Piano Mastery Part 14

(7) How do you keep repertoire in repair?

"If you mean my own, I would answer that I don't try to keep all my pieces up, for I have hundreds and hundreds of them, and I must always save time to study new works. A certain number are always kept in practise, different programs, according to the requirements of the hour.

My method of practise is to play slowly through the piece, carefully noting the spots that are weak and need special treatment. To these I give a certain number of repet.i.tions, and then repeat the whole to see if the weak places are equal in smoothness to the rest. If not, they must have more study. But always slow practise. Only occasionally do I go through the piece at the required velocity.

"My pupils are always counseled to practise slowly. If they bring the piece for a first hearing, it must be slowly and carefully played; if for a second or third hearing, and they know it well enough to take it up to time, they can play it occasionally at this tempo before coming to me. But to constantly play a piece in rapid tempo is very harmful; it precludes all thought of a.n.a.lysis, of _how_ you are doing it. When you are playing at concert speed, you have no time to think of fingering, movement or condition--you are beyond all that. It is only in slow practise that you have time and opportunity to think of everything.

"As an ill.u.s.tration, take the case of a pianist in a traveling concert company. He must play the same pieces night after night, with no opportunity to practise between. For the first few days the pieces go well; then small errors and weak spots begin to appear. There is no time for slow practise, so each nightly repet.i.tion increases the uncertainty.

In a few months his playing degenerates so it is hardly fit to listen to. This is the result of constant fast playing."

(8) How do you keep technic up to the standard?

"If one is far advanced a few arpeggios and scales, or a brilliant etude will put the hand in condition. After one has rested, or had a vacation, some foundational exercises and finger movements may be necessary, to limber up the muscles and regain control and quickness. One may often have to review first principles, but technical facility is soon regained if it has once been thoroughly acquired. If one has stopped practise for quite a period, the return is slower, and needs to be more carefully prepared.

"I use considerable Czerny for technical purposes, with my pupils. Op.

299, of course, and even earlier or easier ones; then Op. 740. A few of the latter are most excellent for keeping up one's technic. The Chopin Studies, too, are daily bread."

(9) The best way to study chords?

"From the wrist and with fingers of steel Small hands must of course begin with smaller positions."

(10) What gymnastic exercises do you suggest?

"Whatever seems necessary for the special hand. Tight hands need to be ma.s.saged to limber the fingers and stretch the web of flesh between them. The loose, flabby hand may also be strengthened and rendered firm by ma.s.sage; but this is often a more difficult task than to stretch the right hand. If technical training is properly given, it is sure to render the hand flexible and strong."

XXV

AGNES MORGAN

SIMPLICITY IN PIANO TEACHING

One of the busiest of New York piano teachers, whose list of students taking private lessons in a season, almost touches the hundred mark, is Mrs. Agnes Morgan. Mrs. Morgan has been laboring in this field for more than two decades, with ever increasing success. And yet so quietly and un.o.btrusively is all this accomplished, that the world only knows of the teacher through the work done by her pupils. The teacher has now risen to the point where she can pick and choose her own pupils, which is a great comfort to her, for it dispels much of the drudgery of piano teaching, and is one of the reasons why she loves her work.

When one teaches from nine in the morning till after six every day of the season, it is not easy to find a leisure hour in which to discuss means and methods. By a fortunate chance, however, such an interview was recently possible.

The questions had been borne in upon me: By what art or influence has this teacher attracted so large a following? What is it which brings to her side not only the society girl but the serious art-student and young teacher? What is the magnet which draws so many pupils to her that five a.s.sistants are needed to prepare those who are not yet ready to profit by her instruction? When I came in touch with this modest, una.s.suming woman, who greeted me with simple cordiality, and spoke with quiet dignity of her work, I felt that the only magnet was the ability to impart definite ideas in the simplest possible way.

"Dr. William Mason, with whom I studied," began Mrs. Morgan, "used to say that a musical touch was born, not made; but I have found it possible to so instruct a pupil that she can make as beautiful a tone as can be made; even a child can do this. The whole secret lies in arm and wrist relaxation, with arched hand, and firm nail joint.

