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Page 4
"You ask what technical material is employed. Czerny, Op. 740; not
necessarily the entire opus; three books are considered sufficient. Also
Clementi's _Gradus_. Of course scales must be carefully studied, with
various accents, rhythms and tonal dynamics; arpeggios also. Many
arpeggio forms of value may be culled from compositions.
"There are, as we all know, certain fundamental principles that underlie
all correct piano study, though various masters may employ different
ways and means to exemplify these fundamentals. Paderewski studied with
Leschetizky and inculcates the principles taught by that master, with
this difference, that he adapts his instruction to the physique and
mentality of the student; whereas the Vorbereiters of Leschetizky
prepare all pupils along the same lines, making them go through a
similar routine, which may not in every instance be necessary.
FINGERING
"One point Paderewski is very particular about, and that is fingering.
He often carefully marks the fingering for a whole piece; once this is
decided upon it must be kept to. He believes in employing a fingering
which is most comfortable to the hand, as well as one which, in the long
run, will render the passage most effective. He is most sensitive to the
choice of fingering the player makes, and believes that each finger can
produce a different quality of tone. Once, when I was playing a
Nocturne, he called to me from the other end of the room: 'Why do you
always play that note with the fourth finger? I can _hear_ you do it;
the effect is bad,' He has a keen power of observation; he notices
little details which pass unheeded by most people; nothing escapes him.
This power, directed to music, makes him the most careful and
painstaking of teachers. At the same time, in the matter of fingering,
he endeavors to choose the one which can be most easily accomplished by
the player. The Von B�low editions, while very erudite, are apt to be
laborious and pedantic; they show the German tendency to
over-elaboration, which, when carried too far becomes a positive fault.
CORRECT MOTION
"Another principle Paderewski considers very important is that of
appropriate motion. He believes in the elimination of every unnecessary
movement, yet he wishes the whole body free and supple. Motions should
be as carefully studied as other technical points. It is true he often
makes large movements of arm, but they are all thought out and have a
dramatic significance. He may lift the finger off a vehement staccato
note by quick up-arm motion, in a flash of vigorous enthusiasm; but the
next instant his hand is in quiet position for the following phrase.
STUDYING EFFECTS
"The intent listening I spoke of just now must be of vital assistance to
the player in his search for tonal variety and effect. Tone production
naturally varies according to the space which is to be filled. Greater
effort must be put forth in a large hall, to make the tone carry over
the footlights, to render the touch clear, the accents decisive and
contrasts pronounced. In order to become accustomed to these
conditions, the studio piano can be kept closed, and touch must
necessarily be made stronger to produce the desired power.
INTERPRETATION
"A great artist's performance of a noble work ought to sound like a
spontaneous improvisation; the greater the artist the more completely
will this result be attained. In order to arrive at this result,
however, the composition must be dissected in minutest detail.
Inspiration comes with the first conception of the interpretation of the
piece. Afterward all details are painstakingly worked out, until the
ideal blossoms into the perfectly executed performance. Paderewski
endeavors uniformly to render a piece in the manner and spirit in which
he has conceived it. He relates that after one of his recitals, a lady
said to him:
"'Why, Mr. Paderewski, you did not play this piece the same as you did
when I heard you before,'
"'I assure you I intended to,' was the reply.
"'Oh, it isn't necessary to play it always the same way; you are not a
machine,' said the lady.
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