Part 5

"The clever teacher will always find some piece that will illustrate the use and result of the technical means employed. There are thousands of such pieces that indicate the use of scales, chords, arpeggios, thirds, etc., and the pupil is encouraged to find that what he has been working so hard to acquire may be made the source of beautiful expression in a real piece of music. This, to my mind, should be part of the regular program of the student from the very start; and it is what I mean when I say that the work of the pupil in technic and in musical appreciation should go hand in hand from the beginning.

IV

"The use of the pedal is an art in itself. Unfortunately, with many it is an expedient to shield deficiency--a cloak to cover up inaccuracy and poor touch. It is employed as the veils that fading dowagers adopt to obscure wrinkles. The pedal is even more than a medium of coloring. It provides the background so indispensable in artistic playing. Imagine a picture painted without any background and you may have an inkling of what the effect of the properly used pedal is in piano playing. It has always seemed to me that it does in piano playing what the wind instruments do in the tonal mass of the orchestra. The wind instruments usually make a sort of background for the music of the other instruments. One who has attended the rehearsal of a great orchestra and has heard the violins rehearsed alone, and then together with the wind instruments, will understand exactly what I mean.

"How and when to introduce the pedal to provide certain effects is almost the study of a lifetime. From the very start, where the student is taught the bad effect of holding down the 'loud' pedal while two unrelated chords are played, to the time when he is taught to use the pedal for the accomplishment of atmospheric effects that are like painting in the most subtle and delicate shades, the study of the pedal is continuously a source of the most interesting experiment and revelation.

"There should be no hard-and-fast rules governing the use of the pedal. It is the branch of pianoforte playing in which there must always be the greatest latitude. For instance, in the playing of Bach's works on the modern pianoforte there seems to have been a very great deal of confusion as to the propriety of the use of the pedal. The Bach music, which is played now on the keyboard of the modern piano, was, for the most part, originally written for either the clavier or for the organ. The clavichord had a very short sound, resembling in a way the staccato touch on the present-day piano, whereas the organ was and is capable of a great volume of sound of sustained quality. Due to the contradictory nature of these two instruments and the fact that many people do not know whether a composition at hand was written for the clavichord or for the organ, some of them try to imitate the organ sound by holding the pedal all the time or most of the time, while others try to imitate the clavichord and refrain from the use of the pedal altogether. The extreme theories, as in the case of all extreme theories, are undoubtedly wrong.

"One may have the clavichord in mind in playing one piece and the organ in mind in playing another. There can be nothing wrong about that, but to transform the modern pianoforte, which has distinctly specific tonal attributes, into a clavichord or into an organ must result in a tonal abuse.

"The pedal is just as much a part of the pianoforte as are the stops and the couplers a part of the organ or the brass tangents a part of the clavichord. It is artistically impossible to so camouflage the tone of the pianoforte as to make it sound like either the organ or the clavichord. Even were this possible, the clavichord is an instrument which is out of date, though the music of Bach is still a part and parcel of the musical literature of to-day. The oldest known specimen of the clavichord (dated 1537) is in the Metropolitan Museum of Art, in New York City. Should you happen to view this instrument you would realize at once that its action is entirely different from that of the piano, just as its tone was different. You cannot possibly make a piano sound like a clavichord through any medium of touch or pedals. Therefore, why not play the piano as a piano? Why try to do the impossible thing in endeavoring to make the piano sound like another instrument of a different mechanism? Why not make a piano sound like a piano? Must we always endure listening to Wagner's music in a variety show and to Strauss' waltzes in Carnegie Hall?

V

"If one were to ask me what is the indispensable thing in the education of a pianist, I would say: 'First of all, a good guide.' By this I do not mean merely a good teacher, but rather a mentor, a pilot who can and who will oversee the early steps of the career of a young person. In my own case, I was fortunate in having a father, a professional musician, who realized my musical possibilities, and from the very beginning was intensely interested in my career, not merely as a father, but as an artist guiding and piloting every day of my early life. Fate is such a peculiar mystery, and the student, in his young life, can have but a slight idea of what is before him in the future. Therefore, the need of a mentor is essential. I am sure that my father was the author of a great deal of the success that I have enjoyed. It was he who took me to Moszkowski and Rubinstein. The critical advice--especially that of Rubinstein--was invaluable to me. The student should have unrelenting criticism from a master mind. Even when it is caustic, as was von Bülow's, it may be very beneficial. I remember once in the home of Moszkowski that I played for von Bülow. The taciturn, cynical conductor-pianist simply crushed me with his criticism of my playing. But, young though I was, I was not so conceited as to fail to realize that he was right. I shook hands with him and thanked him for his advice and criticism. Von Bülow laughed and said, 'Why do you thank me? It is like the chicken thanking the one who had eaten it, for doing so.' Von Bülow, on that same day played in such a jumbled manner with his old, stiffened fingers, that I asked Moszkowski how in the world it might be possible for von Bülow to keep a concert engagement which I knew him to have a few days later in Berlin. Moszkowski replied: 'Let von Bülow alone for that. You don't know him. If he sets out to do something, he is going to do it.'

