Great Pianists on Piano Playing Part 12

INSPIRING THE STUDENT

"Exercises for the mechanical side of pianoforte playing abound. Czerny alone wrote over one thousand opus numbers. There have also been valuable attempts to provide books to a.s.sist the student in his technical work, but it should always be remembered that this depends first of all upon understanding and then upon the ability to translate that understanding to the instrument.

"There can never be any exercises in the emotional side of the student's work other than the entire literature of the instrument. One may as well try to capture the perfume of the flower as define the requirements of the emotional in pianoforte playing. A great deal may be done to inspire the student and suggest ideas which may bring him to the proper artistic appreciation of a pa.s.sage, but it is this very indefinability which makes the emotional phase one of the most important of all. Attendance at the recitals of artistic pianists is of great help in this connection.

"The student, however, may learn a vast amount about real piano technic and apply his knowledge to his playing through the medium of the proper studies. For instance, in the subject of touch alone, there is a vast store of valuable information which can be gained from a review of the progressive steps through which this significant phase of the subject has pa.s.sed during the last century. The art of piano playing, considered apart from that of the similar instruments which preceded the piano, is very little over one hundred years old.

CHANGES IN THE MECHANISM OF THE INSTRUMENT

"During this time many significant changes have been made in the mechanism of the instrument and in the methods of manufacture. These changes in the nature of the instrument have in themselves doubtless had much to do with changes in methods of touch as have the natural evolutions coming through countless experiments made by teachers and performers. Thus we may speak of the subject of touch as being divided into three epochs, the first being that of Czerny (characterized by a stroke touch), the second being that of the famous Stuttgart Conservatory (characterized by a pressure touch), and the third or new epoch which is characterized by weight playing. All my own playing is based upon the last named method, and I had the honor of being one of the first to make application of it when I commenced teaching some twenty years ago.

THE SIGNIFICANCE OF WEIGHT PLAYING

"In this method of playing, the fingers are virtually 'glued to the keys' in that they leave them the least possible distance in order to accomplish their essential aims. This results in no waste motion of any kind, no loss of power and consequently the greatest possible conservation of energy. In this manner of playing the arm is so relaxed that it would fall to the side if the keyboard were removed from beneath it. Since the hand and the arm are relaxed the back (top) of the hand is almost on a level with the forearm.

"The high angular stroke which characterized the playing of the Czerny epoch and which could hardly fail to cause tired muscles and unbearably stiff playing, is seen very little in these days. By means of it the student was taught to deliver a blow to the keyboard--a blow which permitted very little modification to the requirements of modern technic.

"In my experience as a pianist and as a teacher, I have observed that the weight touch allows the greatest possible opportunity for the proper application of those all-important divisions of technic without which piano playing is not only inartistic, but devoid of all interest.

Weight playing permits nothing to interfere with discriminative phrasing, complicated rhythmical problems, the infinitely subtle variation of time for expressive purposes now cla.s.sed under the head of agogics, all shades of dynamic gradation; in fact everything that falls in the domain of the artist pianist.

MOULDING THE FINGERS TO THE KEYS

"In weight playing the fingers seem to mould the piano keys under them, the hand and arm are relaxed, but never heavy. The maximum of relaxation results in the minimum of fatigue. In legato playing, for instance, the fingers rest upon the fleshy part behind the tip rather than immediately upon the tip as they would in pa.s.sage work when the player desired to have the effect of a string of pearls. The sensation in legato playing is that of pulling back rather than striking the keys. In pa.s.sages where force is required the sensation is that of pus.h.i.+ng.

"Much might be said of the sensibility of the finger tips as they come in contact with the ivory and ebony keys. Most every artist has a strong consciousness that there is a very manifest relation between his emotional and mental conditions and his tactile sense, that is his highly developed sense of feeling at the finger tips on the keyboard.

However, the phenomena may be explained from the psychological standpoint, it is nevertheless true that the feeling of longing, yearning, hope or soulful antic.i.p.ation, for instance, induces a totally different kind of touch from that of anger, resentment or hate.

"The artist who is incapable of communicating his emotions to the keyboard or who must depend upon artifice to stimulate emotions rarely electrifies his audiences. Every concert is a test of the artist's sincerity, not merely an exhibition of his prowess, or his acrobatic accomplishments on the keyboard. He must have some vital message to convey to his audience or else his entire performance will prove meaningless, soulless, worthless.

