be

quite another

make

softened
and

sure

for

thing
pianos,

two

the

place where

which

occur,

tender, caressingtouch

very

The

yet even
the notes, which,

behind

Andante,

theme.

can

of Schubert

will make

"Schumann's

the

it must

insightinto

an

Musicale

in this there

of

is

lace-like

it is the

even;

minor

if

it; but

laid
over-

of playspiritualization
ing.
There
are
pieces that will sound well if
notes
only are played, like the little F

method

the

delicate

is hidden

This

it.

feel

must

get

next

was

is often

There

out.

what

find

must

the

to hide

seek

arabesques that

here

technic."

rather
On

down.
do

notes; let the accent

not

for

teenths
four-sixsquare

the

accent

the

the

fifth

fect,
ef-

second
grace

finger
variation
the
For
time.
containing
every
chords, use the grasping touch, which might be
described
the end
breath.

as

of the

The

come

on

indrawing of force in
ringer,as though taking a long
variation
in triplets seems
at
certain

Hints
first

sight almost

the

theme, but

had

any

it

as

such

The
about

and

"The

has

tempo

going

hand

the

wrist.

The

and

idea

the

and

delicately,the

feelingof

Let

the

be

chord.
and

Begin

increase

in

the

needs

great

connected

unrest

the

tion
great agita-

almost

does

is here

painful,

ing
restful feel-

played lightlyand
giving the rhythm.

be

dash.
and
great power
low
when
beginning the

Always
final

speed

and

let it fall

first and

chords, raise it after the

second.

side of
from

well

octaves

left hand

presto demands

the

of

one

parts

piu forte,

moved

it becomes

The

after

outer

fifth page

should

wrist

the

The

The

This

come.

the

is

until the animato

not

At

here

legato

until

augmented

have

raised, and

sustained.

and

time.
to

unrest.

and

power

taken

four

contains

page

same

well

opening
gloom. The

sadness, almost

of

be

The

dignity.

second

must

care

Ballade, of Chopin, begins

at the

on

growing

out,

the end.

much

on

the contrary he meant

breathed

to

minor

slowly, with
melody is one

Schumann

that

gentle, loving thought.

something ethereal, ideal

be

fainter

think

On

sweet,

page

257

caricature, a burlesque on

idea.

it; it should

fainter

I don't

very

last

Interpretation

on

accent

double
tone.

the
runs

second

slowly

So, too, with

Piano

258

the octaves,
and

begin slowlyand

in power

increase

fire."

Numerous

other

but

the

manner

dean

the

foregoing experiences I
work
with the
doing some
liam
piano masters, Dr. Wil-

privilegeof

of all American
Mason.

European
and

worth

land

alyzed,
an-

MASON

WILLIAM

after

the

were

ones

DR.

Years

compositions

already quoted stand out

and
idea of Mr.
wood's
Shergive some
of teaching.

in memory,

had

Mastery

had

study,

several

spent

with

years

Klind-

Scharwenka,

Billow, and had returned

von

join

in

to my

its

teaching and playing

force.
became
cupied
so
My time soon
largely ocwith teaching that I feared my
ing
playwould
be entirelypushed to the wall unless
under the guidance of some
master.
I were
With
this thought in mind, I presented myself

own

to Dr.

"He

though

studied
has

Some

technic.

I don't

with

excellent
of these
wish

Sherwood

matter.

have

Mason.

have

"You

Very

to

to

has

Sherwood,"
ideas

ideas
claim
the

of
came

too
true

he began.

touch

and

from

me,

much

in the

piano

touch.

did
pianistshave it; Klindworth
Liszt,
it, nor
Biilow, nor
even
von

few

not
en-

Hints
he

for
tirely,
a

Interpretation

on

well

as

orchestral

more

has
Pachmann

the others, sought for

as

of

manner

this touch;

taught in Germany

not

best

American

respect; in
to

come

teachers
a

few

it, and

of all.

it should

are

far

de
It is

The

be.

ahead

in this

the

Europeans
things." (This

years

to learn

us

had

most

as

wood
Sher-

playing.

Tausig

Rubinstein

and

259

these

will
was

idea

Sherwood's

also.)
The
first compositionplayed to Dr. Mason
the G minor
was
Rhapsodic of Brahms, with
unfamiliar.
I
which, as it happened, he was
ruption,
played the entire piece through without interand he seemed
pleased.
tiful
have a beautiful tone
"You
a reallybeautone, and
play very artistically;
you
"

much

of this must

acquired it.

have

not

trained
of

forty years
to

come

one

natural
you

be natural

and

think

me

hand.

normal
can

I may

do

have

better

condition.
for

say
never

could

you

also have

You

teaching I
with

to you,

an

cellently
ex-

that in my
had any

or
position,

Now,

more

what

do

you?"

ideas
new
explained that I needed some
in my teaching,and wished to keep up my own
practise.
theories to you, and we
"I will explain my
will then study some
compositionstogether.
I

Piano

260

Mastery

everything in knowing how

practise,but it is something that cannot
taught. I played in publicten years before
"There

found

is

to

be
I

the secret.

out

"Practise

slowly and

must

all the notes

on.

There

be

be

must

in sections.

be dwelt

there, they must

and

firm

only

Not

rock-like

basis

piano playing; such a foundation can only

be laid by patient and persevering slow practise.
If the player has not the control
over
his fingersto play a piece slowly,he certainly
ficulty
difcannot
play it fast. Slow practise one
hand
at a time
at a time; Napolone
eon's
tactics,'one division at a time,' applies
all do not hurry in
to music
study. Above
fugue playing, a universal fault. Bach needs
for

"

"

trill than

slower

played with percussion but with

The
main
things in piano playing

pressure.

and

tone

are

till you
next

When

sentiment.

few

piece,practisea

new

know

few

first do

Chords

music.

to be

not

are

modern

take

up

slowly,

measures

them, then play faster; take the

measures

not

you

in

the

practisethe

same

whole

but

way;

piecethrough

at
at

once.

"Just

joy

as

in life every

great grief leaves

callous, so every time you
or

experience of great
one

better

or

practiseyou

more

have

Hints
either

advanced

like

we

we

associate

character

from

with,

and

hear.

in

are

the

earnest;

tones

put

whole

soul, your

Right playing,
child,

always doing right.

good or evil by those
influenced
we
by the

for

so

261

well-trained

quality of

Be

whole

your

in

manners

influenced

are

back.

gone

habitual

As

and

or

good

becomes

Interpretation

on

make

we

heart,

your

self

into

your

playing."
other

Among
the

Schumann

bius

Sonata

and

held

ponderous,

the opening

In

left hand

the

togetherwas

minor, the Euse-

glorious work!

movement

serious

in

sonata
"

studied

pieceswe

should

be

the hand

with

very

and

gers
fin-

the

weight.
keys; using arm
ing,
melody in octaves in righthand is beseechplacesthe
pleading,imploring. In many

The

close

elastic.

is very

touch

to

The

second

movement

thing
begins very softly,as though one heard somefaintly in the distance, and did not quite
but
know
it was,
what
thought it might be

music.