"Von Bülow's playing, however, was almost always pedantic, although unquestionably scholarly. There was none of the leonine spontaneity of Rubinstein. Rubinstein was a very exacting schoolmaster at the piano when he first undertook to train me; but he often said to me, 'The main object is to make the music sound right, even though you have to play with your nose!' With Rubinstein there was no _ignus fatuus_ of mere method. Any method that would lead to fine artistic results--to beautiful and effective performance--was justifiable in his eyes.

"Finally, to the student let me say: 'Always work hard and strive to do your best. Secure a reliable mentor if you can possibly do so, and depend upon his advice as to your career. Even with the best advice there is always the element of fate--the introduction of the unknown--the strangeness of coincidence which would almost make one believe in astrology and its dictum that our terrestrial course may be guided by the stars. In 1887, when I played in Washington as a child of eleven, I was introduced to a young lady, who was the daughter of Senator James B. Eustis. Little did I dream that this young woman, of all the hundreds and hundreds of girls introduced to me during my tours, would some day be my wife. Fate plays its rôle--but do not be tempted into the fallacious belief that success and everything else depend upon fate, for the biggest factor is, after all, hard work and intelligent guidance.'"

_Piano Questions Answered_

CONTENTS

TECHNIQUE PAGE

1. General 3

2. Position of the Body 4

3. Position of the Hand 6

4. Position of the Fingers 6

5. Action of the Wrist 9

6. Action of the Arm 11

7. Stretching 12

8. The Thumb 14

9. The Other Fingers 16

10. Weak Fingers, etc. 18

11. Staccato 21

12. Legato 22

13. Precision 25

14. Piano Touch vs Organ Touch 26

15. Fingering 27

16. The Glissando 29

17. Octaves 29

18. Repetition Technique 34

19. Double Notes 35

THE INSTRUMENT 35

THE PEDALS 39

PRACTICE 45

MARKS AND NOMENCLATURE 57

ABOUT CERTAIN PIECES AND COMPOSERS 75

1. Bach 80

2. Beethoven 83

3. Mendelssohn 85

4. Chopin 86

EXERCISES AND STUDIES 93

POLYRHYTHMS 96

PHRASING 98

RUBATO 100

CONCEPTION 102

FORCE OF EXAMPLE 104

THEORY 104

THE MEMORY 112

SIGHT-READING 117

ACCOMPANYING 117

TRANSPOSING 119

PLAYING FOR PEOPLE 120

ABOUT THE PIANO PER SE 127

BAD MUSIC 133

ETHICAL 135

PITCH AND KINDRED MATTERS 136

THE STUDENT'S AGE 138

TEACHERS, LESSONS AND METHODS 140

MISCELLANEOUS QUESTIONS 150

A FOREWORD

This little book is compiled from the questions and my answers to them, as they have appeared during the past two years in the _Ladies' Home Journal_. Since the questions came mostly from young piano students and cover a large number of matters important to the study of the piano, it was thought that this republication might be of interest to piano students in general, and that, gathered into a little volume, they might form a new and perhaps not unwelcome sort of reference book.

To serve as such and to facilitate the reader's search for any particular subject, I have grouped the questions, together with their answers, under special headings.

It is only natural, however, that a book of this character cannot contain more than mere suggestions to stimulate the reader's individual thinking. Positive facts, which can be found in books on musical history and in kindred works, are, therefore, stated only where they are needful as a basis for the replies. Any rule or advice given to some particular person cannot fit every other person unless it is passed through the sieve of one's own individual intelligence and is, by this process, so modified as to fit one's own particular case.

There are, in addition to the questions presented and answered, one or two points about piano-playing that would naturally not occur to the average student. The opportunity to discuss those here is too favourable to be allowed to pass, and as they hardly admit of precise classification, I venture to offer them here as a brief foreword.

To the hundreds of students who at various times have asked me: What is the quickest way to become a great piano-player? I will say that such a thing as a royal road, a secret trick, or a patent method to quickly become a great artist, does not exist. As the world consists of atoms; as it is the infinitely small things that have forced the microscope into the scientist's hand, so does art contain numberless small, seemingly insignificant things which, if neglected entirely, visit dire vengeance upon the student. Instead of prematurely concerning himself with his inspiration, spirituality, genius, fancy, etc., and neglecting on their account the material side of piano study, the student should be willing to progress from atom to atom, slowly, deliberately, but with absolute certainty that each problem has been completely solved, each difficulty fully overcome, before he faces the next one. Leaps, there are none!

Unquestionably it does sometimes happen that an artist suddenly acquires a wide renown. In such a case his leap was not into greatness, but merely into the public's recognition of it; the greatness must have been in him for some time before the public became aware of it. If there was any leaping, it was not the artist, but the public that did it.