INSPIRATION FROM AN AMERICAN TEACHER

"I feel that Dr. Mason himself was the one who made me see the reason of things. I had always played more or less brilliantly, for technic came rather easy to me. I had studied in Leipsic, where I may say I learned little or nothing about the principles of piano playing, but only 'crammed' a great number of difficult compositions. I had been with Moszkowski also; but it was really Dr. Mason, an American teacher, who first set me thinking. I began to think so earnestly about the reason for doing things that I often argued the points out with him, until he would laugh and say, 'You go one way and I go another, but we both reach the same point in the end.' And from that time I have gone on and on until I have evolved my own system of doing things. A teacher cannot stand still. I would be a fool not to profit by the experience gained through each pupil, for each one is a separate study. This has been a growth of perhaps twenty-five years--as the result of my effort to present the subject of piano technic in the most concise form. I have been constantly learning what is not essential, and what can be omitted.

SIMPLICITY

"Simplicity Is the keynote of my work. I try to teach only the essentials. There are so many etudes and studies that are good, Czerny, for instance, is splendid. I believe in it all, but there is not time for much of it. So with Bach. I approve of studying everything we have of his for piano, from the 'Little Pieces' up to the big Preludes and Fugues. Whenever I can I use Bach. But here again we have not time to use as much of Bach as we should like. Still I do the best I can. Even with those who have not a great deal of time to practise, I get in a Bach Invention whenever possible.

"When a new pupil comes who is just starting, or has been badly taught, she must of course begin with hand formation. She learns to form the arch of the hand and secure firm finger joints, especially the nail joint. I form the hand away from the piano, at a table. Nothing can be done toward playing till these things are accomplished. I often have pupils who have been playing difficult music for years, and who consider themselves far advanced. When I show them some of these simple things, they consider them far too easy until they find they cannot do them.

Sometimes nothing can be done with such pupils until they are willing to get right down to rock bottom, and learn how to form the hand. As to the length of time required, it depends on the mentality of the pupil and the kind of hand. Some hands are naturally very soft and flabby, and of course it is more difficult to render them strong.

FINGER ACTION

"When the arch of the hand is formed, we cultivate intelligent movement in the finger tips, and for this we must have a strong, dependable nail joint. Of course young students must have knuckle action of the fingers, but I disapprove of fingers being raised too high. As we advance, and the nail joint becomes firmer and more controlled, there is not so great need for much finger action. Velocity is acquired by less and less action of the fingers; force is gained by allowing arm weight to rest on the fingers; lightness and delicacy by taking the arm weight off the fingers--holding it back.

"I use no instruction books for technical drill, but give my own exercises, or select them from various sources. Certain principles must govern the daily practise, from the first. When they are mastered in simple forms later work is only development. Loose wrist exercises, in octaves, sixths, or other forms, should form a part of the daily routine. So should scale playing, for I am a firm believer in scales of all kinds. Chords are an important item of practise. How few students, uninstructed in their principles, ever play good chords? They either flap the hand down from the wrist, with a weak, thin tone, or else they play with stiff, high wrists and arms, making a hard, harsh tone. In neither case do they use any arm weight. It often takes some time to make them see the principles of arm weight and finger grasp.

QUESTIONS OF PEDALING

"Another point which does not receive the attention it deserves is pedaling. Few students have a true idea of the technic of the foot on the pedal. They seem to know only one way to use the damper pedal, and that is to come down hard on it, perhaps giving it a thump at the same time. I give special preparatory exercises for pedal use. Placing the heel on the floor, and the forepart of the foot on the pedal, they learn to make one depression with every stroke of the metronome; when this can be done with ease, then two depressions to the beat, and so on. In this exercise the pedal is not pressed fully down; on the contrary there is but a slight depression; this vibration on the pedal has the effect of a constant s.h.i.+mmering of light upon the tones, which is very beautiful."

Here the artist ill.u.s.trated most convincingly with a portion of a Chopin Prelude. "One needs a flexible ankle to use the pedal properly; indeed the ankle should be as pliant as the wrist. I know of no one else who uses the pedal in just this fas.h.i.+on; so I feel as though I had discovered it.

"Yes, I have numbers of pupils among society people; girls who go out a good deal and yet find time to practise a couple hours a day. The present tendency of the wealthy is to take a far more serious view of music study than was formerly the case. They feel its uplifting and enn.o.bling influence, respect its teachers, and endeavor to do carefully and well whatever they attempt.

"While necessary and important, the technical foundation is after all but a small part compared to the training for rhythmic sense, and for the knowledge of how to produce good and beautiful results in musical interpretation."

