|
Main
- books.jibble.org
My Books
- IRC Hacks
Misc. Articles
- Meaning of Jibble
- M4 Su Doku
- Computer Scrapbooking
- Setting up Java
- Bootable Java
- Cookies in Java
- Dynamic Graphs
- Social Shakespeare
External Links
- Paul Mutton
- Jibble Photo Gallery
- Jibble Forums
- Google Landmarks
- Jibble Shop
- Free Books
- Intershot Ltd
|
books.jibble.org
Previous Page
| Next Page
Page 43
The pianist turned to the keyboard and illustrated the point very
clearly.
"As you see, I slant the hand considerably across the keys," he said,
"but this oblique position is more comfortable, and the hand can
accommodate itself to the intervals of the arpeggio, or to the passing
of the thumb in scales. Some may think I stick out the elbow too much,
but I don't care for that, if by this means the scale becomes smooth and
even.
OVERHAULING ONE'S TECHNIC
"I have to overhaul my technic once or twice a week, to see that
everything is all right--and of course the scales and arpeggios come in
for their share of criticism. I practise them in legato, staccato and in
other touches, but mostly in legato, as that is somewhat more difficult
and more beautiful than the others.
"Perhaps I have what might be called a natural technic; that is I have a
natural aptitude for it, so that I could acquire it easily, and it stays
with me. Hofmann has that kind of natural technic; so has d'Albert. Of
course I have to practise technic; I would not allow it to lapse; I love
the piano too much to neglect any part of the work. An artist owes it to
himself and the public to keep himself up in perfect condition--for he
must never offer the public anything but the best. I only mean to say I
do not have to work at it as laboriously as some others have to do.
However, I practise technic daily, and will add that I find I can do a
great deal in a short time. When on tour I try to give one hour a day to
it, not more."
Speaking of the action of fingers, Mr. Bachaus continued:
"Why, yes, I raise my fingers whenever and wherever necessary--no more.
Do you know Breithaupt? Well, he does not approve of such technical
exercises as these (illustrating); holding down some fingers and lifting
others, for technical practise, but I do. As for the metronome, I
approve of it to cultivate the sense of rhythm in those who are lacking
in this particular sense. I sometimes use it myself, just to see the
difference between the mechanical rhythm and the musical rhythm--for
they are not always the same by any means.
"Do you know these Technical Exercises of Brahms? I think a great deal
of them, and, as you see, carry them around with me; they are excellent.
"You ask me about octaves. It is true they are easy for me now, but I
can remember the time when they were difficult. The only alternative is
to work constantly at them. Of course they are more difficult for small
hands; so care must be taken not to strain nor over-tire the hand. A
little at a time, in frequent doses, ought in six months to work
wonders. Rowing a boat is good to develop wrists for octave playing.
"You ask if I can tell how I obtain power. That is a very difficult
question. Why does one child learn to swim almost immediately, while
another cannot master it for a long time? To the first it comes
naturally--he has the _knack_, so to speak. And it is just so with the
quality of power at the piano. It certainly is not due to physique, nor
to brute strength, else only the athlete would have sufficient power.
No, it is the 'knack,' or rather it is the result of relaxation, as you
suggest.
"Take the subject of velocity. I never work for that special thing as
some do. I seldom practise with great velocity, for it interferes with
clearness. I prefer to play more slowly, giving the greatest attention
to clearness and good tone. By pursuing this course I find that when I
need velocity I have it.
"I am no pedagogue and have no desire to be one. I have no time for
teaching; my own studies and concert work fill all my days. I do not
think that one can both teach and play successfully. If I were teaching
I should no doubt acquire the habit of analyzing and criticizing the
work of others; of explaining and showing just how a thing should be
done. But I am not a critic nor a teacher, so I do not always know how I
produce effects. I play 'as the bird sings,' to quote an old German
song.
MODERN PIANO MUSIC
"Your MacDowell has written some nice music, some pretty music; I am
familiar with his Concerto in D minor, some of the short pieces and the
Sonatas. As for modern piano concertos there are not many, it is quite
true. There is the Rachmaninoff, the MacDowell I mentioned, the D minor
of Rubinstein, and the Saint-Saens in G minor. There is also a Concerto
by Neitzel, which is a most interesting work; I do not recall that it
has been played in America. I have played it on the other side, and I
may bring it out here during my present tour. This Concerto is a fine
work, into which the author has put his best thought, feeling and
power."
Previous Page
| Next Page
|
|