Let us not close our eyes to the fact that there have been--and probably always will be--artists that gain a wide renown _without_ being great; puffery, aided by some personal eccentricity, is quite able to mislead the public, but these will, at best, do it only for a short time, and the collapse of such a reputation, as collapse there must be, is always sure, and sad to behold.

The buoyancy of mind, its ability to soar, so necessary for both creative and interpretative art, these are never impaired by close attention to detail. If they should be destroyed by attention to detail, it would not matter, for they cannot have been genuine; they can have been but sentimental imaginings. Details are the very steps which, one by one, lead to the summit of art; we should be careful not to lift one foot before the other one rests quite securely upon its step. One should--to illustrate--not be satisfied with the ability of "getting through" some difficult passage "by the skin of the teeth" or "without breaking down," but should strive to be able to play _with_ it, to toy with it, in order to have it at one's beck and call in any variation of mood, so as to play it as it pleases the mind and not only the fingers. One should acquire sovereignty over it.

This sovereignty is technique. But--technique is not art. It is only a means to achieve art, a paver of the path toward it. The danger of confounding technique with art itself is not inconsiderable, since it takes a long time to develop a trustworthy technique; and this prolonged association with one subject is apt to give it supremacy over all others in one's mind. To guard against this serious danger the student should, above all, never lose sight of the fact that music, as does any other art, springs from our innate craving for individual expression. As word-thought is transmitted from man to man by verbal language so are feelings, emotions, moods--crystallized into tone-thought--conveyed by music. The effects of music may, therefore, be ennobling and refining; but they can as easily be degrading and demoralizing. For the saints and sinners among music-makers are probably in the same proportion as among the followers of other professions. The ethical value of music depends, therefore, not upon the musician's technique, but solely upon his moral tendencies. The student should never strive to dazzle his auditor's ear with mere technical brilliancy, but should endeavour to gladden his heart, to refine his feelings and sensibilities, by transmitting noble musical thoughts to his mind. He should scorn all unnecessary, charlatanish externalities and strive ever for the inwardness of the composition he interprets; for, in being honest to the composition he will also be honest to himself and thus, consciously or not, express his own best self. If all musicians were sincere in this endeavour there could be neither envy nor jealousy among them; advancing hand in hand toward their common ideal they could not help being of mutual assistance to each other.

Art, not unlike religion, needs an altar around which its devotees may congregate. Liszt, in his day, had erected such an altar in Weimar, and as its high priest he stood, himself, before it--a luminous example of devotion to art. Rubinstein did the same in St. Petersburg. Out of these atmospheres, thanks to the inspiring influences of Liszt's and Rubinstein's wonderful personalities, there have emerged a large number of highly meritorious and some eminent artists. That many of them have lacked the power in their later life to withstand the temptations of quick material gain by descending to a lower plane is to be regretted, but--such is life. Many are called, but few are chosen. Since those days several of these "many" have attempted to create similar centres in Europe. They failed, because they were not serving art, but rather made art serve their own worldly purposes.

The artists of talent no longer group themselves around the man of genius. Perhaps he is not to be found just now. Each little celebrity among the pianists keeps nowadays a shop of his own and all to himself. Many of these shops are "mints," and some of them produce counterfeits. As a matter of course, this separative system precludes all unification of artistic principles and is, therefore, very harmful to the present generation of students. The honest student who will discriminate between these, sometimes cleverly masked, counterfeit mints, and a real art altar must be of a character in which high principles are natively ingrained. It might help him somewhat to remember that when there is no good to choose we can always reject the bad.

What is true of teachers is just as true of compositions. The student should not listen to--should not, at least, repeat the hearing of--bad compositions, though they may be called symphonies or operas. And he can, in a considerable measure, rely upon his own instincts in this matter. He may not--and probably will not--fully fathom the depths of a new symphony at its first hearing, but he must have received general impressions of sufficient power and clearness to make him _wish_ for another hearing. When this wish is absent he should not hear the work again from a mere sense of duty; it were far wiser to avoid another hearing, for habit is a strong factor, and if we accustom our ear to hear cacophonous music we are apt to lose our aversion to it, which is tantamount to a loss of good, natural taste. It is with much of modern music as it is with opium, morphine, and other deadly drugs. We should shun their very touch. These musical opiates are sometimes manufactured by persons of considerable renown; of such quickly gained renown as may be acquired nowadays by the employment of commercialistic methods; a possibility for which the venal portion of the public press must bear part of the blame. The student should not be deceived by names of which the general familiarity is of too recent a date. I repeat that he should rather consult his own feelings and by following them contribute his modest share toward sending some of the present "moderns" back into their deserved obscurity and insignificance.

I use the term "moderns" advisedly, for the true masters--some of whom died but recently--have never stooped to those methods of self-aggrandisement 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 chastity in music! It is saner and, morally and æsthetically, 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 noble-thinking and clean-minded man or woman. Passive 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 superstition 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 mass 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 superstition 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?