XXVI

EUGENE HEFFLEY

MODERN TENDENCIES IN PIANO MUSIC

Eugene Heffley, the Founder and first President of the MacDowell Club, of New York, a pianist and teacher of high ideals and most serious aims, came to New York from Pittsburg, in 1900, at the suggestion of MacDowell himself. He came to make a place for himself in the profession of the metropolis, and has proved himself a thoroughly sincere and devoted teacher, as well as a most inspiring master; he has trained numerous young artists who are winning success as pianists and teachers.

Mr. Heffley, while entertaining reverence for the older masters, is very progressive, always on the alert to discover a new trend of thought, a new composer, a new gospel in musical art. He did much to make known and arouse enthusiasm for MacDowell's compositions, when they were as yet almost unheard of in America. In an equally broad spirit does he introduce to his students the works of the ultra modern school, Debussy, Rachmaninoff, Florent Schmitt, Reger, Liadow, Poldini and others.

"My students like to learn these new things, and the audiences that gather here in the studio for our recitals, come with the expectation of being enlightened in regard to new and seldom heard works, and we do not disappoint them. Florent Schmitt, in spite of his German surname, is thoroughly French in his manner and idiom, though they are not of the style of Debussy; he has written some beautiful things for the piano; a set of short pieces which are little gems. I rank Rachmaninoff very highly, and of course use his Preludes, not only the well-known ones--the C and G minor--but the set of thirteen in one opus number; they are most interesting. I use a good deal of Russian music; Liadow has composed some beautiful things; but Tschaikowsky, in his piano music, is too complaining and morbid, as a rule, though he is occasionally in a more cheerful mood. It seems as though music has said all it can say along consonant lines, and regular rhythms. We must look for its advancement in the realm of Dissonance; not only in this but in the way of variety in Rhythm. How these modern composers vary their rhythms, sometimes three or four different ones going at once! It is the unexpected which attracts us in musical and literary art, as well as in other things: we don't want to know what is coming next; we want to be surprised.

"Of the cla.s.sic literature, I use much Bach, when I can. I used to give more Mozart than I do now; latterly I have inclined toward Haydn; his Variations and Sonatas are fine; my students seem to prefer Haydn also.

I thoroughly believe in the value of polyphonic music as a mental study; it is a necessity. And Bach is such a towering figure, such a rock of strength in musical art. Bach was essentially a Christian, and this element of devoutness, of wors.h.i.+p, s.h.i.+nes out in everything he wrote. I do not believe that music, without this element of wors.h.i.+p, will live.

Tschaikowsky did not have it, nor Berlioz, nor even Mozart, for Mozart wrote merely from the idea of sheer beauty of sound; in that sense he was a pagan. I doubt if Strauss has it. One cannot foresee how the future will judge the music of to-day; what will it think of Schonberg?

I am holding in abeyance any opinion I might form regarding his work till I have had more time to know it better. I can only say I have heard his string Quartet three times. The first time I found much in it to admire; the second time I was profoundly moved by certain parts of it, and on the third occasion I felt that the work, especially the latter part, contained some of the most beautiful music I had ever listened to.

"In regard to the technical training my pupils receive, it is not so easy to formulate my manner of teaching. Each pupil is a separate study, and is different from every other. As you well know, I am not a 'method man': I have little use for the so-called piano method. To be a true teacher of the piano is a high calling indeed; for there are many pedagogues but comparatively few real teachers. I make a distinction between the two. A pedagogue is one who, filled with many rules and much learning, endeavors to pour his knowledge into the pupil; whereas the true teacher seeks to draw out what is in the pupil. He strives to find what the pupil has apt.i.tude for, what he likes to do and can do best.

The teacher must be something of a psychologist, or how can he correctly judge of the pupil's temperament, his tastes, his mentality, and what to do for him?

"When a new pupil comes, I must make a mental apprais.e.m.e.nt of his capacity, his likelihood to grasp the subject, his quickness of intelligence, his health, and so on. No two pupils can be treated in the same way. One who has little continuity, who has never followed out a serious line of thought in any direction, must be treated quite differently from one of an opposite mentality and experience. It would be useless to give Bach to the first pupil, it would only be a waste of time and patience: he could not comprehend the music in any sense; he would have no conception of the great things that Bach stands for. Such a course of treatment would only make him hate music; whereas to one of a more serious and thoughtful turn of mind, you might give any amount of Bach.