Piano Playing Part 6

I use the term "moderns" advisedly, for the true masters--some of whom died but recently--have never stooped to those methods of self-aggrandis.e.m.e.nt at which I hinted. Their places of honour were accorded to them by the world because they were theirs, by right of their artistic power, their genius and the purity of their art. My advice to the students and to all lovers of music is: Hold on with all your might to the school of sincerity and chast.i.ty in music! It is saner and, morally and aesthetically, safer than the entire pack of our present nerve-tickling, aye, and nerve-racking "modernists." Music should always elevate; it should always call forth what, according to the demands of time and place, is best in us. When, instead of serving this divine mission, it speculates upon, and arouses, our lowest instincts for no better purpose than to fill the pockets of its perpetrator, it should receive neither the help nor the encouraging attention of any n.o.ble-thinking and clean-minded man or woman. Pa.s.sive resistance can do a good deal on these premises.

The matter of abstention from a certain type of music recalls to my mind another evil from which Americans should abstain; it is the curious and out-of-date superst.i.tion that music can be studied abroad better than here. While their number is not very large, I personally can name five American teachers who have struggled here for many a year without gaining that high recognition which they deserve. And now? Now they are in the various capitals of Europe, receiving the highest fees that were ever paid for instruction, and they receive these high fees from American students that throng their studios. That the indifference of their compatriots drove these men practically out of their country proved to be of advantage to them; but how ought those to be regarded who failed to keep them here? The wrong is irreparable in so far as these men do not think of returning to America except as visitors. The duty of American students and lovers of good music is to see to it that such capable teachers as _are_ still here should _remain_ here. The ma.s.s of emigration to Europe of our music students should cease! If a student has what is understood by "finished" his studies here and his teacher sets him free, he may make a reconnoitring tour in Europe. The change of views and customs will, no doubt, broaden his mind in certain directions. But musically speaking, he will be sure to find that most of the enchantment of Europe was due to its distance. Excepting the excellent orchestras of Europe and speaking of the general music-making there, it is at present not quite as good as it is here: neither is the average music teacher in Europe a whit better than the man of equal standing here.

Americans should take cognizance of the fact that their country has not stood still in music any more than in any other direction. Each year has recorded an advancing step in its development. We must cease to compare the Europe of to-day with the America of fifty years ago. At present there is an astonishingly large number of clever and capable musicians in America, and, as with good physicians and lawyers, their ability usually stands in inverse proportion to the amount of their advertising.

It is these worthy teachers for whose sake the superst.i.tion of "studying abroad" should be foresworn. What Uncle Sam has, in the field of music, not directly produced he has acquired by the natural law of attraction; now that so many talented and learned instructors, both native and foreign, are here they should be given a fair opportunity to finish a pupil's development as far as a teacher can do it, instead of seeing him, half-done, rush off "to Europe." If I were not convinced that a change on this score is possible, I should not have devoted so many words to it. It is merely a question of making a start. Let me hope that each reader of this little book may start this change, or, that, if already started, he will foster and help it. If his efforts should be disparaged by some, he need not feel disheartened, but remember that he belongs to the "land of limitless possibilities."

JOSEF HOFMANN.

PIANO QUESTIONS

TECHNIQUE

1. GENERAL

[Sidenote: _What Does "Technique" Mean?_]

What are the different techniques, and which one is most generally used?

What is the difference between them?

Technique is a generic term, comprising scales, arpeggios, chords, double notes, octaves, legato, and the various staccato touches as well as the dynamic shadings. They are all necessary to make up a complete technique.

[Sidenote: _The More Technique the More Practice_]

Why do pianists who have more technique than many others practise more than these others?

Why have the Rothschilds more secretaries than I have? Because the administration of a large fortune entails more work than that of a small one. A pianist's technique is the material portion of his artistic possessions; it is his capital. To keep a great technique in fine working trim is in itself a considerable and time-absorbing task. And, besides, you know that the more we have the more we want. This trait is not only human; it is also pianistic.

[Sidenote: _How to Improve the Technique_]

Should I endeavour to improve my technique by trying difficult pieces?

You should not confine yourself to pieces that come easy to you, for that would prevent all further technical progress. But beware of pieces that are so difficult that you could not play them--in a slower tempo--with absolute correctness. For this would lead to the ruin of your technique and kill the joy in your studies. Play pieces that are always a trifle harder than those you have completely mastered. Do not emulate those who say: "I play already this or that," without asking themselves "how" they play. Artistry depends ever upon the "how."

