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Page 65
"Just as in life every experience of great joy or great grief leaves one
better or more callous, so every time you practise you have either
advanced or gone back. Right playing, like good manners in a
well-trained child, becomes habitual from always doing right. As we are
influenced for good or evil by those we associate with, so are we
influenced by the character and quality of the tones we make and hear.
Be in earnest; put your heart, your whole soul, your whole self into
your playing."
Among other pieces we studied together was the Schumann sonata in F
minor, the _Eusebius Sonata_--a glorious work! In the opening movement
the left hand should be very serious and ponderous, with the hand and
fingers held close to the keys; using arm weight. The melody in octaves
in right hand is beseeching, pleading, imploring. In many places the
touch is very elastic. The second movement begins very softly, as though
one heard something faintly in the distance, and did not quite know what
it was, but thought it might be music. The accents in this movement are
to be understood in a comparative degree, and are not as strong as the
marks seem to indicate. The Scherzo is extremely pompous and is to be
played with heavy accents and a great deal of vim and go; the chords
with the utmost freedom and dash. One must use the "letting-go"
principle, which Paderewski has to perfection.
We next took up the Grieg Concerto; the Peter's edition of this work has
been corrected by the composer. At the first lesson, Dr. Mason
accompanied on a second piano, and seemed pleased with the work I had
done, making no corrections, except to suggest a somewhat quicker tempo.
"Not that I would do anything to impair your carefulness and accuracy,
but you must take a risk, and from the beginning, too. I am reminded of
the young man who has been very carefully brought up. When the time
comes for him to strike out and take his chance in life, he holds back
and is afraid, while another with more courage, steps in and takes away
his opportunity."
We discussed the slow movement at great length. "Note in this movement
the slow, dreamy effect that can be made at the ending of the second
solo, and the artistic use of the pedal in the following chords. The
third movement must have great swing and 'go'; the octave passage
cadenza should be practised in rhythmical groups, and the final Andante
must be fast."
The third time we played the concerto I had it well in hand. Dr. Mason
accompanied as only he could do, and at the close praised me on the way
I had worked it up, and the poetry and fire I was able to put into it.
Who could help playing with fire and enthusiasm when led by such a
master!
Dr. Mason was a most inspiring teacher, quick to note and praise what
was good, and equally vigilant in correcting what was blameworthy. His
criticisms were of the utmost value, for he had such wide experience,
and such a large acquaintance with music and musicians. Best of all he
was a true artist, always ready to demonstrate his art for the benefit
of the pupil, always encouraging, always inspiring.
VITAL POINTS IN PIANO PLAYING
COMPOSITE PRINCIPLES DEDUCED FROM TALKS WITH EMINENT PIANISTS AND
TEACHERS
SECTION I
How things are done, how others do them, and the reasons for the doing
of them in one way and not in another, used to occupy my thoughts back
as far as I can remember. As a child I was fond of watching any one
doing fine needlework or beautiful embroidery, and tried to imitate what
I saw, going into minutest details. This fondness for exactness and
detail, when, applied to piano study, led me to question many things; to
wonder why I was told to do thus and so, when other people seemed to do
other ways; in fact I began to discover that every one who played the
piano played it in a different fashion. Why was there not one way?
One memorable night I was taken to hear Anton Rubinstein. What a
marvelous instrument the piano was, to be sure, when its keys were
moved by a touch that was at one moment all fire and flame, and the next
smooth as velvet or soft and light as thistle-down. What had my home
piano in common with this wonder? Why did all the efforts at piano
playing I had hitherto listened to sink into oblivion when I heard this
master? What was the reason of it all?
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