Piano Playing Part 15

and I would also hold the fifth eighth as in ill.u.s.tration _b_.

[Sidenote: _Where the Accent Should be Placed_]

In playing Chopin's Impromptu in A-flat, Opus 29, should the first or the last note of the mordent receive the accent? I have heard the mordent sound like a triplet? Is this the correct accent?

The last note of the mordent should be accented in this case.

[Sidenote: _A Disputed Chopin Reading_]

In Chopin's Nocturne in F-sharp, after the _Doppio_ Movement, when returning to Tempo I, and counting five measures, should the right hand in the fifth measure play this melody?

[Ill.u.s.tration]

The various editions differ from one another in this measure. Peters's edition, generally considered the best edition of Chopin's works, has the second version, which commends itself by its greater naturalness.

[Sidenote: _Playing the "Melody in F"_]

In Rubinstein's "Melody in F" should the melody be played in the left hand or be divided between the two hands?

Where there is no valid reason for doing otherwise it is always best to follow the composer's prescription; for, in most cases--and with great composers in all cases--the author knows what he meant to say. In the aforesaid piece, too, I advise you to adhere to this principle, since it is written with a view to teach the division of the melody between the right and left hand. Any other execution would ruin this purposed design.

[Sidenote: _When Two Fingers Have the Same Note_]

In Schumann's "Blumenstuck," third number, the uppermost notes of the left hand are identical with the lowest of the right hand. Should the thumbs of both hands strike the same keys at the same time all the way through or should the left hand omit them?

The left hand should omit them, but be careful to omit only those that are really duplicates. There are a few places toward the end of each section where the left-hand notes differ from those in the right. In those cases you must be careful to play all the notes that are written.

BACH

[Sidenote: _The Beginner in Bach Music_]

Can you give me a few helpful suggestions in a preliminary study of Bach?

A totality consists of many parts. If you cannot master the totality of a work by Bach try each part by itself. Take one part of the right hand, one part of the left, add a third part, and so on until you have all the parts together. But be sure to follow out the line of each separate part (or "voice," as the Continentals say). Do not lose patience. Remember that Rome was not built in a day.

[Sidenote: _Bach's Music Necessary to Good Technique_]

Do you think the study of Bach is necessary to the development of one's technique, or should one let his music alone until a later day when one's technique is in good condition? Some of his music seems so dry.

Bach's music is not the only music that develops the technique. There is, for instance, the music of Czerny and Clementi to be considered. But Bach's music is particularly qualified to develop the fingers in conjunction with musical expression and thematic characterization. You may start with Czerny and Clementi, but you ought soon to turn to Bach.

That some of his music seems dry to you may be due to your mental att.i.tude by which you possibly expect from ecclesiastical music what only the opera can give you. Think yourself into his style and you will find a mine of never-dreamed-of enjoyment.

[Sidenote: _Always Keep in Touch with Bach_]

Do you think that the playing of Bach's works will keep one's hands in good technical condition? And which is the best edition of Bach's piano works?

Bach is good for the soul as well as for the body, and I recommend that you never lose touch with him. Which is the best edition would be hard to say, but I have found the Peters edition to be very good.

[Sidenote: _Bach's Preludes and Fugues_]

What is the plan of a "Fugue," how does it differ from an "Invention"

and "Prelude," and what is the purpose of studying the pieces so named by Bach?

The explanation of the plan of a Fugue would exceed by far the limits of the s.p.a.ce at my disposal. It would require a text-book, of which there are many to be found in every good music store. The Fugue is the most legitimate representation of true polyphony. Its difference from an Invention is expressed in the two names. A Fugue (_fuga_, flight) is the flight of one musical thought through many voices or parts, subject to strict rules, while an Invention is an acc.u.mulation of thoughts moving with absolute freedom. The definition of Prelude, as something which intentionally precedes and fittingly introduces a main action, fits the musical Prelude perfectly; especially in the case of Bach. The purpose of all these forms is that of all good music-making, namely, the purification and development of good taste in music.

[Sidenote: _As to the Bach Fugues_]

Of the Bach fugues do you consider the C sharp major difficult to memorize, or do you advise the use of the D flat arrangement instead?

Such little differences have never bothered me, and I can therefore hardly answer your question definitely. It has been frequently observed--though never explained--that to many people it comes easier to read music in D flat than in C sharp. Hence, if you prefer the D flat edition it will reduce the difficulty for you. Possibly this more accessible version may aid you optically or visually in your work of memorizing.

BEETHOVEN

[Sidenote: _Order of Studying Beethoven's Sonatas_]

I am just beginning to reach an intelligent interpretation of Beethoven's music. Now, in what order should the Sonatas be studied?

If you should really have the laudable intention to study all the Sonatas of Beethoven for your repertory I should think that you may safely take them up very much in the order in which they are printed, with the exception of Opus 53 and the Appa.s.sionata, which--spiritually as well as technically--rank with the last five. The Steingraber edition, however, furnishes a very fair order of difficulty in the index to the Sonatas.

[Sidenote: _The Beethoven Sonata with a Pastoral Character_]

My teacher calls the Sonata opus 28, by Beethoven, the "Pastoral"

Sonata. I have not found anything "pastoral" in any of the movements. Is it because I do not understand it, or is the name a mere amateurish invention?

The name "Pastoral Sonata" could, no doubt, be traced to an arbitrary invention, perhaps of some over-smart publisher endeavouring to heighten the attractiveness of the Sonata to the general public by the addition of a suggestive t.i.tle. Yet it seems to fit the Sonata pretty well, because, really, its main characteristic is a rural sort of peaceful repose. Especially the first movement is of a tranquillity which, surely, does not suggest the life of a metropolis. But in the other movements, too, there are many episodes which by their navete and good-natured boisterousness indicate the life of the village.

[Sidenote: _A Few, Well Played, Are Enough_]

Must I play all the Sonatas of Beethoven's in order to become a good player, or is a certain number of them sufficient, and, if so, how many would you advise?

Since the playing of all the Sonatas does not necessarily prove that they were all well played, I think it is better to play one Sonata well than to play many of them badly. Nor should Beethoven's Sonatas be regarded as a musical drilling-ground, but rather as musical revelations. As they are not all on precisely the same high plane of thought, it is not necessary to play them all. To familiarize yourself with Beethoven's style and grandeur of thought it is sufficient to have mastered six or eight of his Sonatas; though that number, at least, should be _mastered_.

MENDELSSOHN

[Sidenote: _The Study of Mendelssohn_]

In a complete course for a piano student should the study of Mendelssohn be included? Which of his compositions are the most useful?

Mendelssohn is surely a composer who is not to be omitted. His melody alone, besides other virtues, ent.i.tles him to be included, for melody seems to grow scarce nowadays. To develop a fine cantilena his "Songs Without Words" of slower motion, for instance, are just the thing.

CHOPIN

[Sidenote: _What Is the Best of Chopin?_]