The

accents

be understood
not

The

be
of

as

in

strong

is

Scherzo

played
vim

freedom

as

and
arid

the

go;

marks

extremely
the

dash.

and

chords

with
must

are

indicate.

and

pompous

accents

One

to

seem

to

are

comparative degree,and

heavy

with

in this movement

is to

great deal
tin* utmost

use

the

"let-

Piano

2C2

Mastery

ting-go" principle,which
perfection.
We

Peter's

the

up

has been

Mason

accompanied
pleased with

seemed

making

the

At

composer.

on

the

piano, and
I

work

corrections, except

no

corrected

first lesson, Dr.

second

to

the

Grieg Concerto;

edition of this work

the

by

took

next

has

Paderewski

had

to

done,

suggest

somewhat

that I would
"Not
quickertempo.
anything to impair your carefulness and

do

but

accuracy,

the

beginning,

brought

too.

When

up.

been

the time

strike out

and

back

is afraid, while

and

steps in and

courage,

discussed

We

length. "Note
dreamy effect
the second

of

pedal

in

octave

in
Andante
The

that

slow
this

can

have

passage

away

movement
movement

chords.

cadenza

should

groups,
be fast."

third time

we

with

played the

to

more

his opportunity."

at

great
the slow,

ending

use

The

great swing and

rhythmical
must

carefully

at the

the artistic

following

the

of

life,he holds

in

be made

from

for him

comes

another

takes

solo, and

must

movement

the

the

the
in

very

his chance

take

risk, and

reminded

am

has

who

man

young

take

must

you

and

be

the

concerto

of the
third

'go';
tised
prac-

final

I had

Hints

the

on

could

he

only

had

I
I

Dr.

to

such

benefit

of

into

as

praised
the

and

it.

me

poetry
could

Who

enthusiasm

when

what

the

inspiring.

to

with
he

demonstrate

pupil,

the

always

worthy.
blameutmost

and

experience,

wide

all

was

of

acquaintance
of

and

good,

was

what

were

such

teacher,

inspiring

correcting

had

Best

ready

up,

most

praise
in

large

always

close

and

fire

criticisms

he

musicians.

the

put

and

note

for

accompanied

it

to

was

His

value,

at

worked

vigilant

equally

and

263

master!

Mason

quick

Mason

with

such

by

Dr.

able

was

playing

help
led

do,

way

fire

and

hand.

in

well

it

Interpretation

on

was

his

and

music
true
art

encouraging,

artist,
for

the
ways
al-

VITAL

POINTS

IN

COMPOSITE

PRINCIPLES

TALKS

WITH

DEDUCED

EMINENT

AND

things
the

and

TEACHERS

and

way

child

fine

and

was

question
told

seemed

to

it

played

One
Anton

not

do

in

thus

every

who

one

for

into

exactness

study,

wonder

to

when
in

ways;

different

why

other

fact

played

fashion.

led

people

began
the

Why

to

piano
was

way?

one

memorable
Rubinstein.
the

so,

doing

going

piano

to

As

embroidery,
saw,

things;
and

one

my

one

any

fondness

many

in

remember.

applied

them,

occupy

beautiful

This

other

do

that

discover

there

to

to

can

what

do

them

of

watching

imitate

details.

others

used
I

as

or

detail, when
to

doing

of

fond

to

minutest

the

far

as

was

tried

how

another,

needlework

and

me

in

back

done,
for

not

thoughts
a

are

reasons

FROM

PIANISTS

SECTION

How

PLAYING

PIANO

piano

night

What
was,
264

taken

was

to

be

to

marvelous
sure,

when

hear

strument
in-

its

Vital

keys

Points

in

moved

by

were

all fire and

moment

velvet

as

What

had

this

wonder?

into oblivion
the

was

and

that

did

I had

when

all

I heard

one

smooth

thistle-down.
with

common

the

hitherto

265

at

was

the next

light as
piano in

Why

piano playing

touch

home

my

Playing

flame, and

soft

or

Piano

efforts

listened

sink

to

this master?

at

What

of it all?

reason

artists

the

within my
piano came
and
others.
vision, Mehlig, Joseffy, Mason,
I listened
As
it was
to their performances
that each
clearlythan ever
brought to me more
which
master
played the piano in the manner
More

suited

best

of

himself;

player made

every

the

at

the

instrument

effects little dreamed

and

What

learner.

of

the

was

time

same

utter

the

by

tones

ordinary

Was

secret?

and

each

it the

moving the keys, the size of hand,

the length of finger,or the great strength possessed
always been
by the player? I had
taught to play slowly and carefully,so that
I should
make
mistakes; these great pianno
ists
of

manner

had
least
hit

could
Whence

wonderful

did

not

few

to

seem

wrong

only

fearlessness; Rubinstein

secure

came

power?

care

notes

the

his

whether

here

speed

fearless

and
and

or

not

at

he

there, if he

effect desired.

velocity, his

mendous
tre-

Piano

266

Mastery

ESSENTIALS

Little

OF

PIANISM

little I

sentials
began to realize the esof effective piano playing were
these:
clear touch, intelligent
phrasing,all varieties
of tone, all the force the piano would
stand,
most
togetherwith the greatest delicacyand the utspeed. These
things the artists possessed
of course,
but the ordinary
as
a matter
teacher failed utterlyto make
student
like
or
effects,or to play with sufficient clearness and

force.

What

In
of

by

due

the reason?

was

course

came

under

the

supervision

piano pedagogues. To the

implicitobedience, endeavoring to

various

gave

as

was

told.

The

next

first I

do

teacher

actly
ex-

said

begin all over

again, as I had been
learned
taught "all wrong." I had never
hand
positionnor
independence of fingers
I

must

"

these

must

master

be secured
manner

be

now

told
in

me

quite a

in which

established.

The

ing
follow-

fingerindependence
different fashion

I had

from

taught,which
professorsaid I

been

must

the
was

must
wrong." The next
bend the fingersquarely from the second
joint,
I had been
all three joints,
and not round
as
so-called
fault
took
several
doing. This

"all

months

to correct.

