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Page 71
SLOW PRACTISE
The question is often put to artists: "Do you deem it necessary to work
for velocity, or do you practise the composition much at the required
speed?" Many pianists practise very slowly. This was William H.
Sherwood's custom. Harold Bauer believes velocity to be inherent in the
individual, so that when the passage is thoroughly comprehended it can
be played at the necessary rate of speed. Bachaus testifies he seldom
works for velocity, saying that if he masters the passage he can play it
at any required tempo. "I never work for velocity as some do," he
remarks. "I seldom practise fast, 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."
Clarence Adler counsels pupils always to begin by practising
slowly--faster tempo will develop later, subconsciously. Velocity is
only to be employed after the piece has been thoroughly learned, every
mark of expression observed, all fingering, accents and dynamic marks
mastered. "You would scarcely believe," he adds, "how slowly I practise
myself."
A FEW EXCEPTIONS
There are very few exceptions to the general verdict in favor of technic
practise apart from pieces. Godowsky asserts he never practises scales.
Bauer cares little for pure technic practise, believing the composition
itself contains sufficient material of a technical nature.
Whether or not these brilliant exceptions merely prove the rule, the
thoughtful student of the piano must decide for himself. He has already
discovered that modern piano playing requires a perfect technic,
together with the personal equation of vigorous health, serious purpose
and many-sided mentality. Mme. Rider-Possart says: "Technic is something
an artist has to put in the background as something of secondary
importance, yet if he does not possess it he is nowhere." The student
will not overlook the fact that to acquire the necessary technical
control he must devote time and thought to it outside of piece playing.
He must understand the principles and follow out a certain routine in
order to secure the best results in the quickest and surest way. While
each one must work out his own salvation, it is an encouragement to know
that even the greatest artists must toil over their technic, must keep
eternally at it, must play slowly, must memorize bit by bit. The
difference between the artist and the talented amateur often lies in the
former's absolute concentration, perseverance and devotion to the
highest ideals.
SECTION IV
_How to Memorize_
At the present stage of pianistic development, an artist does not
venture to come before the public and "use his notes." No artist who
values his reputation would attempt it. Everything must be performed
from memory--solos, concertos, even accompaniments. The pianist must
know every note of the music he performs. The star accompanist aspires
to the same mastery when he plays for a famous singer or
instrumentalist. We also have the artist conductor, with opera, symphony
or concerto at his finger-tips. Hans von B�low, who claimed that a
pianist should have more than two hundred compositions in his
repertoire, was himself equally at home in orchestral music. He always
conducted his Meiningen Orchestra without notes.
Let us say, then, that the present-day pianist ought to have about two
hundred compositions in his repertoire, all of which must be played
without notes. The mere fact of committing to memory such a quantity of
pages is no small item in the pianist's equipment. The problem is to
discover the best means of memorizing music quickly and surely. Here
again we are privileged to inquire of the artist and of the artist
teacher. His knowledge and experience will be practical, for he has
evolved it and proved it over and over again.
It is a well-known fact that Leschetizky advises memorizing away from
the instrument. This method at once shuts the door on all useless and
thoughtless repetition employed by so many piano students, who repeat a
passage endlessly, to avoid thinking it out. Then they wonder why they
cannot commit to memory! The Viennese master suggests that a short
passage of two or four measures be learned with each hand alone, then
tried on the piano. If not yet quite fixed in consciousness the effort
should be repeated, after which it may be possible to go through the
passage without an error. The work then proceeds in the same manner
throughout the composition.
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