2. POSITION OF THE BODY

[Sidenote: _Do Not Raise the Piano-Stool Too High_]

Are the best results at the piano attained by sitting high or low?

As a general rule, I do not recommend a high seat at the piano, because this induces the employment of the arm and shoulders rather than of the fingers, and is, of course, very harmful to the technique. As to the exact height of the seat, you will have to experiment for yourself and find out at which height you can play longest with the least fatigue.

[Sidenote: _The Height of the Piano Seat_]

Is my seat at the piano to be at the same height when I practise as when I play for people?

Yes! Height and distance (from the keyboard) of your chair--which should never have arms--you should decide for yourself and once for all time; for only then can you acquire a normal hand position, which, in its turn, is a condition _sine qua non_ for the development of your technique. See also to it that both feet are in touch with their respective pedals so as to be in place when their action is required. If they stray away and you must grope for the pedals when you need them it will lead to a break in your concentration, and this will cause you to play less well than you really can. To let the feet stray from the pedals easily affects your entire position. It is a bad habit. Alas, that bad habits are so much easier acquired than good ones!

3. POSITION OF THE HAND

[Sidenote: _The Tilt of The Hand in Playing Scales_]

Should my hand in playing scales be tilted toward the thumb or toward the little finger? I find that in the scales with black keys it is much easier to play the latter way.

I quite share your opinion, and extend it also to the scales without black keys. I think the natural tendency of the hands is to lean toward the little finger, and as soon as you have pa.s.sed the stage of preliminary training, as soon as you feel fairly certain that your fingers act evenly, you may yield to their natural tendency, especially when you strive more for speed than force; for speed does not suffer tension, while force craves it.

4. POSITION OF THE FINGERS

[Sidenote: _The Results Count, Not the Methods_]

Does it make any difference if my fingers are held very much curved or only a little? I was told that Rubenstein used his fingers almost flat.

Since you mention Rubinstein I may quote his saying: "Play with your nose, if you will, but produce euphony (_Wohlklang_) and I will recognize you as a master of your instrument." It is ever a question of the result, whether you play this way or that way. If you should play with very much curved fingers and the result should sound uneven and pieced, change the curving little by little until you find out what degree of curvature suits your hand best. Experiment for yourself.

Generally speaking, I recommend a free and easy position of hand and fingers, for it is only in a position of greatest freedom that their elasticity can be preserved, and elasticity is the chief point. By a free and easy position I mean that natural position of hand and fingers into which they fall when you drop your hand somewhat leisurely upon the keyboard.

[Sidenote: _Cantabile Pa.s.sages_]

Should a cantabile pa.s.sage be played with a high finger-stroke or by using the weight of the arm?

Certain characteristic moments in some pieces require the high finger-stroke. It may be used also in working up a climax, in which case the raising of the fingers should increase proportionately to the rise of the climax. Where, however, the strength of the fingers is sufficient to obtain the climacteric result by pressure, instead of the stroke, it is always preferable to use pressure. As a general principle, I believe in the free-hanging, limp arm and recommend using its weight in cantabile playing.

[Sidenote: _An Incorrect Position of the Fingers_]

Pray how can I correct the fault of bending out the first joints of the fingers when their cushions are pressed down upon the keys?

Your trouble comes under the head of faulty touch, which nothing will correct but the constant supervision by a good teacher, a.s.sisted by a strong exertion of your own will power and strictest attention whenever you play. This bending out of the first joint is one of the hardest pianistic ailments to cure, but it is curable. Do not be discouraged if the cure is slow. The habit of years cannot be thrown off in a day.

5. ACTION OF THE WRIST

[Sidenote: _Don't Stiffen the Hands in Playing Scales_]

Should the hands be kept perfectly still in playing scales and arpeggios? Or, to lessen fatigue, is an occasional rise and fall of the wrist permissible in a long pa.s.sage of scale or arpeggio?

The hands should, indeed, be kept still, but not stiff. Protracted pa.s.sages of scales or arpeggios easily induce a stiffening of the wrist.

Hence, an occasional motion of the wrist, upward and downward, will do much to counteract this tendency. It will, besides, be a good test of the looseness of the wrist.

[Sidenote: _The Loose Wrist_]

Is it not impossible to preserve a complete looseness of the wrist in piano-playing because of the muscles that connect the forearm with the hand?