Vital
To

Points

the next

in
I

Piano

Playing

indebted

am

for

(if somewhat

pedantic)
and
phrasing, for which
hobby of the next master

The

with

soft touch.

to take

and

all the

less than

all the vim

six months.
the

of

assiduouslythat
a

year,

my

and

on

great

new

had

slow

course

the

FOE

DESIRE

The

next

owe

vitaliz
de-

practisedso

ruined

was

to the
master

side
in-

factory
insisted

finger movements,

working up velocitywith metronome,

tone
shading and memorizing.
THE

fingers

playing in

next

piano

tions
mo-

culated
cal-

was

of one's

to be sent

of

exactness

noted.

was

was

touch

poor

keyboard.

for

ing
finger-

elastic touch, with

This

muscles.

he

of

of one's

To

dox
ortho-

good

ideas

out

out
brilliancy

comprehension

of

This

267

on

on

fine

KNOWLEDGE

REAL

experience with
ing
pedagogues and teachers of the piano. Havpassed through it (and in passing having
tried various
so-called and unnamed
methods)
I feel I have reached
a
vantage ground upon
Such, in brief,has been

which

The

course.

the

can

stand

within

me

to

through

go

look

ever.

to

back

over

the

experienceof
the keyboard is as strong
did they not have
What

desire to know

great artists of
as

and

my

master

the

their

instrument?

Piano

268

And

mastered

having
the

vital

to

and

what

The

exclude

as

childish

my

for

know
the

hands

to

put into words

exactlywhat
what

years

boon

is to be done

him,

small

ones

it all.

did

explained how,
the

is such

an

of its manifestation.

manner

the

neous
sponta-

more

impulse

same

to master

be to those who

it would

fell

to

go

listeningto Paderewski,
others.
If they could only

and

mann

to

when

come

avoid,

to

tones

the less able

the

later

he

have
"

In
has

not

"

can

unessential

in my

how

me

expression

They

or

longed

could

these

know

marvelous

greater the genius

its

one

he

and

upon.

ears

clasp his wonderful

and
beg him to tell

sider
con-

technic

what

and

unnecessary

to concentrate

they

them.

to do

night Rubinstein's

upon

now

of

know

can

tell,if they will,what

what

do

piano
Surely they must

one

any

it, what

essentials

piano playing?

things if

Mastery

Hoftell

us

the

piano,

are

awake

enough to profitby and follow the directions

and experiences of such masters.
In recognitionof the strength of this desire,
after a half -forgotten wish
had been
months
a
request by Musical
expressed by me, came
America

to prepare

the

world

our

shores, and

famed

series of interviews

pianists who
also

with

were

prominent

with

visiting
teachers

Vital
who

Points

in

Piano

making good
proving by results

were

were

safe

were

and

labor

was

plied

have

seemed

with

with

his

for

which

The
them

may

to

the

rogator
inter-

piano mastery.
artist

an

to

artists

to

of the

essence

methods.

own

congenial

zest.

more

prosaic, but

piano
light task

analyze

they

TRUTH

questions which

the very
technic and

who

that

interestingand

were

of

and

us,

attained

FOR

an

undertaken

were

among

269

efficient guides.

SEARCHING

Never

Playing

principles
It is not

sit down

Some

found

and
it al-

into

language their
ideas
these subjects. They had
on
so
long
with
the highest themes
concerned
of
been
interpretationthat they hardly knew how the
technical effects were
produced, nor could they
of making them
into words.
put the manner
They could only say, with Rubinstein, "I do
it this way," leaving the questioner to divine
ever,
of it. Howhow
and then to give an account
with
questions leading up to the points
impossible

most

anxious

was

to

the

about

put

principlewas

Truth.
each

lightupon,

secure

much

formati
in-

elicited.

was

One

to

ever

desired

subject

and

to

before
find

then

me,

out

namely
the

endeavored

truth
to

Piano

270

set down

what

felt would
In

Mastery
said, expressed in the way

was

the most

convey

consideringthe

under

which

to

meaning.

vital
the

group

exact

points or
subjectsto

the

following seem
ground pretty thoroughly:
1. Artistic piano technic; how

to

heads
be

cover

sidered,
con-

the

acquired and

retained.
2.

How

to

3.

How

to memorize.

4.

Rhythm

practise.
and

tone

color in

SECTION

II

piano playing.

Position, Finger Action, and

Hand

Artistic

Touch

WHAT

When

we

world-famous

INCLUDES

TECHNIC

listen

to

artist,we

piano

think

"

if

recital
we

are

by

cians
musi-

primarily of the interpretationof the

That
the
consideration.
compositions under
out
pianist has a perfect technic almost goes withhave such a technic to
saying. He must
win
recognition as an artist. He would not
be an
artist without
a
great technic, without
"

Vital

Points
command

complete

instrument
Let
the

in

and

us

which

sense

art

says:

all that

pertainsto the
piano playing. It is in this
Harold

in itself."

calls technic

Bauer

Bloomfield

Mme.

technic

"Piano

of the

resources

technic in its largesense,

includes

significancethat
"an

271

himself.

over

side of

executive

Playing

the

over

the word

use

Piano

includes

Zeisler
much!

so

Everything goes into it : arithmetic,grammar,

diction, language study, poetry, historyand
painting. In the first stages there are rules
other study. I
to be learned, just as in any
know
the laws of rhythm and meter
must
to be
able to punctuate musical phrases and periods.
metic
Pupils who have long since passed the arithstage have evidentlyforgotten all about
fractions and division,for they do not seem
to
grasp

the time

notes

used

be done

on.

Thus

with

you

things;it

first

is

technic

see

know

very

notes

includes

wide

of

groups

what
and

so

multitude

subject."

POSITION

piano teacher shows

hand position. It has been
this
a definite expression on

principlea

his

pupil is that

my

effort to

point from

and

they do not
dotted
triplets,

HAND

The

of notes

in music;

must

of

values

secure

of

various

artists.

Most

of

them

Piano

272

that

agree

Mastery

arched

an

finger joints is the

derewski

holds

his hands
what

you

Polish

correct

the

at

kind

of

me

piano,
hand

pianistconsiders

Pa-

was

how

the

and

is"

he

player

It

one.

said, "Show

who

rounded

position with

player

will tell
the

showing

"

positionof prime

importance.
hold

"I
Ernest

the

hand

and

firm."-

very

Schelling.

"The

takes

hand

finger-tipsforming
middle

fifth."

is natural

"

Katharine

Goodson.

"The

hand

is formed

finger position,with

on

arched

keys,

the

little farther

in

the

on

curve

than

key

position, the

arched

an

finger being placed

the

on

arched

for

the

first and

the

in its five-

keys

knuckles."

