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Page 16
"For application of all principles, the studies of Czerny, Op. 299, 740,
and others, offer unequaled opportunity. They are simple, direct, and
give the student a chance for undivided attention to every position
taken and to every motion made.
"What happens afterward is altogether according to the individual
characteristics of the student. How to recognize these and deal with
them to the best advantage is the interesting task of my great master
(and those who try to follow in his steps)--the man of keenest
intelligence, of profound learning and experience. To learn this lesson
from him has been my greatest aim, and to see him at work, as it has
been my privilege to do for several summers, has been of the greatest
influence and inspiration in my own work.
"My chief endeavor is to create a desire for good musicianship. To this
end I insist upon the study of theory, harmony, ear-training and
analysis. In the piano lessons I do not have sufficient time to teach
these things. I have assistant teachers who help me with these subjects
and also with the technical training. Once a month during the season, my
assistant teachers bring their pupils to play for me, and we have a
class in piano teaching. There are sometimes eighteen or twenty students
who come to a class. I can in this way supervise all the work done, and
keep in touch with my teachers, their work, and with all the students.
"On the first Saturday of the month I have my own pupils here for a
class; they play for me and for each other. Everything is played from
memory, not a printed note is used. Students tell me it is very
difficult to play here, where all listen so intently. Especially is it
difficult the first time a student plays in class, to keep the mind
wholly on what he is doing, with sufficient concentration. Later on, at
the end of the season, it comes easier.
"This idea of separating the technical work at the outset from the study
of music itself, secures, in my opinion, the most perfect foundation,
and later on the best results. It is sometimes wonderful how, with
proper training, the hand will improve and develop in a comparatively
short time. I often marvel at it myself."
The writer had the privilege of being one of the guests at the last
audition of the season. Eight or nine young artists played a long and
difficult program. Among the numbers were a Beethoven sonata, entire;
Chopin's Ballade in A flat major; Cesar Franck, Prelude, Fugue and
Variations; a Mozart Fantaisie; Grieg Concerto, first movement; Weber's
Concertst�ck, and Chopin's Scherzo in E. The recital was most
instructive from an educational point of view. All the players had
repose and concentration, and there were no noticeable slips, though
every piece was played from memory. Hands were well arched at the
knuckles, fingers curved--with adequate action at the knuckle joint;
wrists in normal position, and extremely loose; the whole arm swung from
the shoulder and poised over the keys, thus adjusting itself to every
requirement of the composition. Every note had its amount of hand or arm
weight. The tone quality was full and singing. These points were
exemplified even in the playing of the youngest pupils. Furthermore they
had an intelligent grasp of the meaning of the music they played, and
brought it out with conviction, power, and brilliancy.
IX
CARL M. ROEDER
PROBLEMS OF PIANO TEACHERS
"The progressive teacher's method must be one of accretion," said Carl
Roeder, when interviewed between lesson hours in his delightful studio
in Carnegie Hall. "He gains ideas from many methods and sources, and
these he assimilates and makes practical for his work. At the same time
he must originate and work out things for himself. This has been my
experience.
"I was something of a wonder child, and at an early age developed
considerable facility and brilliancy. After knocking about as a pupil of
various private teachers and conservatories, I became, while quite a
young lad, the pupil of de Konstki, then a lion of the day." The speaker
joined in the laugh his remark called up, which brought to mind the
Chevalier's famous battle-horse, "The Awakening of the Lion."
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