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Page 14
"As for the technic of the piano, I think of it only as the
material--only as a means to an end. In fact I endeavor to get away from
the thought of the technical material, in order that I may get at the
meaning of the music I wish to interpret. I am convinced there is a
great future for the piano and its music. Even now we are taking piano
music very seriously, and are trying to interpret it in a far deeper and
broader sense than the pianists of, say, fifty years ago ever thought of
doing. I fancy if Clara Schumann, for instance, could return and play
to us, or even Liszt himself, we should not find their playing suited to
this age at all. Some of us yet remember the hand position Mme. Schumann
had, the lack of freedom in fingers and arms. It was not the fashion of
her time to play with the relaxed freedom, with the breadth and depth of
style which we demand of artists to-day. In those days relaxation had
not received the attention it deserved, therefore we should probably
find the playing of the greatest artists of a former generation stiff
and angular, in spite of all we have heard of their wonderful
performances.
"Relaxation is a hobby with me; I believe in absolute freedom in every
part of the arm anatomy, from the shoulder down to the finger-tips.
Stiffness seems to me the most reprehensible thing in piano playing, as
well as the most common fault with all kinds of players. When people
come to play for me, that is the thing I see first in them, the
stiffness. While living in Berlin, I saw much of Mme. Teresa Carre�o,
and she feels the same as I do about relaxation, not only at the
keyboard, but when sitting, moving about or walking. She has thought
along this line so constantly, that sometimes, if carrying something in
hand, she will inadvertently let it drop, without realizing it--from
sheer force of the habit of relaxation.
"You ask how I would begin with a young pupil who never has had lessons.
I use the principle of relaxation first of all, loosening arms and
wrists. This principle can be taught to the youngest pupil. The wrist is
elevated and lowered, as the hand is formed on the keys in its five
finger position, with arched knuckles. It does not take long to acquire
this relaxed condition; then come the finger movements. I do not believe
in lifting the fingers high above the keys; this takes time and
interferes with velocity and power. I lift my fingers but little above
the keys, yet I have plenty of power, all the critics agree on that. In
chords and octaves I get all the power I need by grasping the keys with
weight and pressure. I do not even prepare the fingers in the air,
before taking the chord; I do not find it necessary." Here the pianist
played a succession of ringing chords, whose power and tonal quality
bore out her words; the fingers seemed merely to press and cling; there
was no striking nor percussion.
"To return to the beginning pupil. As for a book to start with, I often
use the one by Damm, though any foundational work may be employed, so
long as correct principles are taught. It is said by Leschetizky that he
has no method. That may be understood to mean a book, for he certainly
has what others would call a method. There are principles and various
sets of exercises to be learned; but it is quite true that none of the
Vorbereiters use a book.
"In teaching the piano, as you know, every pupil is different; each has
his or her own peculiar hand, and a different degree of intelligence. So
each pupil must be treated differently. This is really an advantage to
the teacher; for it would be very monotonous if all pupils were alike.
"The piano is such a revealer of character; I need only to hear a person
play to know what sort of character he has. If one is inclined to much
careful detail in everything, it comes out in the playing. If one is
indolent and indifferent, it is seen the moment one touches the keys; or
if one is built on broad, generous lines, and sees the dramatic point in
life and things, all this is revealed at the piano.
"To refer again to the subject of finger action. I do not believe in the
so-called finger stroke; on the contrary I advocate fingers close to the
keys, clinging to them whenever you can. This is also Arthur Schnabel's
idea. You should hear Schnabel; all Berlin is wild over him, and
whenever he gives a concert the house is sold out. He has quantities of
pupils also, and is quite a remarkable teacher. One point I insist upon
which he doesn't: I will not allow the joint of the finger next the tip
to break or give in. I can not stand that, but Schnabel doesn't seem to
care about it; his mind is filled with only the big, broad things of
music.
"In regard to memorizing piano compositions. I do it phrase by phrase,
and at the instrument, unless I am traveling or unable to get to a
piano, in which case I think it out from the notes. If the piece is very
difficult I take a short passage of two or three measures and play each
hand separately and then together; but generally I play the passage
complete--say half a dozen times with the notes, and then repeat it the
same number of times from memory. Perhaps the next day I have forgotten
it, so the work has to be done over again; the second time, however, it
generally sticks.
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