Great Pianists on Piano Playing / Study Talks with Foremost Virtuosos. A Series of Personal Educational Conferences with Renowned Masters of the Keyboard, Presenting the Most Modern Ideas upon the Subjects of Technic, Interpretation, Style and Expression
Quotation marks have been left in this text as they were in the original. Some are unmatched.
THEO. PRESSER CO. PHILADELPHIA, PA.
Copyright, 1913, by Theo. Presser Co. International Copyright Secured
The father of a young woman who was preparing to become a virtuoso once applied to a famous musical educator for advice regarding the future career of his daughter. I want her to become one of the greatest pianists America has ever produced, he said. She has talent, good health, unlimited ambition, a good general education, and she is industrious. The educator thought for awhile, and then said, It is very likely that your daughter will be successful in her chosen field, but the amount of grinding study she will be obliged to undergo to meet the towering standards of modern pianism is awful to contemplate. In the end she will have the flattery of the multitude, and, let us hope, some of their dollars as well. In return, she may have to sacrifice many of the comforts and pleasures which women covet. The more successful she is, the more of a nomad she must become. She will know but few days for years when she will not be compelled to practice for hours. She becomes a kind of chattel of the musical public. She will be harassed by ignorant critics and perhaps annoyed by unreliable managers. In return she has money and fame, but, in fact, far less of the great joy and purpose of life than if she followed the customary domestic career with some splendid man as her husband. When I was younger I used to preach quite an opposite sermon, but the more I see of the hardships of the artist's life the less I think of the dollars and the fame it brings. It is hard enough for a man, but it is twice as hard for a woman.
Some cynic has contended that the much-despised Almighty Dollar has been the greatest incentive to the struggling virtuoso in European music centers. Although this may be true in a number of cases, it is certainly unjust in others. Many of the virtuosos find travel in America so distasteful that notwithstanding the huge golden bait, the managers have the greatest difficulty in inducing the pianists to come back. Indeed, there are many artists of great renown whom the managers would be glad to coax to our country but who have withheld tempting offers for years. One of these is Moritz Moszkowski, probably the most popular of modern pianoforte composers of high-class music. Grieg, when he finally consented to make the voyage to America, placed his price at two thousand five hundred dollars for every concert—a sum which any manager would regard prohibitive, except in the case of one world-famous pianist. Grieg's intent was obvious.
James Francis Cooke
Transcriber's Note
JAMES FRANCIS COOKE
CONTENTS
I
Golden Bait
Freak Pianists
A Pathetic Example
The Pianist of To-day
The Magic of Magnetism
A Notable Example
The Greatest Thing of All
II
ARE PIANISTS BORN OR MADE?
The American Virtuoso of To-day
PEPITO ARRIOLA
Biographical
III
My Friendship With Arthur Nikisch
My First Regular Instruction
Early Repertory
My Daily Practice
General Education
Theoretical Studies
Reading and Study
At the Concert
WILHELM BACHAUS
Biographical
IV
The Wonderful Efficacy of Scales
Bach Musically Omnipotent
The Old That Is Ever New
Difficulties in New Pianoforte Compositions
Mere Difficulty No Longer Astounds
Modern Compositions
The Most Difficult Compositions
Praise That Irritates
Why Not Seek the Beautiful?
