"This idea of separating the technical work at the outset from the study of music itself, secures, in my opinion, the most perfect foundation, and later on the best results. It is sometimes wonderful how, with proper training, the hand will improve and develop in a comparatively short time. I often marvel at it myself."
The writer had the privilege of being one of the guests at the last audition of the season. Eight or nine young artists played a long and difficult program. Among the numbers were a Beethoven sonata, entire; Chopin's Ballade in A flat major; Cesar Franck, Prelude, Fugue and Variations; a Mozart Fantaisie; Grieg Concerto, first movement; Weber's Concertstück, and Chopin's Scherzo in E. The recital was most instructive from an educational point of view. All the players had repose and concentration, and there were no noticeable slips, though every piece was played from memory. Hands were well arched at the knuckles, fingers curved—with adequate action at the knuckle joint; wrists in normal position, and extremely loose; the whole arm swung from the shoulder and poised over the keys, thus adjusting itself to every requirement of the composition. Every note had its amount of hand or arm weight. The tone quality was full and singing. These points were exemplified even in the playing of the youngest pupils. Furthermore they had an intelligent grasp of the meaning of the music they played, and brought it out with conviction, power, and brilliancy.
IX.
CARL M. ROEDER
PROBLEMS OF PIANO TEACHERS
"The progressive teacher's method must be one of accretion," said Carl Roeder, when interviewed between lesson hours in his delightful studio in Carnegie Hall. "He gains ideas from many methods and sources, and these he assimilates and makes practical for his work. At the same time he must originate and work out things for himself. This has been my experience.
"I was something of a wonder child, and at an early age developed considerable facility and brilliancy. After knocking about as a pupil of various private teachers and conservatories, I became, while quite a young lad, the pupil of de Konstki, then a lion of the day." The speaker joined in the laugh his remark called up, which brought to mind the Chevalier's famous battle-horse, "The Awakening of the Lion."
"De Konstki's style was very brilliant and I endeavored to imitate him in this respect. I did quite a little concert work at that time. Realizing, however, that a pianist's income must be rather precarious, I decided to teach. In those youthful days I had the idea that the teacher of the piano had an easy life. I remembered one of my professors, a man of considerable reputation, who took the duties of his profession very lightly. His method of giving a lesson was to place the music upon the piano, start the pupil going, then retire to a comfortable couch, light his pipe and smoke at ease, troubling himself little about the pupil's doings, except occasionally to call out 'Falsch!'