Chapter 7

When one has read with pleasure and profit the published ideas of a musical worker and thinker, it is always an interesting experience to meet such an one personally, and have the opportunity to discuss points of special import, particularly when the meeting can take place in some ideal spot in the old world. Such was my thought in visiting Mr. Edwin Hughes, an American who has made a name and place for himself among the pianists and teachers of Europe. After years of study in Vienna with Leschetizky, where he also acted as one of the _Vorbereiters_, he has established himself in Munich, where he feels he has found a true home of music and art. Here, amid beautiful and artistic surroundings, he lives and works, dividing his time between teaching and concert playing. As a pianist Mr. Hughes has met with gratifying success in the most important cities of Germany, while as a teacher he has been sought by students from almost every State in America, from Maine to Texas, and also from Canada. What has given him special satisfaction is that during the past year a number of pupils have come to him from the Conservatory here in Munich. They have been greatly pleased with their progress, only regretting they had not come to him before.

As to whether he uses the Leschetizky method in its entirety, Mr. Hughes testified in the affirmative.

"If you were to ask Leschetizky about the 'Leschetizky Method,' he would probably laugh and tell you he has no method, or he would tell you his 'method' consists of only two things--firm fingers and pliable wrist.

"These are the principles upon which I base the technical training of my pupils. I first establish an arched hand position, and then test the firmness of the fingers and knuckle joints by tapping them. At first the joints, particularly the nail joints, are very apt to sink in when tapped by a lead pencil; but by having the pupil continue the tapping process at home, it is not long before he acquires the feeling of conscious firmness in his fingers.

"Along with this exercise it is most important to begin at once with wrist exercises, as otherwise, from the effort to acquire firmness of finger, the wrist may become stiff and unwieldy. The wrist exercises consist in raising and lowering this joint, with the hand and arm supported first on each finger separately, then on two, three, four and five fingers. The wrist should not be so limp as to be incapable of resistance; but rather it should be like a fine steel spring--a 'spring-wrist,' I call it--capable of every degree of resistance or non-resistance the quality of tone demands.

"High finger action is not so necessary for beginners as most piano teachers imagine. It is much easier to teach pupils to raise their fingers high, than it is to teach them the acquisition of the _legato_ touch at the piano, which is only to be attained by playing close to the keys, without raising the fingers. It is difficult to get pupils to play a perfect _legato_ who have had years of training with high finger action, something which should be taken up for _non-legato_ and _staccato_ finger work _after_ the more difficult _legato_ touch has been mastered.

TONE PRODUCTION

"The subject of tone production is one which is much neglected by piano teachers. Viewed from this standpoint the piano is an instrument apart from every other, except in some respects the organ. A young violinist, 'cellist or flutist has to study for some time before he can produce a tone of good musical quality on his instrument. Think what the beginner on the violin has to go through before he can make a respectable middle C; but anybody, even a totally unmusical person, can play middle C on the piano without the least trouble. It is just this ease in tone production at the piano which leads to carelessness as to the _kind_ of tone produced; and so piano teachers, above all others, complain they cannot get their pupils to listen to what they are playing. Pupils should be made to listen, by means of a special course in tone production, which should go hand in hand with the technical exercises used at the very beginning. Otherwise they imagine they are making music when they place the printed page on the rack, and set the correct keys in motion.

"There is no other instrument with which it is so easy to 'bluff' a large part of the audience; for the character of the piano is such that the general public often think it fine music if the player makes a big noise. Pianists of considerable reputation often take advantage of this lack of discrimination on the part of piano-recital audiences, which, above all the other audiences, seem peculiarly incapable of judging correctly the musical value of a performance.

"Of the hundreds of piano recitals which take place yearly in the musical centers of Europe, only a comparatively small number are of real musical interest. In many cases it seems as though the players were merely repeating something learned by rote, in an unknown language; just as though I should repeat a poem in Italian. The words I might pronounce after a fashion, but the meaning of most of them would be a blank to me--so how could I make others understand them.

RHYTHM IN PIANO PLAYING

"The subject of rhythm is an important one, and more attention should be given it. Leschetizky once said that tones and rhythm are the only things which can keep the piano alive as a solo instrument. I find in pupils who come to me so much deficiency in these two subjects, that I have organized classes in ear-training and rhythm.

"If pupils have naturally a poor sense of rhythm, there is no remedy equal to practising with a metronome, using this instrument of torture daily until results are evident, when, of course, there must be a judicious slowing down in its use. The mechanical sense of rhythm, the ability to count three or four to a measure, and to group the notes of a piece correctly, can be taught to any person, if one has the patience; but for those delicate rhythmic _nuances_ required by a Chopin mazurka or a Viennese waltz, a specific rhythmic gift must be possessed by the pupil.

