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Page 61
Of the Clavier St�cke, Op. 76, Von B�low said: "The Capriccio, No. 1
must not be taken too fast. First page is merely a prelude, the story
begins at the second page. How wonderfully is this melody formed, so
original yet so regular. Compare it with a Bach gigue. Remember, andante
does not mean dragging (_schleppando_), it means going (_gehend_)." To
the player who gave the Capriccio, No. 5 he said: "You play that as if
it were a Tarantelle of Stephan Heller's. Agitation in piano playing
must be carefully thought out; the natural sort will not do at all. We
do not want _blind_ agitation, but _seeing_ agitation (_aufregung_). A
diminuendo of several measures should be divided into stations, one each
for F, MF, M, P, and PP. Visit the Zoological Gardens, where you can
learn much about legato and staccato from the kangaroos."
The Ballades were taken up in these lessons, and the light thrown upon
their poetical content was often a revelation. The gloomy character of
the _Edward Ballade_, Op. 10, No. 1, the source of the Scottish poem,
the poetic story, were dwelt upon. The opening of this first Ballade is
sad, sinister and mysterious, like the old Scotch story. The master
insisted on great smoothness in playing it--the chords to sound like
muffled but throbbing heartbeats. A strong climax is worked up on the
second page, which dies away on the third to a _pianissimo_ of utter
despair. From the middle of this page on to the end, the descending
chords and octaves were likened to ghostly footsteps, while the broken
triplets in the left hand accompaniment seem to indicate drops of blood.
The third Ballade also received an illumination from Von B�low. This is
a vivid tone picture, though without motto or verse. Starting with those
fateful fifths in the bass, it moves over two pages fitfully gloomy and
gay, till at the end of the second page a descending passage leads to
three chords so full of grim despair as to impart the atmosphere of a
dungeon. The player was hastily turning the leaf. "Stop!" cried the
excited voice of the master, who had been pacing restlessly up and down,
and now hurried from the end of the salon. "Wait! We have been in
prison--but now a ray of sunshine pierces the darkness. You must always
pause here to make the contrast more impressive. There is more music in
this little piece than in whole symphonies by some of the modern
composers."
Both Rhapsodies Op. 79 were played; the second, he said, has parts as
passionate as anything in the _G�tterdammerung_. Both are fine and
interesting works.
Again and again the players were counseled to make everything sound
well. Some intervals, fourths for instance, are harsh; make them as mild
as possible. For one can play correctly, but horribly! Some staccatos
should be shaken out of the sleeve as it were.
The first time a great work is heard there is so much to occupy the
attention that only a small amount of pleasure can be derived from it.
At the second hearing things are easier and by the twelfth time one's
pleasure is complete. The pianist must consider the listener in a first
rendering, and endeavor to soften the sharp discords.
With a group of five notes, play two and then three--it sounds more
distinguished. Remember that unlearning gives much more trouble than
learning.
* * * * *
In this brief r�sum� of the Von B�low lessons, the desire has been to
convey some of the hints and remarks concerning the music and its
interpretation. The master's fleeting sentences were hurriedly jotted
down during the lessons, with no thought of their ever being seen except
by the owner. But as B�low's fame as a teacher became so great, these
brief notes may now be of some value to both teacher and student.
If it were only possible to create a picture of that Berlin music-room,
with its long windows opening out to a green garden--the May sunshine
streaming in; the two grand pianos in the center, a row of anxious,
absorbed students about the edge of the room--and the short figure of
the little Doctor, pacing up and down the polished floor, or seating
himself at one piano now and then, to illustrate his instruction. This
mental picture is the lifelong possession of each of those players who
were so fortunate as to be present at the sessions. It can safely be
affirmed, I think, that the principles of artistic rectitude, of
exactness and thorough musicianship which were there inculcated, ever
remained with the members of that class, as a constant incentive and
inspiration.
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