If environment and atmosphere are inspirational aids to piano teaching and playing, the students of Mrs. Thomas Tapper have the incentives of both in their lesson hours. Her apartments on the Drive have the glory of sunlight all the long afternoons. Outside the Hudson shimmers in blue and gold; indoors all is harmonious and home-like. In the large music-room, facing the river, two grand pianos stand side by side; there are many portraits and mementoes of the great in music; fresh flowers, books—everything to uplift thought; while in the midst of it all is Mrs. Tapper herself, the serious, high-minded, inspiring teacher; the "mother confessor" to a large number of young artists and teachers.
"Music study means so much more than merely exercising the fingers," she said; "the student should have a good all-round education. When young people come to me for instruction, I ask what they are doing in school. If they say they have left school in order to devote their whole time to the piano, I say, 'Go back to your school, and come to me later, when you have finished your school course.' It is true that in rare cases it may be advisable for the student to leave school, but he should then pursue general or special studies at home. I often wish the music student's education in this country could be arranged as it is in at least one of the great music schools in Russia. There the mornings are given to music, while general studies are taken up later in the day. It is really a serious problem, here in America, this fitting in music with other studies. Both public and private schools try to cover so much ground that there is very little time left for music or anything else. The music pupil also needs to know musical literature, history and biography, to be familiar with the lives and writings of the great composers. Take the letters and literary articles of Robert Schumann, for instance. How interesting and inspiring they are!
"In regard to methods in piano study my principles are based wholly upon my observations of Leschetizky's work with me personally, or with others. What I know he has taught me; what I have achieved I owe to him. My first eight weeks in Vienna were spent in learning, first, to control position and condition of hands and arms according to the law of balance; secondly, to direct each motion with the utmost accuracy and speed. To accomplish this I began with the most elementary exercises in five-finger position, using one finger at a time. Then came the principles of the scale, arpeggios, chords and octaves. All these things were continued until every principle was mastered. I practised at first an hour a day, then increased the amount as my hands grew stronger and the number of exercises increased.
"Next came the study of tone production in various forms, a good quality invariably being the result of a free condition of the arm combined with strength of fingers and hands.
"The Leschetizky principles seem to me the most perfect and correct in every particular. Yes, there are several books of the method, by different authors, but I teach the principles without a book. The principles themselves are the essential things. I aim to build up the hand, to make it strong and dependable in every part, to fill out the weak places and equalize it. That this may be thoroughly and successfully accomplished, I require that nothing but technical exercises be used for the first nine, ten, or twelve weeks. We begin with the simplest exercises, one finger at a time, then two, three and so on through the hand. I believe in thus devoting all the practise time to technic, for a certain period, so that the mind is free to master the principles, undisturbed by piece playing. When the principles have been assimilated, the attention can then be directed to the study of music itself. If any weak places appear in the hand from time to time, they can be easily corrected.
"If a pupil comes to me who has played a great deal but with no idea of the principles of piano playing, who does not know how to handle herself or the keyboard, it is absolutely necessary to stop everything and get ready to play. If you attempt even a simple sonata with no legato touch, no idea of chord or scale playing, you can not make the piece sound like anything. It is like a painter trying to paint without brushes, or an artist attempting to make a pen and ink drawing with a blunt lead pencil; to do good work you must have the tools to work with.
"For application of all principles, the studies of Czerny, Op. 299, 740, and others, offer unequaled opportunity. They are simple, direct, and give the student a chance for undivided attention to every position taken and to every motion made.
"What happens afterward is altogether according to the individual characteristics of the student. How to recognize these and deal with them to the best advantage is the interesting task of my great master (and those who try to follow in his steps)—the man of keenest intelligence, of profound learning and experience. To learn this lesson from him has been my greatest aim, and to see him at work, as it has been my privilege to do for several summers, has been of the greatest influence and inspiration in my own work.
"My chief endeavor is to create a desire for good musicianship. To this end I insist upon the study of theory, harmony, ear-training and analysis. In the piano lessons I do not have sufficient time to teach these things. I have assistant teachers who help me with these subjects and also with the technical training. Once a month during the season, my assistant teachers bring their pupils to play for me, and we have a class in piano teaching. There are sometimes eighteen or twenty students who come to a class. I can in this way supervise all the work done, and keep in touch with my teachers, their work, and with all the students.
"On the first Saturday of the month I have my own pupils here for a class; they play for me and for each other. Everything is played from memory, not a printed note is used. Students tell me it is very difficult to play here, where all listen so intently. Especially is it difficult the first time a student plays in class, to keep the mind wholly on what he is doing, with sufficient concentration. Later on, at the end of the season, it comes easier.