"Leschetizky says little to his pupils on the subject of technic; I cannot remember his having spoken a dozen words to me on the subject, during all the time I have known him. His interest, of course, lies wholly in the matter of interpretation, and technic comes into consideration only as a means and never as an end.

"Leschetizky likes to have the player talk to him, ask questions, do anything but sit still and not speak. 'How do I know you comprehend my meaning,' he asks, 'that you understand what I am talking about, if you say nothing?' At first a student may be silent from nervousness, but if he is bright he will soon 'catch on,' and see what is expected of him. Leschetizky says sometimes: 'When the Lord made the ten commandments He omitted the eleventh, "Thou shalt not be stupid."' If one is not very quick, one may have a hard time with this master.

"As a high school in technic I use Joseffy's _School of Advanced Piano Playing_ with my pupils. This work leads to the highest possible technical development at the keyboard, and I consider it the last word in piano technic. The hundreds of exercises have been devised with most wonderful ingenuity, and the musicianship of the author stands out on every page. The book is not a dry series of technics but has vital connection with all the big technical problems found in the literature of the piano.

"In teaching, I consider a second piano an absolute necessity. There are so many things in piano playing which cannot be put into words, and the teacher must constantly illustrate. How can one teach the interpretation of a Chopin nocturne, for instance, by merely talking about it. I can say, 'play loud here--soft there'; but how far do such directions go toward an artistic conception of the piece? One cannot indicate the swell of a melody, the tonal and rhythmic _nuance_ of a _groupetto_--and a thousand other things in any other way than by the living example. Through imitation one learns rapidly and surely, until one reaches the point where the wings of one's own individuality begin to sprout.

ABOUT MEMORIZING

"On the subject of memorizing who can lay down rules for this inexplicable mental process, which will hold good for every one? For myself, I hear the notes mentally, and know their position on the keyboard. In actual performance much must be left to finger memory, but one must actually have the notes in his mind as well as in his fingers. Before a concert I go over all my program mentally, and find this an excellent method of practise when traveling from one city to another. To those who study with me I say, you must try various methods of memorizing; there is no universal way; each must find out by experiment which is most suited to his individual case.

"With some pianists visual memory of the printed page plays the principal role in memorizing; with others visual memory of the notes on the keyboard; with still others ear-memory, or memory of the harmonic progressions. I believe in making the pupil familiar with all these different ways, so that he may find out which one is most helpful to him.

"For pupils with weak hands and arms I recommend simple gymnastic exercises to be done morning and evening. Physical strength is a very necessary essential for a brilliant technic; the student who would accomplish big things must possess it in order to succeed.

KEEPING TECHNIC IN REPAIR

"The only way to keep one's technic in repair is to be constantly working at it. Technic is the mechanical part of music-making; to keep it in good working order one must be constantly tinkering with it, just as the engine driver tinkers with his locomotive or the chauffeur with his automobile. In the course of his technical study every intelligent pupil will recognize certain exercises which are particularly important for the mechanical well-being of his playing; from these exercises he will plan his daily schedule of technical practise.

"In order to keep a large repertoire going at the same time, one must have a weekly practise plan, which will allow for a frequent repetition of the pieces. Those pieces which have been recently added to one's list will require more frequent repetition, while those which have been played for a longer period may be left for an occasional brushing up. Frequent playing before others, either publicly or privately, is above everything else to be recommended to the pianist, as the greatest incentive to keeping up his repertoire and toward growing in his art.

AMERICAN VERSUS EUROPEAN CONDITIONS

"In America many people who have little talent study music, intending to make it their profession; whereas in Europe there is such a profusion of music and music-making that only those of more than average gifts think of making music their life work. In America we are still 'in the making,' from a musical standpoint, and although we have accomplished much there is still much to be done. It is the office of the piano teacher in America to make music study easy and interesting to pupils of moderate ability. Just these conditions have brought about very excellent methods of piano and music study for American children, which have no counterpart in Europe."

XVII

FERRUCCIO BUSONI

AN ARTIST AT HOME

As a man's surroundings and environment are often reflections of his character, it is always a matter of deep interest to get in touch with the surroundings of the creative or executive musician. To meet him away from the glare of the footlights, in the privacy and seclusion of the home, gives one a far more intimate knowledge of the artist as a man. Knowing how difficult it often is to obtain such an opportunity, I can be the more thankful that this privilege has been granted me many times, even with those artists who hold themselves most aloof. I was told Busoni was exceedingly difficult to approach, and the only way I could see him was to call at his house quite unannounced, when I might have the good fortune to find him at home and willing to see me. Not wishing to take him by storm in this way, I quietly waited, until I received the following note: "While I am not fond of interviews, if you will come to tea on Thursday afternoon, you will be welcome."

