In another moment we had crossed the tiny foyer and were standing within the artist's sanctuary. At first glance one felt as though in an Oriental chamber of some Eastern monarch. Heavy gold and silver Turkish embroideries hung over doors and windows. The walls were covered with many rare paintings; rich objets d'art were scattered about in profusion; an open door led out into a pretty garden, where flowers bloomed, and a fountain dripped into its marble basin. A raised dais at one side of the room held a divan, over which were draperies of Oriental stuffs. On this divan, as on a throne, sat the great pianist we had come to see. He made a stately and imposing figure as he sat there, with his long silvery beard and his dignified bearing. Near him sat a pretty young woman, whom we soon learned was Mlle. Nadia Boulanger, a composer and musician of brilliant attainments.
"I regret that I am unable to converse with you in English, as I speak no language but my own," began M. Pugno, with a courteous wave of the hand for us to be seated.
"You wish to know some of my ideas on piano playing—or rather on teaching. I believe a child can begin to study the piano at a very early age, if he show any aptitude for it; indeed the sooner he begins the better, for then he will get over some of the drudgery by the time he is old enough to understand a little about music.
TRAINING THE CHILD
"Great care must be taken with the health of the child who has some talent for music, so that he shall not overdo in his piano study. After all a robust physical condition is of the first importance, for without it one can do little.
"A child in good health can begin as early as five or six years. He must be most judiciously trained from the start. As the ear is of such prime importance in music, great attention should be paid to tone study—to listening to and distinguishing the various sounds, and to singing them if possible, in solfeggio.
"At the outset a good hand position must be secured, with correct finger movements. Then there must be a thorough drill in scales, arpeggios, chords, and a variety of finger exercises, before any kind of pieces are taken up. The young student in early years, is expected to play various études, as well as the technic studies I have mentioned—Czerny, Cramer, Clementi, and always Bach. In my position, as member of the faculty of the Conservatoire, a great many students pass before me. If I personally accept any pupils, they naturally must be talented and advanced, as I cannot give my time to the children. Still it is interesting to see the child-thought develop."
The conversation turned upon the charming studio with its lovely garden—where absolute quiet could be secured in spite of the noise and bustle of one of the busiest quarters of Paris. The studio itself, we were told, had formerly belonged to the painter Decamps, and some of the pictures and furnishings were once his. A fine portrait of Pugno, life size, filling the whole space above the piano, claimed our attention. He kindly rose, as we admired the painting, and sought a photograph copy. When it was found—the last one he possessed—he presented it with his compliments.
We spoke of Mlle. Boulanger's work in composition, a subject which seemed deeply to interest M. Pugno.
"Yes, she is writing an opera; in fact we are writing it together; the text is from a story of d'Annunzio. I will jot down the title for you."