Ethel

"

Leginska.
hand

"The

curved

with

is formed

fingers,

in
and

arched

an

position,

solidified."

"

Carl

Roeder.
"The
stand

hand, in normal
up

in well

rounded.""I
with

arched

Burnham.

-Thuel

first establish
firm

"I teach
Lambert.

must
playing position,
form, with fingers well

arched

an

"Edwin
fingers."-

arched

hand

hand

position,

Hughes.

position."
"

Alexander

Vital

Points

"One

in

first

must

Piano

secure

that

first
the

thing

hand

knuckles

be

do

to

is

will

the

in

"

pupil is to
position;

correct

somewhat

elevated

rounded."

fingers properly

Eleanor

fingers."
for

273

hand, with

arched

an

steady first joints of

Spencer.
"The

Playing

the

the

and

Bloomfield

"

see

Zeis-

ler.
"A

pupil

hand
the

and

first form

must

firm

secure

hand

from

away

arched

with

rounded

under

his

is the

accepted position

few

fingers, and

instruction

Lerner,

flat

fingers,but

doubtless

advocate
for

the

authorities

that

the

well

arched, the end

the

contact

with

be

weakness

no

joint.

Alfred
passage

agree

key
nor

of
;

It

playing.

Cortot

and

work

with
case,

is

size of the hand.

quotations, and

which

the
the

come

form.

Lerner's

above

opinions

have

passage

the small

by

position,

this

this, in Miss

from

other

many

their

play

caused

is clear

hand

all who

pianists,notably

Tina

from

the

of

finger joints. I form

the piano, at a table."-

teaches

Leschetizky

It

arch

Morgan.

Agnes

the

be cited,

could

should

hand

finger coming

furthermore

giving

there
in

at

be
in

should

the

nail

Piano

274

Mastery

FINGER

ACTION

to
questionof liftingthe fingersseems
which
be one
various
held.
on
opinions are
Some
pianists,like Godowsky for instance,
will tell you
of raising
they do not approve
the fingers that the fingers must
be kept
close to the keys. It is noticeable, however,
that even
those who
do not speak favorablyof
finger action, use it themselves when playing
requiringdistinctness and clearness.
passages
Other
ject,
players are rather hazy on the subbut these are
generallypersons who have
not gone
through the routine of teaching.
The
accepted idea of the best teachers is
that at the beginning of piano study positive
be acquired; finger
must
finger movements
action must
be so thoroughly grounded that

The

"

it becomes

second

nature,

player,something he
away

from.

can

forget nor

never

So fixed should

part of the

very

it become

that

get
no

ing
subsequent laxity,caused by the attention beturb
discan
wholly centered on interpretation
correct
position,condition, or graceful,
plasticmovement.

"For
the

passage

work

I insist

fingersmust be raised
development. I
proper

on

and
think

fingeraction

active to insure
one

certainly

Vital

Points

higher

needs

technical

and

the

playing
"Clarence

he

action

Piano

Playing

when

pieces than

275

practising technic
would

one

pieces before

same

when

use

audience."

an

Adler.

Alexander
when

in

Lambert

speaks

"I teach

says:

the

to

decided

point

fingeraction

in the

beginning. Some teachers may not teach

finger action because
they say artists do not
tell
it. But the artist,if questioned,would
use
he had to acquire finger action in the beginning
you
There
are
so
stages in piano
many
raise his fingers
playing. The beginner must
in order to acquire fingerdevelopment and a
clear

touch.

In

middle

stage he has

finger control

enough

play

to

the

less action, yet still with

with

passages

the

in the

clearness, while

stages the

passage

more

same

ficient
suf-

less finished

or

played with

be

may

cured
se-

motion, so thoroughly
perceptible
ment."
fingersrespond to every mental require-

scarcely any
do

the

It

is this consummate

of condition

and

observer

gives

and

greater

technic

such

been

The

the

things
Never

movements.

mistake.

has

to

finest

acquired

control

lead the superficial

that

imagine that

thought

no

condition
a

movement

to

and

mastery

with

great artist
as

position,
was

there

perfection of
painstaking

Piano

276

with

care,

At

has had

attention

minute

period

some

to

Mastery

down

come

to

exacting

of his career,

the

to foundation

tail.
de-

artist

principles

differ as to the
Opinions may
of Leschetizkyas a teacher, but the
eminence
of the pianistsnow
fore
befact remains
that many
time
the public have been with him at one
another.
nese
or
They all testifythat the Vienwill have
master
nothing to do with a
of
player until he has gone through a course
rigorous preparation spent solely in finger
and can
play a pair of Czerny etudes
training,
with perfectcontrol and effect.
and

work

up.

TOUCH

AETISTIC

One
touch

of
was

exhaustive
touch

was

the

greatest American

Dr.

William

study
noted

Mason,
this

of

for

its

teachers
who

subject.

made
His

of
an

own

clear, bell-like,elastic

occasion, in reone
gard
on
quality. He remarked
to playing in public: "It is possibleI
that I can
be so nervous
hardly walk to
may
I have begun to play I
the piano; but once
shall hold the audience
still enough to hear
a
pin drop, simply by the beauty of my
touch

and
were

ing-off"

tone."

Dr.

Mason's

"pressure"and
touches.

He

touch

"elastic"

found

or

these

cialties
spe-

"drawgave

Vital
both

Points

Tobias

much

time

and

Piano

and

He

chief rules of technic, as

feel how

Always
feel how

much

much

the

key

sound

that you

effort to

key

bed.

end

of

the

sound.

key

The

the

sound.

the

more

two

the

learn

you,
note.

every

each

moment

may

are:

direct

to

only and not to the

only by making the hammer

the

It is

for

wants

listen for

always
begins,so

"The

says:

regards the key

the key resists

Second,

your

277

crisp lightnessto the tones.

Matthay, of London, has given
thought to the study of touch

mechanism.

key

Playing

and

weight

Mr.

in

sound

that

move

swifter
The

make

can

you

the louder

the movement,

gradual the movement

For
the qualityof sound.
hit the stringby means
may
not, by mistake, hit the key

more

beautiful

brilliant tone, you

of the key, but do
instead."
Thuel

Burnham,

chetizky,has
the matter

MELODY

"The
varies
and

If

you

of

piano

according

ideas

of

touch

as

and

to

condition

the character

quality of tone you

give out a melody,

Les-

these

two

and

fies
simpli-

follows:

HANDS

COLORATURA

AND

and

Mason

experience,

own

position

the

the

welded

into his

masters

pupil of

wish
you

the

hand

of the

music

of

to
want

produce.
a

full,

Piano

278

tone, the

luscious

everything
of

pressure

weight

relaxed

and

with

of

arm

the

on

key,

clinging,caressing

Here

finger.

