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Page 38
"I began my studies in Vienna with Mme. Bree, to get the preparatory
foundation, but before long combined her lessons with those of the
professor, and later went to him entirely."
"Just here I should like to mention a trifling point, yet it seems one
not understood in America by those who say they are teachers of the
Leschetizky method. These teachers claim that the professor wishes the
fingers placed on a straight line at the edge of the keys, and in some
cases they place the tip of the thumb in the middle of its key, so that
it extends considerably beyond the tips of the other fingers. Is this
the position taught by the _Vorbereiters_, or favored by Leschetizky?"
Miss Spencer's laugh rang out merrily.
"This is the first I have ever heard of the idea! Such a position must
seem very strained and unnatural. Leschetizky, on the contrary, wishes
everything done in the most easy, natural way. Of course, at first, when
one is seeking to acquire strength and firmness of hand and fingers, one
must give time and thought to securing an arched hand and steady first
joints of fingers. Later, when these conditions have been thoroughly
established, the hand can take any position required. Leschetizky's hand
often lies quite flat on the keys. He has a beautiful piano hand; the
first joints of the fingers have so long been held firmly curved, that
they always keep their position, no matter what he is doing; if he only
passes his fingers through his hair, his hand is in shape.
"Leschetizky is indeed a wonderful teacher! The player, however, must
divine how to be receptive, how to enter into the master's thought, or
it may go hard with him. If he does not understand, nor grasp the
master's words he may suffer terribly during the ordeal of the lessons.
I have witnessed such scenes! Those who are equal to the situation
receive most illuminative instruction.
"I trust I do not give you the impression of being so devoted to, and
enthusiastic in, the work I enjoyed with my venerated master that I wish
to exclude other masters and schools. I think narrowness one of the most
unpleasant of traits, and one I should dread to be accused of. I see so
much good in others, _their_ ways and ideas, that, to me, all things
great and beautiful in art seem very closely related.
MEMORIZING
"How do I memorize a composition? I first play it over a few times to
become somewhat familiar with its form and shape. Then I begin to
analyze and study it, committing it by phrases, or _ideas_, one or two
measures at a time. I do not always take each hand alone, unless very
intricate; sometimes it is easier to learn both hands together. It is a
good thing to study out the melodic line, to build each phrase, to work
with it till you get it to suit you. Then come the larger proportions,
the big climaxes, which have to be thought out and prepared for in
advance. A composition should be so thoroughly your own that you can
play it at any time, if your hand is in condition. Or, if it has been
laid aside for a long time, a couple of days should bring it back.
"The subject of forming a repertoire is one often overlooked or not
understood. The repertoire should be comprehensive and built on broad
lines. A pupil intending to make music a profession should know the
literature of the piano, not only the small and unimportant works of the
great composers (as is too often the case), but the big works as well.
If one is well grounded in the classics at an early age, it is of great
benefit afterwards.
POWER AND VELOCITY
"For gaining power, heavy chords are very beneficial; combinations of
five notes that take in all the fingers are most useful.
"The principle of velocity is the doing away with all unnecessary
movement--raising the fingers as little as possible, and so on. But in
early stages of study, and at all times for slow practise, exactness and
clearness, the fingers must be raised, Leschetizky _is a great believer
in finger action; he holds it to be absolutely necessary for finger
development_.
"I have been concertizing for the last three years, and studying alone.
This does not mean I have learned all the masters can teach, but only
that I have come to a place where I felt I had to go alone, that I must
work out what is in me. No master can teach us that; we have to find
ourselves alone.
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