A Case in Point
An illustration of one means of wasting time is well indicated in the case of some pedagogs who hold to old ideas in piano-playing simply because they are old. I believe in conservatism, but at the same time I am opposed to conservatism which excludes all progressiveness. The world is continually advancing, and we are continually finding out new things as well as determining which of the older methods will prove the best in the long run. All musical Europe has been upset during the last quarter of the century over the vital subject of whether the pressure touch is better than the angular blow touch. There was a time in the past when an apparent effort was made to make everything pertaining to pianoforte technic as stiff and inelastic as possible. The fingers were trained to hop up and down like little hammers—the arm was held stiff and hard at the side. In fact, it was not uncommon for some teachers to put a book under the armpit and insist upon their pupils holding it there by pressing against the body during the practice period.
H. Ehrlich, who in his day was a widely recognized authority, wrote a pamphlet to accompany his edition of the Tausig technical studies in which this system is very clearly outlined. He asserts that Tausig insisted upon it. To-day we witness a great revolution. The arms are held freely and rigidity of all kind is avoided. It was found that the entire system of touch was under a more delicate and sensitive control when the pressure touch was employed than when the mechanical "hitting" touch was used. It was also found that much of the time spent in developing the hitting touch along mechanical lines was wasted, since superior results could be achieved in a shorter time by means of pressing and "kneading" the keys, rather than delivering blows to them. The pressure touch seems to me very much freer and I am emphatically in favor of it. The older method produced cramped unmusical playing and the pupil was so restricted that he reminded one for all the world of the new-fangled skirts ("hobble-skirts") which seem to give our ladies of fashion so much difficulty just now.
The American pupils who have come to Germany to study with me have been for the most part exceedingly well trained. In America there are innumerable excellent teachers. The American pupil is almost always very industrious. His chief point of vantage is his ability to concentrate. He does not dissipate his time or thought. In some instances he can only remain in Europe for two years—sometimes less. He quite naturally feels that a great deal must be done in those two years, and consequently he works at white heat. This is not a disadvantage, for his mental powers are intensified and he is faithful to his labor.
The young women of America are for the most part very self-reliant. This is also very much to their advantage. As a rule, they know how to take care of themselves, and yet they have the courage to venture and ask questions when questions should be asked. My residence in America has brought me many good friends, and it is a pleasure to note the great advance made in every way since my last visit here. I am particularly anxious to have some of my later compositions become better known in America, as I have great faith in the musical future of the country. I wish that they might become familiar with such works as my Fourth Concerto. I should deeply regret to think that Americans would judge my work as a composer by my "Polish Dance" and some other lighter compositions which are obviously inferior to my other works.