Exercises That Give Immediate Help
Avoid Too Complicated Exercises
HAROLD BAUER
Biographical
V
The Aim of Technic
Seeking Individual Expression
The Resistance of the Medium
The Perversion of Studies
The Unit of Musical Expression
Music First, the Instrument Afterwards
Variety the Spice of Art
Muscular and Nervous Energy
Phrasing and Breathing
The Natural Effect of Emotions
FANNY BLOOMFIELD-ZEISLER
Biographical
VI
Thorough Preparation Necessary
Leschetizky and 'Method'
Well-selected Programs
Personality
Do Not Attempt the Impossible
Foreign Débuts
Practical Suggestions
FERRUCCIO BENVENUTO BUSONI
Biographical
VII
Learning To Listen
Self Development
Finding Individual Faults
Details of Phrasing and Accentuation
Bach, Bach, Bach
TERESA CARREÑO
Biographical
VIII
New Problems at Every Step
The Teacher's Responsibility
Edward MacDowell's Individuality
Developing Individuality Through Poetry
Cultivating Vivacity and Brilliancy
The Importance of Studying Musical History
OSSIP GABRILOWITSCH
Biographical
IX
A Rigid Arm Undesirable
Touch a Distinguishing Characteristic
Combining Different Touches
Mechanical Methods Dangerous
Students Should Hear Virtuosos
Methods, and Still More Methods
Don't Neglect Ear Training
Artistic Interpretation Paramount
LEOPOLD GODOWSKY
Biographical
X
The Brain Side of Piano Study
The Emotions in Piano Playing
Inspiring the Student
Changes in the Mechanism of the Instrument
The Significance of Weight Playing
Moulding the Fingers To the Keys
Individuality, Character and Temperament
Genius and Work
KATHARINE GOODSON
Biographical
XI
The First Step in Analyzing a New Piece
The Poetic Idea of the Piece
Studying the Rhythm
The Analysis of Phrases
Studying the Harmony
A Careful Analysis of Touch Effects
The Responsibilities of the Teacher
JOSEF HOFMANN
Biographical
XII
What Determines Changes in Playing
The New Technic and the Old
Technic Since Liszt
Definite Methods are Little More than Stencils
The Study of Details Imperative
Well-meaning Advisers
JOSEF LHÉVINNE
Biographical
XIII
With the Musical Child in Russia
The Kind of Music the Russian Child Hears
Instruction Books
Opportunities for Virtuoso-Students in Russia
Why Russian Pianists Are Famed for Technic
Modern Russian Influence in Musical Art
VLADIMIR DE PACHMANN
Biographical
XIV
Machine Teaching
Originality the Road To Permanent Fame
The Most Original Composers
Self-help the Secret of Many Successes
A Surprised Teacher
Deep Thought Necessary
Take Time To Do Things Well
Mastering Artistic Details
Something No One Can Teach
The Best Teacher
The Basis of Greatness
MAX PAUER
Biographical
XV
Innovators Should Be Pianists
Avoid Machine-like Playing
Broad Understanding Necessary
Freedom From Convention
S. V. RACHMANINOFF
Biographical
XVI
Technical Proficiency
Proper Phrasing
Regulating the Tempo
Character in Playing
The Significance of the Pedal
The Danger of Convention
Real Musical Understanding
Playing To Educate the Public
The Vital Spark
ALFRED REISENAUER
Biographical
XVII
Köhler's Technical Scheme
With Liszt
Liszt's Pedagogical Methods
A Unique Attitude
The Future of Pianoforte Music
American Musical Taste
Concert Conditions in America
EMIL SAUER
Biographical
XVIII
Slow Systematic Practice
The Necessity for a Good General Education
Clean Playing vs. Slovenly Playing
Health a Vital Factor
Judicious Use of Technical Exercises
Study Abroad
Versatility
Cultivating Finger Strength
Velocity
Talent
Be Natural
Talent Counts
XAVER SCHARWENKA
Biographical
XIX
Time Lost in Early Study
Ear-Training
Waste in Technical Study
Waste in Unimportant Subjects
Brain Technic Versus Finger Technic
A Case in Point
ERNEST SCHELLING
Biographical
XX
The Technical Demands of the Piece
Formal Divisions
The Touch Required
The Right Tempo
Rhythmic Peculiarities
The Composer's Inspiration
Studying the Phrasing
Marking the Fingering
Memorizing
SIGISMUND STOJOWSKI
BIOGRAPHICAL
XXI
The Interpreter Must Coöperate with the Composer
Studying the Historical Background
The Inadequacy of Musical Signs
Learning the Musical Language
Mistakes Peculiar to the Pianoforte Player
Transcriber's Notes