Hand,'
On

Mastery

have

you

the

ody
'Mel-

outstretched, flat fingers.

the

contrary, if you wish rapid passage

work, with clear, bright,articulate touch, the
hand

stand

must

in well- arched, normal

up

rounded

playing position,with fingers well

and
good finger action. Here
you
'Technical'
The
clears
and

'Coloratura

or

distinction
up

the

made

Both

touch,
used

are

according to the
player, however,
technic, should

low

or

in their

demands
who

first

attempting a

We

have

seen

perfect himself
hand

Burnham
arched
and

proper

that

place,
The

clean, reliable

acquire a coloratura
melody hand.

Art

hand

flat fingers.

of the music.

desires

hand

III

SECTION

The

hand

the

'

Mr.

by

uncertainty about

articulate

before

Hand.'

have

of Practise
if the

in his art

he

pianisthopes to
dation
must
lay the foun-

in the
fundamentals
of
deep down
position, body condition, correct
finger

Vital

Points

movements

and

minutest

The

in

Piano

Playing

careful

details of touch
remark

have

in

is often

attention

and

279

to

the

production.

tone

heard, from

who

persons

"I
just listened to a piano recital:
give anything in the world to play like
But
would
sary
give the necesthey even
time, to say
nothing of the endless

would

that!"

patience, tireless
which

How

much
for

time

of

seasons

dowsky

is

an

of

artist
owns

the

during

most

each

to

to

ing
devot-

periods

of

certain

give

work.

Burnham

worker;

tuoso.
vir-

quire
really re-

artists

the

severance
per-

of

At

the

of

day

incessant

his entire

the

his recital tours.

year

large portion

it

to

for

the

does

making

Paderewski

study?

preparation

indomitable

the

to

go

all his time

and

energy

Govotes
de-

piano study; Germaine

Schnitzer
gives six hours daily to her
work, and if interrupted one
day the lost time
is soon
Eleanor
made
Spencer "practises
up.
all her spare
time," as she quaintly puts it.
of
A
professionalpianist must give a number
hours
each day to actual practise at the keyboard,
besides

The

work

whether
not.

is
one

mornings

what

to

is done

mentally going

really sits

at

the

away
on

from

it.

continually,
instrument

or

Piano

280

Mastery

point which most concerns

shall one
practiseso as to make
and
the time
accomplish the
The

etudes, if any,

What

material

technical

Wilhelm
nic

is the

and

of the

does

the

those.

seem

to

I select

useful

and

fectual
ef-

"I

says:

am

in scales

playersof
for

what

tech-

still believe

the thumb

the thumb
these

"

no

few

with

I start

"just
but

and

the present

such

things,
I find them
of great importance. This
that I go through
not
necessarilymean
whole
set of keys when
I practise the

scales.

over

have

of

results?

consummate

to

enough
arpeggios. Some

day

best

admired,

often

so

How

the most

use,

most

old-fashioned

but

we

Bachaus, whose

have

we

shall

is :

us

use

at

time

work

simple
ridiculously

under

the hand

few

movements

and

put the hand

in trim

and

forms

the hand
each

for

at

way,

scales and

arpeggios. I practisethe latter about half an

hour
a
day. I have to overhaul my technic
twice a week
to see that everything is
or
once
in for
Scales and
in order.
arpeggios come
in
their share
of criticism.
I practise them
various touches,but of tener in legato,
as that is
more

difficult and

others.
hour

also

more

beautiful

practisetechnic, when
day, includingBach,"
I

than

the

possible,an

Vital

Points

in

Piano

Sigismond Stojowski
and arpeggios must
form

Playing

considers

281

that

scales

part of the daily

routine.
Burnham

Thuel

hours

least

at

"Of

says:

is

one

given

practise

my

technic, scales,

to

lieve
I bearpeggios, octaves, chords, and Bach!
in taking one
selection of Bach
and perfecting
it
transposing it in all keys and
polishingit to the highest point possible. So
with etudes, it is better to perfect a few than
to play at so many."
"

PIANIST

THE

Edwin

Hughes,
in

teacher

Munich,

mechanical
in

the

American

remarks:

part of music
order

running

or

pianist and
"Technic

making;
must

one

tinkeringwith it,justas
his locomotive

MECHANIC

the

be

keep it
constantly
to

engine driver

chauffeur

the

is the

with

with

his automobile.

Every

intelligentplayer recognizes
certain exercises
as
especiallybeneficial to the
mechanical
well-being of his playing; from
these he will plan his daily schedule of technical
practise."
Carreno
Teresa
asserts she had in the beginning
many

teacher

wrote

taken

technical
out

from

for
the

which

exercises

her, from

her

difficult passages

great composers.

There

Piano

282

hundreds

were

just

three

of

days

them
in her

Each

exercise

He

hour

an

with

every

dynamic shading
It

is

from

seen

great

many

be

must

rounds.

it took

She

in

in her
in all

at

known

been

singlekey

siders
con-

constantly

played

has

arpeggios

quarters of

played

the

go

that

many

practiseand

practise.
and

so

stretch.

uses

teaching.
and

keys

possiblevarietyof touch and

time
gives much
daily to

Paderewski

scales

to

own

every

technic

them,

invaluable, and

them

with

Mastery

tone.

pure

play

to

for

These

three
were

variety of touch, velocity,

and

so

the

on.

instances

pianists believe

practise,or

the

Brahms,

instance.

in

quoted that
daily technic

study of pure technic apart

from
pieces. Many more
testifythat scales,
their
constitute
chords, arpeggios and octaves
Some
have
daily bread.
spoken to me
cially
espeof octave
practise as being eminently
beneficial.
tial
They feel these things are essento the acquiring of a fine technic, and keeping
it up to concert
pitch.
Some
artists are
partialto certain technical
those of
studies.
Bachaus
highly recommends
connection
the

works

for

with
of

All

artists

their technic

Bach

may

be

use

practise;in
considered

in

Bach

to

fact
em-

Vital

body

Points

technic

pure

teachers

in

consider

Piano

them

with

alone, the

daily necessity.

EXERCISES

their

in pure

studies

invent

artists

283

pianistsand

principles,and

INVENTING

Together

Playing

exercises

technic
the

of

out

pieces they study, either by playing passages

written
for both hands
with one
ing
hand, by turnsingle
difficult
into

rhythm,
the
the

the weaker

and

in

is

indeed

is

difficult

music

written, but

putting

it

Mason,
to

well
was

with

the

that

that

ing
increas-

acquire

technical

One

artists

mastery

performed

think

him

think

would

when

enough

gave

it

play.

nothing

keys.

