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Page 64
"Schumann's Andante, for two pianos, should have a very tender,
caressing touch for the theme. The place where the four-sixteenths
occur, which make rather a square effect, can be softened down. On the
second page, be sure and do not accent the grace notes; let the accent
come on the fifth finger every time. For the variation containing
chords, use the grasping touch, which might be described as a certain
indrawing of force in the end of the finger, as though taking a long
breath. The variation in triplets seems at first sight almost a
caricature, a burlesque on the theme, but I don't think that Schumann
had any such idea. On the contrary he meant it as a very sweet, gentle,
loving thought. The last page has something ethereal, ideal about it; it
should be breathed out, growing fainter and fainter to the end.
"The G minor Ballade, of Chopin, begins slowly, with much dignity. The
opening melody is one of sadness, almost gloom. The _a tempo_ on second
page contains four parts going on at the same time. At the _piu forte,_
care must be taken to have the outer side of the hand well raised, and
moved from the wrist. The idea here is one of great agitation and
unrest. The fifth page needs great power and the legato octaves well
connected and sustained. The feeling of unrest is here augmented until
it becomes almost painful, and not until the _animato_ does a restful
feeling come. This should be played lightly and delicately, the left
hand giving the rhythm. The _presto_ demands great power and dash. Let
the wrist be low when beginning the chords, raise it after the first and
let it fall after the second. Always accent the second chord. Begin the
final double runs slowly and increase in speed and tone. So, too, with
the octaves, begin slowly and increase in power and fire."
Numerous other compositions were analyzed, but the ones already quoted
stand out in memory, and give some idea of Mr. Sherwood's manner of
teaching.
DR. WILLIAM MASON
Years after the foregoing experiences I had the privilege of doing some
work with the dean of all American piano masters, Dr. William Mason. I
had spent several years in European study, with Scharwenka, Klindworth
and von B�low, and had returned to my own land to join its teaching and
playing force. My time soon became so largely occupied with teaching
that I feared my playing would be entirely pushed to the wall unless I
were under the guidance of some master. With this thought in mind, I
presented myself to Dr. Mason.
"You have studied with Sherwood," he began. "He has excellent ideas of
touch and technic. Some of these ideas came from me, though I don't wish
to claim too much in the matter. Sherwood has the true piano touch. Very
few pianists have it; Klindworth did not have it, nor von B�low, nor
even Liszt, entirely, for he as well as the others, sought for a more
orchestral manner of playing. Sherwood has this touch; Tausig had it,
and de Pachmann and Rubinstein most of all. It is not taught in Germany
as it should be. The best American teachers are far ahead in this
respect; in a few years the Europeans will come to us to learn these
things." (This was Sherwood's idea also.)
The first composition played to Dr. Mason was the G minor Rhapsodie of
Brahms, with which, as it happened, he was unfamiliar. I played the
entire piece through without interruption, and he seemed pleased.
"You have a beautiful tone--a really beautiful tone, and you play very
artistically; much of this must be natural to you, you could not have
acquired it. You also have an excellently trained hand. I may say that
in my forty years of teaching I have never had any one come to me with a
better position, or more natural and normal condition. Now, what do you
think I can do for you?"
I explained that I needed some new ideas in my teaching, and wished to
keep up my own practise.
"I will explain my theories to you, and we will then study some
compositions together.
"There is everything in knowing how to practise, but it is something
that cannot be taught. I played in public ten years before I found out
the secret.
"Practise slowly and in sections. Not only must all the notes be there,
they must be dwelt on. There must be a firm and rock-like basis for
piano playing; such a foundation can only be laid by patient and
persevering slow practise. If the player has not the control over his
fingers to play a piece slowly, he certainly cannot play it fast. Slow
practise--one difficulty at a time--one hand at a time; Napoleon's
tactics, 'one division at a time,' applies to music study. Above all do
not hurry in fugue playing, a universal fault. Bach needs a slower trill
than modern music. Chords are not to be played with percussion but with
pressure. The main things in piano playing are tone and sentiment. When
you take up a new piece, practise a few measures slowly, till you know
them, then play faster; take the next few measures in the same way; but
at first do not practise the whole piece through at once.
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