Busoni is located in a stately _Wohnung_ overlooking the handsome Victoria Luise Platz, in the newer western section of Berlin. Mme. Busoni met us as we arrived, and conducted us to the master, who rose from a cozy nook in a corner of the library to greet us. Tea was soon brought in and our little party, which included a couple of other guests, was soon chatting gaily in a mixture of French, German and English.

During the sprightly chat I could not help glancing from time to time around the great library in which we sat, noting its artistic furnishings, and the rows upon rows of volumes in their costly bindings, which lined the walls. One appreciates what Dr. Johnson meant when he said that whenever he saw shelves filled with books he always wanted to get near enough to them to read their titles, as the choice of books indicates character.

Presently Busoni turned to me: "I am composing a rhapsodie on American Indian themes."

"And where did you capture the themes?" he was asked.

"From a very charming lady, a countrywoman of yours, Miss Natalie Curtis. She has taken great interest in the idea and has been most helpful to me."

"One of the German music papers announced that you are about to leave Berlin, and have accepted an offer elsewhere--was it in Spain?"

"I intend leaving Berlin for a time," he admitted, "and will go to Bologna--perhaps you thought that was in Spain," with a sly side glance and a humorous twinkle in his eyes. "My offer from Bologna appears most flattering. I am appointed head of the great conservatory, but I am not obliged to live in the city, nor even to give lessons. I shall, however, go there for a time, and shall probably teach. I am to conduct six large orchestral concerts during the season, but aside from this I can be absent as much as I wish. We shall probably close up our house here and go to Italy in the autumn. Living is very cheap in Bologna; one can rent a real palace for about $250 a year."

Mme. Busoni now invited us to inspect other parts of the house. We passed to the adjoining room, which contains many rare old prints and paintings and quaint old furniture--"everything old," as Mme. Busoni said, with a smile. In this room stands a harpsichord, with its double keyboard and brilliant red case. It is not an antique but an excellent copy made by Chickering.

Farther on is a veritable musician's den, with upright piano, and with a large desk crowded with pictures and mementoes. On the walls hang rare portraits chiefly of Chopin and Liszt. Beyond this room came the salon, with its two grand pianos side by side. This is the master's teaching and recital room, and here are various massive pieces of richly carved furniture. Mme. Busoni called our attention to the elaborate chandelier in old silver, of exquisite workmanship, which, she said, had cost her a long search to find. There are several portraits here of the composer-pianist in his youth--one as a boy of twelve, a handsome lad--_bildschoen_, with his curls, his soulful eyes and his big white collar.

Busoni soon joined us in the salon and the conversation was turned to his activities in the new field.

"When you have finished the new rhapsodie you will come and play it to us in America--and in London also," he was urged.

"Ah, London! I am almost homesick for London; it is beautiful there. I am fond of America, too. You know I lived there for some years; my son was born there; he is an American citizen. Yes, I will return, though just when I do not yet know, and then I will assuredly play the rhapsodie."

XVIII

ADELE AUS DER OHE

ANOTHER ARTIST AT HOME

Another opportunity to see the home of an artist was afforded me when Frl. Aus der Ohe invited me to visit her in her Berlin home. She also lives in the newer western portion of the city, where so many other artists are located. One feels on entering the spacious rooms that this home has the true German atmosphere. Adele Aus der Ohe, whose personality is well remembered in America, on account of her various pianistic tours, now wears her brown hair softly drawn down over her ears, in Madonna fashion, a mode which becomes her vastly.

"My time is divided between playing in concert, composing, and my own studies," began the artist. "I give almost no lessons, for I have not time for them. I never have more than a couple of pupils studying with me at one time; they must be both talented and eager. The amount of time I consider necessary for practise depends, of course, on quickness of comprehension. In general, I may say four, or at most five hours are quite sufficient, If used with absolute concentration. The quality of practise is the great essential. If the passage under consideration is not understood, a thousand times going over it will be only vain repetitions; therefore, understand the construction and meaning of the passage in the beginning, and then a thousand repetitions ought to make it perfect.