"That which is of great importance to him is to have the least possible barrier between his artistic conception of the work he would interpret and the sounds that are conveyed to the ears of his audience. If we obliterate the emotional side and depend upon artifice or what might be called in vulgar parlance "tricks of the trade," pianism will inevitably descend to a vastly lower level. By cultivating a sensibility in touch and employing the technical means which will bring the interpreter's message to the world with the least possible obstruction, we reach the highest in the art. Those who would strain at gnats might contend that with the machinery of the instrument itself, intervening between the touch at the keyboard and the sounding wires, would make the influence of the emotions though the tactile sense (sense of touch) is wholly negligible. To this I can only reply that the experience of the artist and the teacher is always more reliable, more susceptible to finer appreciations of artistic values than that of the pure theorist, who views his problems through material rather than spiritual eyes. Every observing pianist is familiar with the remarkable influence upon the nerves of the voice-making apparatus that any emotion makes. Is it not reasonable to suppose that the finger tips possess a similar sensibility and that the interpretations of any highly trained artist are duly affected through them?

INDIVIDUALITY, CHARACTER AND TEMPERAMENT

"Indeed, Individuality, Character and Temperament are becoming more and more significant in the highly organized art of pianoforte playing.

Remove these and the playing of the artist again becomes little better than that of a piano-playing machine. No machine can ever achieve the distinguis.h.i.+ng charm that this trinity brings to pianoforte playing.

Whether the performer is a 'genius' who has carefully developed the performance of a masterpiece until it evidences that distinguis.h.i.+ng mark of the authoritative interpretation, or whether he is a 'talent' who improvises as the mood of the moment inspires him and never plays the same composition twice in anything like a similar manner, he need not fear the rivalry of any machine so long as he preserves his individuality, character and temperament.

GENIUS AND WORK

"The fault with many students, however, is the very erroneous idea that genius or talent will take the place of study and work. They minimize the necessity for a careful painstaking consideration of the infinite details of technic. To them, the significance of the developments of Bach, Rameau, and Scarlatti in fingering means nothing. They are content with the superficial. They are incapable of comparing the value of the advances made by Von Bulow, Tausig and other innovators whose lives were given to a large extent to the higher development of the technic of the instrument. They struggle laboriously at the keyboard, imagining that they are dealing with the problem of technic, when in reality they are doing little more than performing a drill in a kind of musical gymnasium--a necessary drill to be sure, but at the same time quite worthless unless directed by a brain trained in the principles of the technic of the art.

QUESTIONS IN STYLE, INTERPRETATION, EXPRESSION AND TECHNIC OF PIANOFORTE PLAYING

SERIES VIII

LEOPOLD G.o.dOWSKY

1. How may the mechanics of playing be distinguished from the larger subject of technic?

2. With what has technic to do?

3. What channel in the study of pianoforte must the pupil develop most thoroughly?

4. Name three epochs into which the subject of touch may be divided.

5. How does weight playing differ from the high angular playing of the Czerny epoch?

6. How should the fingers rest in legato playing?

7. What may be said of the sensitiveness of the finger tips?

8. By what device may pianism descend to a lower level?

9. What qualities must the student preserve above all things?

10. Will genius or talent take the place of study and work?

[Ill.u.s.tration: KATHARINE GOODSON]

KATHARINE GOODSON

BIOGRAPHICAL

Miss Katharine Goodson was born at Watford, Herts, England. She commenced the study of music at so very youthful an age that she made several appearances in the English Provinces before she was twelve years of age. Her talent aroused such interest that she was sent to the Royal Academy of Music in London. There she was placed under the artistic guidance of one of the foremost English teachers of pianoforte, Oscar Beringer, with whom she remained for six years. This was followed by four years under Leschetizky in Vienna.

Leschetizky saw splendid opportunities in such talented and regularly trained material and is said to have given particularly careful attention to Miss Goodson. It is not surprising that upon her return to London Miss Goodson made a profound impression upon the musical public and laid the foundation for a splendid reputation. She toured in England, Germany, Austria and America with great success. In the Grove Dictionary, her playing is described in the following manner: "It is marked by an amount of verve and animation that are most rare with the younger English pianists. She has a great command of tone gradation, admirable technical finish, genuine musical taste and considerable individuality of style." In 1903 Miss Goodson married Mr. Arthur Hinton, one of the most brilliant of modern English composers.

XI

a.n.a.lYZING MASTERPIECES

KATHARINE GOODSON

THE NATURAL TENDENCY TO a.n.a.lYZE