CONTENTS
[ERNEST SCHELLING.....The Hand of a Pianist]
[ERNESTO CONSOLO.....Making the Piano a Musical Instrument]
[SIGISMOND STOJOWSKI.....Mind in Piano Study]
[RUDOLPH GANZ.....Conserving Energy in Piano Practise]
[TINA LERNER.....An Audience the Best Teacher]
[ETHEL LEGINSKA.....Relaxation the Keynote of Modern Piano Playing]
[BERTHA FIERING TAPPER.....Mastering Piano Problems]
[CARL M. ROEDER.....Problems of Piano Teachers]
[KATHARINE GOODSON.....An Artist at Home]
[MARK HAMBOURG.....Form, Technic, and Expression]
[TOBIAS MATTHAY.....Watching the Artist Teacher at Work]
[HAROLD BAUER.....The Question of Piano Tone]
[A VISIT TO RAOUL PUGNO.....Training the Child]
[THUEL BURNHAM.....The "Melody" and "Coloratura" Hand]
[EDWIN HUGHES.....Some Essentials of Piano Playing]
[FERRUCCIO BUSONI.....An Artist at Home]
[ELEANOR SPENCER.....More Light on Leschetizky's Ideas]
[ARTHUR HOCHMAN.....How the Pianist Can Color Tone with Action and Emotion]
[TERESA CARREÑO.....Early Technical Training]
[WILHELM BACHAUS.....Technical Problems Discussed]
[ALEXANDER LAMBERT.....American and European Teachers]
[FANNIE BLOOMFIELD ZEISLER.....The Scope of Piano Technic]
[AGNES MORGAN.....Simplicity in Piano Teaching]
[EUGENE HEFFLEY.....Modern Tendencies]
[GERMAINE SCHNITZER.....Modern Methods in Piano Study]
[OSSIP GABRILOWITSCH.....Characteristic Touch on the Piano]
[HANS VON BÜLOW AS TEACHER AND INTERPRETER.....Teacher and Interpreter]
[ HINTS ON INTERPRETATION FROM TWO AMERICAN TEACHERS]
[VITAL POINTS IN PIANO PLAYING.....]
[SECTION II.....Hand Position, Finger Action, and Artistic Touch]
[SECTION III.....The Art of Practise]
[SECTION IV.....How to Memorize]
[SECTION V.....Rhythm and Tone Color in Piano Playing]
ILLUSTRATIONS
PRELUDE
TO AMERICAN PIANO TEACHERS AND STUDENTS
The following "Talks" were obtained at the suggestion of the Editor of Musical America, and have all, with one or two exceptions, appeared in that paper. They were secured with the hope and intention of benefiting the American teacher and student.
Requests have come from all over the country, asking that the interviews be issued in book form. In this event it was the author's intention to ask each artist to enlarge and add to his own talk. This, however, has been practicable only in certain cases; in others the articles remain very nearly as they at first appeared.
The summer of 1913 in Europe proved to be a veritable musical pilgrimage, the milestones of which were the homes of the famous artists, who generously gave of their time and were willing to discuss their methods of playing and teaching.
The securing of the interviews has given the author satisfaction and delight. She wishes to share both with the fellow workers of her own land.
The Talks are arranged in the order in which they were secured.