Bach

of

Burn-

with

during early lessons

master

when

that

so

through the different

relates

ham

be

to

the

originallywritten,

through transposition.

Bach's
as

as

like child's

means

ing
bring-

ways

performance,

seem

Another

other

played

more

fingers,changing

numerous

of

thus

necessary,

use

effort

by using

octaves,

fingering than

passage

shall

into

notes

Dr.

tion
Inven-

casually remarking it might

The
it.
memorize
simple suggestion

prepare,
to

more

than

sufficient, for

the

pupil presented himself at the next

not only that particularInvention

tious
ambilesson

learned

Piano

284

by heart,

but

likewise

the

in his eagerness

Pachmann,

whole

set!

Bach

Prelude

that when

piano,says
on
Fugue was

and

De

the tech-

to master

literature of the

nic and
a

Mastery

sion
occa-

one

assigned him by his teacher,he went home

learned
the whole
twenty- four, which he

and

able

was

to

play

in

key

every

for

the

next

lesson !

PRACTISE

SLOW

The

question is

deem

you

often

it necessary

to

to

put
work

"Do

artists:
for

or
velocity,

at the
practisethe composition much
required speed?" Many
pianists practise
H.
wood's
SherWilliam
slowly. This was
very

do

you

Harold

custom.

be

to

when

the passage

it

be

can

Bachaus

in

inherent

Bauer
the

believes velocity

individual,

so

that

is

thoroughlycomprehended
played at the necessary rate of speed.
for velocity,
works
testifies he seldom

he can
the passage
saying that if he masters
work
"I never
play it at any required tempo.
for velocity as
"I
do," he remarks.
some
seldom
practise fast, for it interferes with
clearness.
I prefer to play more
slowly,giving
the

good

greatest attention

tone.

that when

By
I need

pursuing
velocityI

to

this
have

clearness
course

it."

and
find

Vital

Points

Clarence

in

Adler

Piano

Playing

counsels

pupils always

285

to

begin by practisingslowly faster tempo will

develop later,subconsciously. Velocityis only
be employed after
to
been
the piece has
thoroughly learned, every mark of expression
and
observed, all fingering,accents
dynamic
marks
"You
mastered.
would
lieve,"
scarcely behe adds, "how
slowly I practisemyself."
"

There

FEW

EXCEPTIONS

few

exceptions to the general

verdict in favor of technic practise apart
from
he
asserts
never
pieces. Godowsky
little for pure
cares
practises scales. Bauer
technic practise,believingthe composition itself
are

contains

very

sufficient

material

of

technical

nature.

Whether

or

not

these

brilliant

exceptions
thoughtful student

merely prove the rule, the

He
has
of the piano must
decide for himself.
piano playing
already discovered that modern
requires a perfect technic, together with the
personal equation of vigorous health, serious
and
many-sided mentality. Mme.
purpose
is something
"Technic
Rider-Possart
says:
an

artist has to put in the

of

thing
background as somesecondary importance, yet if he docs

Mastery

Piano

286

not

it he

possess

overlook

will not

and

thought

He
follow

control

understand

must

out

certain

he

of

ing.
piece playand
principles

in order

the best results in the

quickestand

While

work

each
it is

the
must

must

one

an

bit

memorize

by

the artist and

lies in

the

and

tion,
salva-

that

even

play slowly,

The

difference
amateur

tween
be-

often

concentration,

absolute
devotion

way.

their technic,

the talented

former's

perseverance

bit.

secure

own

to know

greatest artists must toil over

keep eternallyat it, must

must

to

surest

his

out

encouragement

devote

must

the

routine

acquire the

to

it outside

to

student

The

fact that

the

technical

necessary

time

is nowhere."

the

to

highest

ideals.

SECTION
How
At

the
an

the

Memorize

present stage of pianisticdevelopment,

artist does not

public and

values

to

IV

his

"use

venture

his notes."

to

No

come

before

artist who

it.
reputation would
attempt
Everything must be performed from memory
"solos, concertos,
even
accompaniments.
The pianistmust
know
every note of the music

Vital

Points

he

performs.

to

the

have

The

singer
the

have
his

instrumentalist.

concerto

two

repertoire,was

orchestral

music.

Meiningen
Let

us

to

is

no

small

phony
sym-

compositions in
himself equally at home
in
his
He
always conducted
without

notes.

then, that the present-day pianist

have

without
to

opera,

finger-tips.Hans
that a pianist should

about

hundred

two

in h'is repertoire,all of

played

also

hundred

Orchestra

say,

ought

We

his

at

claimed

than

more

287

accompanist aspires
when
he plays for a

conductor, with

Billow, who

von

Playing

star

or

artist

or

Piano

mastery

same

famous

in

The

notes.

such

memory
item

in

tions
composi-

which

fact of

mere

be

must

mitting
com-

quantity of pages
pianist'sequipment.
a

the

of
problem is to discover the best means
memorizing music quickly and surely. Here
again we are privilegedto inquire of the artist
His
of the
artist teacher.
and
knowledge
and
experience will be practical,for he has
and over
evolved it and proved it over
again.
vises
It is a well-known
fact that Leschetizky adThe

memorizing
This

method

at

once

away

from

shuts

the

the door

instrument.
on

all

less
use-

thoughtlessrepetitionemployed by so
piano students, who repeat a passage
many
Then
they
endlessly,to avoid thinking it out.
and

Piano

288

why they

wonder

Viennese

The

of

passage

with

each

Mastery
commit

cannot

master

two

hand

that

suggests
four

or

tried

learned

the

on

The

error.

then

work

throughout

manner

YEAR'S

ONE

player

study,
should
each

who

and

who

be

able

same

MEMORIZING

learned

day.

This

would

result in the

course,

six hours

or

how

commit

to

an

composition.

gives five
has

the

in

proceeds

the

be

it may

without

the passage

through

go

piano.
fort
the ef-

yet quite fixed in consciousness

should
be repeated, after which

If not

possibleto

short

be

measures

alone, then

memory!

to

one

to

dailyto

memorize,
of

page

music

systematically pursued,
thorough

assimilation

fifty compositions in one

year.
This is really a conservative
estimate, though
rather large. If
at first glance it may
seem
cut the figure in half, out of consideration
we
of

for

least

at

the

there

accumulative
will

still remain

for two

enough

showing
It

may

difficulties of

be

that

and

able
respect-

very

year's study.
Leschetizky's principle of
appeal

memorizing

will not

player

find another

may

music,

twenty-five pieces,

programs

for

the

to

path

every
to

the

one.

