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Page 8
"Students think they cannot memorize, when it would be quite easy if
they would apply themselves in the right way. I ask them to look
intently at a small portion, two measures, or even one, and afterward to
play it without looking at the notes. Of course, as you say, this can be
done away from the piano; the notes can even be recited; but there are
other signs and marks to be considered and remembered, so when one can
be at the piano I consider it better.
"Piano playing is such an individual and complex thing. I do not require
nor expect my pupils to play as I do, nor interpret as I interpret, for
then I would only see just so many replicas of myself, and their
individuality would be lost. I often hear them play a composition in a
different way and with a different spirit from the one I find in it. But
I don't say to them, 'That is wrong; you must play it as I do,' No, I
let them play it as they see and feel it, so long as there is no sin
against artistic taste.
"I trust these few points will be helpful to both player and teacher.
The latter needs all the encouragement we artists can give, for in most
cases he is doing a good work.
"Volumes might be added to these hurried remarks, but for that my time
is too limited."
IV
SIGISMOND STOJOWSKI
MIND IN PIANO STUDY
Mr. Sigismond Stojowski, the eminent Polish pianist and composer, was
found one morning in his New York studio, at work with a gifted pupil.
He was willing to relax a little, however, and have a chat on such
themes as might prove helpful to both teacher and student.
"You ask me to say something on the most salient points in piano
technic; perhaps we should say, the points that are most important to
each individual; for no two students are exactly alike, nor do any two
see things in precisely the same light. This is really a psychological
matter. I believe the subject of psychology is a very necessary study
for both teacher and student. We all need to know more about mental
processes than we do. I am often asked how to memorize, for instance--or
the best means for doing this; another psychological process. I
recommend students to read William James' _Talks on Psychology_; a very
helpful book.
"The most vital thing in piano playing is to learn to think. Has it ever
occurred to you what infinite pains people will take to avoid thinking?
They will repeat a technical illustration hundreds of times it may be,
but with little or no thought directed to the performance. Such work is
absolutely useless. Perhaps that is a little too strong. With countless
repetitions there may at last come to be a little improvement, but it
will be very small.
"There is quite a variety of views as to what the essentials of piano
technic are; this is a subject on which teachers, unluckily, do not
agree. For instance, on the point of finger lifting there is great
diversity of opinion. Some believe in raising the fingers very high,
others do not. Lifting the fingers high is not good for the tone, though
it may be used for velocity playing. I use quite the reverse where I
wish beautiful, singing, tone quality. The young pupil, at the
beginning, must of course learn to raise fingers and make precise
movements; when greater proficiency is reached, many modifications of
touch are used. That the best results are not more often obtained in
piano teaching and study, is as much the fault of the teacher as the
pupil. The latter is usually willing to be shown and anxious to learn.
It is for the teacher to correctly diagnose the case and administer the
most efficient remedy.
[Illustration: To Miss Harriett Brower with the kindest of remembrances,
Sigismond Stojowski New York, April 1913]
NATURAL TECHNIC
"There is a certain amount of what I might call 'natural technic'
possessed by every one--some one point which is easy for him. It Is
often the trill. It has frequently come under my notice that players
with little facility in other ways, can make a good trill. Some singers
have this gift; Mme. Melba is one who never had to study a trill, for
she was born with a nightingale in her throat. I knew a young man in
London who was evidently born with an aptitude for octaves. He had
wonderful wrists, and could make countless repetitions of the octave
without the least fatigue. He never had to practise octaves, they came
to him naturally.
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