"There is so much practise which can be done away from the instrument, by reading the notes from the printed page and thinking about them. Is this understood in America? Always _listen_ to your playing, to every note you make on the piano; I consider this point of the very first importance. My pupils are generally well advanced or are those who intend making music a profession. I have, however, occasionally taken a beginner. This point of listening to every note, of training the ear, should stand at the very foundation.

LETTING THE HAND FIND ITSELF

"In regard to hand position, I endeavor not to be narrow and pedantic. If pupils play with good tone and can make reasonably good effects, I take them, at the point where they are and try to bring them forward, even if the hand position is not just what I would like. If I stop everything and let them do nothing but hand position, they will be discouraged and think they are beginning all over again. This beginning again is sometimes detrimental. To take a pupil at his present point, and carry him along was also Liszt's idea. He did not like to change a hand position to which the player has grown accustomed for one which seems unnatural, and which the pianist has to work a long time to acquire. He felt that one's time could be spent to more advantage. There are so many legitimate positions, each hand is a separate study, and is apt to take the position most natural to itself.

"I shall play numerous concerts and recitals in Europe the coming season, but shall not be in America. I know your country well as I have made several tours and have lived there. I left it the last time under sad circumstances, as my sister, who always accompanied me, had just passed away after quite a long illness. So you see I have not much zest to return.

"However I am fond of America, and admire the great progress you are making in music and art. And you have the courage of your convictions; you do not admire a musical work simply because some one else says you should, or the critics tell you to. You do not ask your neighbor's opinion before you applaud it. If you do not like it you are not afraid to say so. Even when it is only ragtime that pleases you, you are not afraid to own up to it. When you learn what is better you say so. It Is this honesty which leads to progressive results. You are rapidly becoming competent to judge what is best. I have found the most appreciative audiences in America."

Miss Aus der Ohe had much to relate of the Woman's Lyceum. The Department of Music was founded by Aus der Ohe herself. Not long ago there was an exhibition of woman's work in music. Women composers from all over the country sent examples of their work. Our own Mrs. H.A.A. Beach, who has been located for some time in Munich, was well represented. There are branches of this institution in other German cities.

Several paintings of large size and striking originality hang on the walls of the pianist's home. They all illustrate religious themes and are the work of Herr Aus der Ohe, the pianist's only brother, who passed away at the height of his career.

"Yes," said the composer, "my mother, brother and sister have been taken away, since I was last in America, and now I am quite alone; but I have my art."

XIX

ELEANOR SPENCER

MORE LIGHT ON LESCHETIZKY'S IDEAS

Eleanor Spencer, whose first American tour is announced for the coming season, happened to be in Berlin during my visit there. I found her in her charming apartments in the Schoenberg section of the city, far away from the noise and bustle of traffic. Her windows look out upon a wide inner court and garden, and she seems to have secured the quiet, peaceful environment so essential to an artist's development. Indeed Miss Spencer has solved the problems of how to keep house, with all the comforts of an American home, in a great German city.

"I grew so tired of living in _pensions_ that I took this little apartment over two years ago," she said, "and I like it so much better.

"I have been away from America for nine years, so the foreign cities where I have lived seem almost more like home to me than my native land, to which I have only paid two short visits during those nine years. But I love America, and perhaps you can imagine how eagerly I am looking forward to my coming tour.

"The first eight years of my life were spent in Chicago, and then my family moved to New York. Here I studied with Dr. William Mason. When I was about fifteen I went to Europe for further study, and although I had another master at first, it was not so very long before I went to Vienna, to Leschetizky, for I felt the need of more thorough preparation than I had yet had. There is nothing like a firm technical foundation; it is a rock to build upon; one cannot do great things without it. I have had to labor hard for what I have attained, and am not ashamed to say so. I practise 'all my spare time,' as one of my colleagues expresses it; though, of course, if one studies with the necessary concentration one cannot practise more than five hours to advantage.

"I thoroughly believe in practising technic outside of pieces; I have always done so and still continue to do it. This brings the hand into condition, and keeps it up to the mark, so that difficult compositions are more readily within the grasp, and the technical requirements in them are more easily met. When the hand is in fine condition, exhaustive technical practise in pieces is not necessary, and much wear and tear of nerve force is saved. In this technical practise, to which I give an hour or more daily, I use very simple exercises, but each one contains some principle of touch, movement or condition. Hand over thumb and thumb under hand; different qualities of tone; staccato or clinging touch; scales, arpeggios and various other forms are used. Part of the technic study period is always given to Bach.

"I began my studies in Vienna with Mme. Bree, to get the preparatory foundation, but before long combined her lessons with those of the professor, and later went to him entirely."