Why Russian Pianists Are Famed for Technic
The Russian pianist is always famed for his technical ability. Even the mediocre artists possess that. The great artists realize that the mechanical side of piano playing is but the basis, but they would no sooner think of trying to do without that basis than they would of dispensing with the beautiful artistic temples which they build upon the substantial foundation which technic gives to them. The Russian pianists have earned fame for their technical grasp because they give adequate study to the matter. Everything is done in the most solid, substantial manner possible. They build not upon sands, but upon rock. For instance, in the conservatory examinations the student is examined first upon technic. If he fails to pass the technical examination he is not even asked to perform his pieces. Lack of proficiency in technic is taken as an indication of a lack of the right preparation and study, just as the lack of the ability to speak simple phrases correctly would be taken as a lack of preparation in the case of the actor.
"Particular attention is given to the mechanical side of technic, the exercises, scales and arpeggios. American readers should understand that the full course at the leading Russian conservatories is one of about eight or nine years. During the first five years, the pupil is supposed to be building the base upon which must rest the more advanced work of the artist. The last three or four years at the conservatory are given over to the study of master works. Only pupils who manifest great talent are permitted to remain during the last year. During the first five years the backbone of the daily work in all Russian schools is scales and arpeggios. All technic reverts to these simple materials and the student is made to understand this from his very entrance to the conservatory. As the time goes on the scales and arpeggios become more difficult, more varied, more rapid, but they are never omitted from the daily work. The pupil who attempted complicated pieces without this preliminary technical drill would be laughed at in Russia. I have been amazed to find pupils coming from America who have been able to play a few pieces fairly well, but who wonder why they find it difficult to extend their musical sphere when the whole trouble lies in an almost total absence of regular daily technical work systematically pursued through several years.
"Of course, there must be other technical material in addition to scales, but the highest technic, broadly speaking, may be traced back to scales and arpeggios. The practice of scales and arpeggios need never be mechanical or uninteresting. This depends upon the attitude of mind in which the teacher places the pupil. In fact, the teacher is largely responsible if the pupil finds scale practice dry or tiresome. It is because the pupil has not been given enough to think about in scale playing, not enough to look out for in nuance, evenness, touch, rhythm, etc., etc.