The

goal, one

Vital

Points

to his

suited

more

has

if he

in

which

yet discovered

not

will do

the

the

289

the work

hits

upon

one

in the shortest

and

most

of

process

Or,

right path, let

till he

ways

All
thorough manner.
analysis and concentration
in

Playing

peculiar temperament.

try different

him

Piano

masters

that

agree
the

are

tors
fac-

prime
music

committing

to

memory.

Michael
said

Zadora,

von

to

method

master

that

passage

know

just

is

what

keyboard,

hands
you

take

must

know

before

you

the

just

to

the

notes

play

to

where

these

the
on

that it is in the blood,

it and

no

need

to

way
it

oughly,
thor-

the

are,

quences
se-

fingering,the positions the

put them

it.

is not

will, their positionon

the

notes,

fingers

keys.

the
thoroughly understand
piece, have thought about it, lived

play

dinary
or-

fingers

That

only
analyze

is to

memory

The

thus

can

The

till the

over,

teaching.

of notes, if you

the

to

to its intervals.

of

manner

and

have

you

heart.

by

committing
over

accustomed

grow
my

of

the passage

play

learn

to

passage

teacher,

and

recently: "Suppose

me

difficult

pianist

There
for

we

might

will be
senseless

no

that

so

have

to

When

go
you
or

passage
with

say, the

it, so

fingers

about
difficulty

repetitions."

Piano

290

Mastery

PHRASE

Most
must

of the

be done
has

keys,chords,

artists

PHRASE

that

agree

memorizing

phrase by phrase,after the

been
thoroughly analyzed
and

way,

Ethel

tizky's pupils

This

construction.

Goodson's
and

BY

and

to

as

arine
is Kath-

also Eleanor

Leginska's,three

position
com-

cer's
SpenLesche-

of

public. "I
the composition so
really know
thoroughly
that I can
play it in another key just as well
the one
in which
it is written, though I do
as
not always memorize
it each hand
alone," says
Miss
Goodson.
"I first play the composition
few

times

over

with

its form

before

now

to become

the

somewhat

familiar

and

shape," says Eleanor

cer,
Spen"then
I begin to analyze and
study it,
committing it by phrases,or ideas, one or two
I do not always take the
at a time.
measures
hands

alone, unless
for

sometimes

the

cate,
is very intripassage
it is easier to learn both

hands

together." Germaine
that she keeps at a difficult
reallyknows it perfectly,no

passage

it takes.

of

"What

says, "until you

is the
are

use

Schnitzer

matter

avers

until she
how

long

going on,"

sure
absolutely

she

of the work

in hand."
It

is

plain

from

the

opinionsalready cited

Vital

and

Points

from

the

in

many

artists

waste

Piano

have

heard

time

no

learned

nor

291

expressed that
useless

over

that

They fully realize

assimilated

Playing

tions.
repeti-

piece is

not

until it is memorized.

When

they have selected the composition they

wish
to memorize
to learn, they begin at once
the start.
The
student
does not always
from
bring to his work this definiteness of aim; if
he did, much
be saved.
precious time would
The
ideas expressed in
abilityto memorize
with use, just as any other aptinotes
tude
grows
with

grows

effort.

continued

Instead, then, of playing with

piece,why

begin to make it your own ?

come
Look
at the phrases so intentlythat they beit were,
as
photographed on your mind.
tently
said:
"Get
the habit of looking inRuskin
of
We
at words."
might say the same
the conviction
Look
at the phrase with
notes.
after a glance
be remembered
that it can
indication of indolence
It is only an
two.
or

do you

not

at

inertness

mental

and

once

printed page
it

and

over

or

to look

and

passage

without

over,

continually at

keep

playing

on

trying to

the

delibl
fix it in-

in the mind.
In

my

work

as

teacher

students, and

teachers

memorizing.

Some

too, who

do not

even

constantly meet
do

little

approve

or

no

of it,

Piano

292

though

Mastery

it is difficult to

how

conceive

any

one

in his

right mind can disapprove knowing

thing thoroughly. The only way to know
thoroughlyis to know it by heart.
CONSTANT

it

NECESSARY

REPAIRS

be concommitted
must
stantly
repertoireonce
kept in repair. The public player,in
his seasons
of study, generallyhas a regular
that all compositions
so
system of repetition,
A

be

can

artist

the

and

not

of

least

once

suggests that the week

classics and

will have

day

at

over

gone

be

with

concluded

week.

One

started

with

modern

numbers.

concerted

its allotted

task.

Thus
The

to be

positions
com-

each

piecesare
hauled,
reallyover-

played over, but

and all weak
places treated to a dose
slow, careful practise,using the printed

merely

Artists

pages.

on

practise is difficult

tour,
or

where

consecutive

unattainable, always

printednotes of their repertoirewith

them, and are ceaselessly
studying,repairing,
polishing their phrases, thinking out their
carry

the

effects.
To
would

those
say:

who

wish

"Keep

to

your

become
memory

pianists,I
active

Be always learning by
use.
through constant
heart; do it systematically,
a little at a time.

'Vital

So

Points

it will

be

in

Piano

Playing
So

daily progress.

293

toire
reper-

your

is built!"

SECTION

Rhythm
How

and

shall two
color

tone

will

Tone

ask.

Color

such

in Piano

connected,

One

belongs

of

the
of

mastery

to

the

the

other, therefore

first; when

wider

It

these
can

we

is

assets,

might

be

two

apart

beauty and

one

emotion
One

as

ety
vari-

can

you

through

depends

rhythm

are

well

under

go

further

and

on

come

control,
enter

the

variety.

of the

that

developed rhythmic

and

time

something
said

before

and

rhythm.

of

field of tonal

Rhythm

wide

so

time

keep

color

express

fluctuation

before,

The

the
depends largely upon
first. You
must
play rhythmically
can
play soulfully; you
you

any

not

appertains to

soulful.

for the

first be able to

attempt

side

second

before
must

other

not

first appear;

at

some

the mechanical

to

piano playing,while the

the ideal, the poetic, the
are

in name,

even

of

might

and

oppositesas rhythm

be

subjects,however,

Playing

pianist'smost
he

the

sense

cannot

do

tant
imporwithout.

possession of
is

one

point in

wellwhich

Mastery

Piano

294

greatly from the amateur.

thinks
latter
The
nothing of breaking the
rhythm at any time and place that suits his
fancy; while the artist is usually conscientious
artist differs

the

about

such

highly developed.

more

is often

inherent

natural

gift which

high

state

any

sense

artist,a part of the

the

in

cultivated

to

such

It may
with this
difficulty

be

he has

he has

has

aid

the

as

sense,

always

not

subjectof using such

metronome

is broached

With

such

to

with

Hofmann's

probably

artist,it does

assenting response.
of

sense

to

of

time

as

he takes

time-beating.
the

his inborn

metronome

rhythmic

and

have
doubtless
yet his words
ing
their effect on many
students, who, lack-

artistic

had

rhythmic

it is littlewonder

censure

due

mechanical

cultivate

great interest in mechanical

Josef
was

an

bred-in-the-bone

the artist commands,

no

to the executive

meet

time

METRONOME

THE

the

particular

point in piano playing, while the amateur

constantly to struggle with problems of
and rhythm.

