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Page 3
Paderewski is known as composer and pianist, only rarely does he find
time to give instruction on his instrument. Mme. Antoinette Szumowska,
the Polish pianist and lecturer was at one time termed his "only pupil."
Mr. Sigismond Stojowski, the Polish composer, pianist and teacher has
also studied with him. Both can testify as to his value as an
instructor.
Mme. Szumowska says:
"Paderewski lays great stress on legato playing, and desires everything
to be studied slowly, with deep touch and with full, clear tone. For
developing strength he uses an exercise for which the hand is pressed
against the keyboard while the wrist remains very low and motionless and
each finger presses on a key, bringing, or drawing out as much tone as
possible.
"Paderewski advises studying scales and arpeggios with accents, for
instance, accenting every third note, thus enabling each finger in turn
to make the accent impulse: this will secure evenness of touch. Double
passages, such as double thirds and sixths, should be divided and each
half practised separately, with legato touch. Octaves should be
practised with loose wrists and staccato touch. As a preparatory study
practise with thumb alone. The thumb must always be kept curved, with
joints well rounded out; it should touch the keys with its tip, so as to
keep it on a level with the other fingers. Paderewski is very particular
about this point.
"It is difficult to speak of Paderewski's manner of teaching expression,
for here the ideas differ with each composer and with every composition.
As to tonal color, he requires all possible variety in tone production.
He likes strong contrasts, which are brought out, not only by variety of
touch but by skilful use of the pedals.
"My lessons with Paderewski were somewhat irregular. We worked together
whenever he came to Paris. Sometimes I did not see him for several
months, and then he would be in Paris for a number of weeks; at such
seasons we worked together very often. Frequently these lessons, which
were given in my cousin's house, began very late in the evening--around
ten o'clock--and lasted till midnight, or even till one in the morning.
"Paderewski the teacher is as remarkable as Paderewski the pianist. He
is very painstaking; his remarks are clear and incisive: he often
illustrates by playing the passage in question, or the whole
composition. He takes infinite trouble to work out each detail and bring
it to perfection. He is very patient and sweet tempered, though he can
occasionally be a little sarcastic. He often grows very enthusiastic
over his teaching, and quite forgets the lapse of time. In general,
however, he does not care to teach, and naturally has little time for
it."
* * * * *
Mr. Stojowski, when questioned in regard to his work with the Polish
pianist, said:
"Paderewski is a very remarkable teacher. There are teachers who attempt
to instruct pupils about what they do not understand, or cannot do
themselves: there are others who are able to do the thing, but are not
able to explain how they do it. Paderewski can both do it and explain
how it is done. He knows perfectly what effects he wishes to produce,
how they are to be produced, the causes which underlie and bring them
about; he can explain and demonstrate these to the pupil with the
greatest exactness and detail.
"As you justly remark the quality of tone and the variety of tonal
gradations are special qualities of Paderewski's playing. These must be
acquired by aid of the ear, which tests and judges each shade and
quality of tone. He counsels the student to listen to each tone he
produces, for quality and variety.
CLEARNESS A MUST PRINCIPLE
"The player, as he sits at the piano, his mind and heart filled with the
beauty of the music his fingers are striving to produce, vainly imagines
he is making the necessary effects. Paderewski will say to him: 'No
doubt you feel the beauty of this composition, but I hear none of the
effects you fancy you are making; you must deliver everything much more
clearly: distinctness of utterance is of prime importance.'' Then he
shows how clearness and distinctness may be acquired. The fingers must
be rendered firm, with no giving in at the nail joint. A technical
exercise which he gives, and which I also use in my teaching, trains the
fingers in up and down movements, while the wrist is held very low and
pressed against the keyboard. At first simple five-finger forms are
used; when the hand has become accustomed to this tonic, some of the
Czerny Op. 740 can be played, with the hand in this position. Great care
should be taken when using this principle, or lameness will result. A
low seat at the piano is a necessity for this practise; sitting low is
an aid to weight playing: we all know how low Paderewski himself sits at
the instrument.
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