Piano Playing Part 16

Which are the best compositions of Chopin to study by one who really desires to know him?

All the Etudes, all the Preludes, the Ballades in A flat, G minor and F minor, the Berceuse and the Barcarolle. The Mazurkas, Nocturnes, Waltzes, and Polonaises you are probably familiar with; hence, I mention the aforesaid other works. Generally speaking, of Chopin a pianist should know everything.

[Sidenote: _The Charm of Chopin's Touch_]

What kind of touch did Chopin have?

Since a description of his touch would require too much s.p.a.ce I refer you to the book from which I gathered the most explicit information on this point. It is "The Life of Chopin," by Frederick Niecks (London and New York, Novello, Ewer & Co.), and in the second volume, from page 94 to about 104, you will find what you wish to know, as far as it is possible to convey the charm of one art through the medium of another.

Since you seem interested in Chopin I would recommend that you closely study both volumes of this masterly biographical work.

[Sidenote: _Mood and Tempo in the A-Flat Impromptu_]

What is the tempo (by metronome) of Chopin's Impromptu in A-flat, and what idea did the composer embody in it?

The editions vary in their metronome markings and I believe none of them. Your tempo will largely depend upon the state of your technique.

To the second question my reply is that Chopin has composed "music"

which--as you know--represents thoughts only in a musical sense, otherwise it deals with purely psychic processes, moods, etc. The humour of this Impromptu is mainly an amiable, ingratiating one, here and there slightly tinged with a sweet melancholy. It should not be played too fast, for it easily loses this latter attribute and then sounds like a Czerny exercise. A moderate tempo will also tend to bring out the many charming harmonic turns which, in too quick a tempo, are likely to be lost.

[Sidenote: _Chopin's Barcarolle_]

In Chopin's Barcarolle there is a number of trills preceded by grace notes. Are they to be executed according to Philipp Emmanuel Bach's rule, so that the grace notes take their time from the note that follows them?

Philipp Emmanuel Bach's rule is a safe one to follow, but do not confound a rule with a law. If you have reached that plane on which an attempt at the Barcarolle by Chopin is rational, you must feel that your individual taste will not lead you too far astray even if it should prompt you occasionally to depart from the rule.

[Sidenote: _Chopin's Works for a Popular Concert_]

What works of Chopin would you suggest for a popular concert programme?

Nocturne, Opus 27, No. 2; Fantasy Impromptu, Opus 66; Scherzo, Opus 31; Berceuse, Opus 57; Valse, Opus 64, No. 2; Polonaise, Opus 26, No. 1; Chants Polonais (in Liszt's transcription).

[Sidenote: _Taking Liberties with the Tempo_]

In playing Chopin may one take liberties with the tempo and play different parts of the same mazurka or nocturne in various degrees of tempo?

Undoubtedly. But the extent of such liberties depends upon your aesthetic training. In principle your question admits of an affirmative reply, but a specific answer is impossible without an acquaintance with your musical status. I recommend that you be very cautious about "taking liberties"; without, however, ceasing altogether to follow the promptings of your good taste here and there. There is such a thing as "artistic conscience"; consult it always before taking a liberty with the tempo.

[Sidenote: _Omitting One Note in a Chord_]

[Ill.u.s.tration]

In the beginning of the Waltz in E minor by Chopin the left hand has to play this chord a number of times. I can stretch any three of the four notes, but not all four. Can one of them be omitted, and which one?

You may omit the upper E, the second note from the top, but you may do so only so long as it is physically impossible for you to strike all the four notes. For, by omitting this note you do alter the tone colour of the chord as well as its sonority. As soon as you have acquired the requisite stretch--and anybody who does possess it--I would advise that the note be not unnecessarily omitted. Chopin evidently meant to have that note played.

[Sidenote: _Masters Cannot be Studied in Order_]

Will you give me your views as to the order in which the masters of piano composition should be studied?

To cla.s.sify composers, without specifying their works, is never advisable. Beethoven's first and last sonatas differ so fundamentally from each other in every particular that one may play the first one very well and yet be for many years (perhaps forever) unable to play the last one. And still, it is the same Beethoven that wrote both works. We can, therefore, hardly speak of an "order of composers." So long as we are dealing with masters the question should not be: Which master?--but, Which composition does your stage of mental and technical development call for? If you will defer the study of any other composer until you have fully mastered the works of Beethoven--only the princ.i.p.al ones, at that--you will need a life of more length than the Bible allots to the average man.

[Sidenote: _The Greatest Composers as Pianists_]

Is it true that nearly all the great composers have been pianists?

If by pianists you mean musicians whose sole medium of audible musical utterance was the piano, your question admits of no other than an affirmative reply. The only exception I can think of just now was Berlioz; there were, no doubt, others, but none who belongs to the truly great ones. The reason for this is, perhaps, the circ.u.mstance that the pianist throughout his education is brought into touch with greater polyphony than the players of other instruments, and that polyphony is a basic principle in music.

[Sidenote: _The Study of Operatic Transcriptions_]

Is the study of Thalberg's operatic transcriptions of any value to the piano student?

Operatic transcriptions begin with Liszt. What was written before him in that line (and in some degree contemporary with him, hence it includes Thalberg) is hardly of any significance. If you feel a special inclination toward the transcriptions of Thalberg you may play them; they will not harm you so very much. But if you ask me whether they are of any musical value I must frankly say, no.

[Sidenote: _Modern Piano Music_]

Are such pieces as "Beautiful Star of Heaven" or "Falling Waters" in good taste? What contemporary composers write good piano music?

Pieces with pretentious names are usually devoid of such contents as their names imply, so that the names are merely a screen to hide the paucity of thoughts and ideas. Speaking very generally, there seems to be not very much good music written for the piano just at present. By far the best comes from Russia. Most of these compositions are rather difficult to play, but there are some easy ones to be found among them, such as the "Music Box," by Liadow, "Fantastic Fairy Tales," No. 12, by Pachulski, and others.

EXERCISES AND STUDIES

[Sidenote: _Exercises for the Beginner to Practise_]

Is there any special book of practice exercises that you think best for a beginner and that you would care to recommend?

Any reliable music publisher will tell you which book of exercises is most in demand. The effect of the exercises depends, of course, upon the way you play them. Indications as to touch, etc., are usually given in such books. What kind of exercises your case demands cannot be determined without a personal examination by an expert.

[Sidenote: _Good Finger Exercises_]

What would you say are the best studies for plain finger work?

The exercises of "Pischna" are to be recommended. They have appeared in two editions, of which one is abridged. They are known as the "large"

and the "small Pischna." You may obtain them through any large music house, I think, in the Steingraber Edition.

[Sidenote: _The Value of h.e.l.ler's Studies_]

Are h.e.l.ler's studies practical for a young student lacking in rhythm and expression?

Yes, they are very good, provided the teacher insists that the pupil plays exactly what is indicated and does not merely "come near it."

[Sidenote: _Good Intermediate Books of Etudes_]

Living in the country, where there is no teacher available, I would thank you for telling me what Etudes I ought to study. I have finished those by Cramer and Moscheles, and can play them well, but find those by Chopin too difficult. Are there no intermediate works?

You seem to be fond of playing Etudes. Well, then, I suggest:

"Twelve Etudes for Technique and Expression," by Edmund Neupert.

"Concert Etudes," by Hans Seeling (Peters Edition).