When

is

sense

perfecttime

of achievement.

had

never

his time

because

matters,

his

sense;

sense

of

rhythm,

greatlybenefited by

its use.

would

have

been

Vital

in

Points

Piano

Playing

295

his opinion of
asked
Godowsky, when
metronome,
replied: "I assuredlyapprove
its use;

I have

even

devoted

chapter

to

the
of

the

in the

Progressive Series, my great

work
on
marks:
piano playing." Edwin
Hughes re"If
pupils have naturally a poor
of rhythm, there is no
sense
remedy equal to
practisingwith the metronome,
using it daily

metronome

until

results

are

evident, when

judiciousletting up

can

be

the

discipline.The
mechanical
of rhythm, the abilityto
sense
and
the notes
of a piece corcount
to group
rectly,
has
be taught to any person, if one
can
the patience; but for the delicate
rhythmic
or
a
nuances
required by a Chopin Mazourka
Viennese
Valse, a specialrhythmic gift is necessary."
Artists

and

teachers

of

there

who

have

come

under

Leschetizky'sinfluence and use his principles,

cording
acare
generallyin favor of the metronome,
to their own
testimony. The fact is,
they as teachers often find such deficiencyin
and
their pupils on
the subject of time sense
forced to
in counting, that they are
accuracy
institute strict

measures

to counteract

this lack

rhythmic comprehension.
Granting, then, that the correct use, not the
is of great assistance
abuse, of the metronome
of

Piano

296

Mastery

firm rhythmic sense,

let us turn
establishing
thought to the fascinatingsubjectof

in
our

TONE

When
certain

De

COLOR

Pachmann

fingersto

that

of the eccentric

one

he

uses

certain effects,the idea

create

thought to be
peculiar fancies.
was

affirmed

pianist's

Other

players, however,
have had the same
thought, and have worked
line
the thought that on
the
along the same
fingeringused depends the quality of tone.
For instance you might not play an expressive
of the fifth finger,
use
melody with a consecutive
"

which

is called

Burnham.
"warm

He

would

must

tonal

use

finger,"to give
TONAL

The

"cold

finger" by
instead

out

the

soulful

Thuel

third,

melody.

VARIETY

pianistwho desires to play effectively,

continuallystrive for varietyof tone, for
coloring. These can be studied in scales,

chords, arpeggios and

other

technical

forms.

The

of resonant
tone
a
singer seeks to make
flat tone; the pianist,
color, not a straight,
on
his part, endeavors
to give color and
variety
his playing in the same
to
Harold
way.
Bauer
thinks variety must
be secured
by the
contrast

of

one

tone

with

another.

Even

Vital

very

Points

harsh

tone

place, owing

in

may

Piano
be

Playing

beautiful

to its relation

297

in its

to other

right

tones, and

abilityto express an idea. To render the

playing expressiveby the contrast of lightand
shade, by tonal gradations,by all varieties of
is a
touch, by all the subtleties of nuance,
master
great art, and only the most gifted ever
it in its perfection. These
the things that
are
its

enchant
and

us

in

the

in

Paderewski's

performance,

coloring of Gabrilowitsch.
Hofmann's
playing is a marvel of atmosphere
and
color; such playing is an object lesson to
students, a lesson in varietyof lightand shade,
the shiftingof exquisite tonal tints.
is highly susceptible
The
sensitive musician
to color effects in nature, in art or in objects
him.

about

tonal

Certain

colors attract

him, for he

fects
between
them
and the tonal efaffinity
colors rehe strives to produce. Other
pel,
liant
Brilperhaps for the opposite reason.
red is a warlike color, and finds analogous
naise
expression in such pieces as Chopin's Polo-

sees

an

M
We

when

Hit air e,

and

MacDowelTs

Polonaise.

help seeing, feeling the color red,

Soft pink and rose
playing such music.

cannot

for love music, tender

for nocturnes

and

affinitiesof tone

blues

and

shades

night piecesare
and

color.

Warm

some

of gray
of the

shades

of

Piano

298

golden brown
suggest an
of early autumn,
while delicate
give thoughts of spring and
Certain
pieces of Mozart

yellow
greens
summer.

and

bring before us
landscape; the
Arthur
to

shades

rich greens

Fantaisie

me

can

browns, and
wonderful

as

color

hand

the shades

luscious
to

seem
summer

minor, and

instance, then

warm

tone

vivid

or

the

mean

so

beautiful, the various

so

are

for

make

"Colors

says:

some

red

of

in C

of

phere
atmos-

of this type.

are

Hochmann

yellows, rich
We

the

Varie

Pastorale

much

Mastery

the

golden
liquidblues.

combinations

in

canvas.
painter put upon
To
dark red speaks of something tender,
me
other
the
heart-searching,mysterious. On
ever

as

of

yellow express

gaiety and

brightness."
It has been
color

effects in order

playing.
at

He

the theater
before

in

said that

can
or

him

to

pianistshould
express

do this to
opera,

them

study
in his

specialadvantage

where

the greatest

he

can

see

possiblevariety

light and shade, in colors, and in the

of action and
changing panorama
The

rolled
un-

stantly
contion.
emo-

ideas of tone
pianistcan receive many
color when
listeningto a great singer,and
watching the infinite tonal gradations pro-

Vital

duced

the

on

human

the

the
with

and

"greatest

short

sources

his

Piano

of

Playing

all

299

the

instruments,"

voice.

In

he

in

Points

evokes

he

through

the

his

strives

the
he

The

will

he

labors,

be

able

the
"

END

the

inspire

to

medium

THE

many
and

feeling

more

more

chosen

from

instrument.

his

from

perceptions,
lives,

the

experience,
which

draws

pianist

tion
emo-

tones

keener

suffers,
to

piano!

express