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Page 21
MARK HAMBOURG
FORM, TECHNIC, AND EXPRESSION
[Illustration: MARK HAMBOURG]
In one of the most quiet, secluded quarters of London can be found the
home of the Russian pianist, Mark Hambourg. Mr. Hambourg lives on a
terrace, "far from the madding crowd," and difficult enough of access to
keep mere curiosity seekers at a distance. One can scarcely picture to
one's self, without an actual sight of them, the quaint charm of these
short passages or streets, usually termed "terraces," or "gardens." This
particular terrace looks out on a restful green park, where luxuriant
trees make long shadows on the sunlit turf. The house is large and
comfortable--built over a hundred years ago; its rooms are spacious, and
the drawing-room and library, which lead one into the other, form a fine
music salon. Surely, amid such surroundings, with priceless pictures and
_objets d'art_ all about, with exquisite colors, with space and quiet,
an artist must find an ideal spot for both work and play. I expressed
this thought to Mr. Hambourg when he entered; then we soon fell to
discussing the necessary equipment of the teacher and pianist.
"I agree with you," he said, "that it is the beginning of piano study
which is the most difficult of all; this is where the teacher has such
great responsibility and where so many teachers are so incompetent.
Perhaps there are more poor teachers for the piano than for the voice.
The organs of voice production cannot be seen, they can only be guessed
at; so there may be a little more excuse for the vocal teacher; but for
the piano we have the keys and the fingers. It should not therefore be
such a very difficult thing to learn to play intelligently and
correctly! Yet few seem to have got hold of the right principles or know
how to impart them."
"I have heard a number of the young pianists here," I remarked, "and
they all play with very little finger action--with fingers close to the
keys. Do you advocate this?"
LOW HAND POSITION
"Do not forget that for centuries England has been a country of
organists; without doubt organ playing has had some effect on the piano
touch. Some schools of piano playing advise lifting the fingers high
above the keys, with a view to producing greater power; but I think the
tone thus produced is often of a somewhat harsh and disagreeable
quality. Then, too, high lifting interferes with smoothness and
velocity. For myself I advocate keeping the fingers close to the
keyboard, and pressing the keys, which gives the tone a warmer and more
elastic quality."
"A point in hand position I should like to ask you about. Some teachers
advise placing the finger-tips close to the edge of the keys, forming a
straight line with them; it seems to me such a position is forced and
unnatural."
Mr. Hambourg smiled assent.
"I do not advocate anything forced and unnatural," he answered. "So many
people think that a beautiful touch is 'born, not made,' but I do not
agree with them. One can acquire, I am sure, a fine piano touch with the
proper study. The principal requirement is, first of all, a loose wrist.
This point seems simple enough, but it is a point not sufficiently
considered nor understood. No matter how much the player may _feel_ the
meaning of the music, he cannot express this meaning with stiff wrists
and arms. Some people have a natural flexibility, and to such the
securing of a musical tone presents far less difficulty; but with time,
patience, and thought, I fully believe all can arrive at this goal.
AMOUNT OF PRACTISE
"In regard to practise I do not think it wise for the aspiring pianist
to spend such a great amount of time at the piano. Four hours of
concentrated work daily seems to me sufficient. Of course it is the
quality of practise that counts. The old saying, 'Practise makes
perfect,' does not mean constant repetition merely, but constant
thinking and listening. I advise students to stop after playing a
passage several times, and think over what the notes mean. This pause
will rest ears and hands; in a few moments work can be resumed with
fresh vigor.
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