ANOTHER ARTIST AT HOME
Another opportunity to see the home of an artist was afforded me when Frl. Aus der Ohe invited me to visit her in her Berlin home. She also lives in the newer western portion of the city, where so many other artists are located. One feels on entering the spacious rooms that this home has the true German atmosphere. Adele Aus der Ohe, whose personality is well remembered in America, on account of her various pianistic tours, now wears her brown hair softly drawn down over her ears, in Madonna fashion, a mode which becomes her vastly.
"My time is divided between playing in concert, composing, and my own studies," began the artist. "I give almost no lessons, for I have not time for them. I never have more than a couple of pupils studying with me at one time; they must be both talented and eager. The amount of time I consider necessary for practise depends, of course, on quickness of comprehension. In general, I may say four, or at most five hours are quite sufficient, If used with absolute concentration. The quality of practise is the great essential. If the passage under consideration is not understood, a thousand times going over it will be only vain repetitions; therefore, understand the construction and meaning of the passage in the beginning, and then a thousand repetitions ought to make it perfect.
"There is so much practise which can be done away from the instrument, by reading the notes from the printed page and thinking about them. Is this understood in America? Always listen to your playing, to every note you make on the piano; I consider this point of the very first importance. My pupils are generally well advanced or are those who intend making music a profession. I have, however, occasionally taken a beginner. This point of listening to every note, of training the ear, should stand at the very foundation.
LETTING THE HAND FIND ITSELF
"In regard to hand position, I endeavor not to be narrow and pedantic. If pupils play with good tone and can make reasonably good effects, I take them, at the point where they are and try to bring them forward, even if the hand position is not just what I would like. If I stop everything and let them do nothing but hand position, they will be discouraged and think they are beginning all over again. This beginning again is sometimes detrimental. To take a pupil at his present point, and carry him along was also Liszt's idea. He did not like to change a hand position to which the player has grown accustomed for one which seems unnatural, and which the pianist has to work a long time to acquire. He felt that one's time could be spent to more advantage. There are so many legitimate positions, each hand is a separate study, and is apt to take the position most natural to itself.
"I shall play numerous concerts and recitals in Europe the coming season, but shall not be in America. I know your country well as I have made several tours and have lived there. I left it the last time under sad circumstances, as my sister, who always accompanied me, had just passed away after quite a long illness. So you see I have not much zest to return.
"However I am fond of America, and admire the great progress you are making in music and art. And you have the courage of your convictions; you do not admire a musical work simply because some one else says you should, or the critics tell you to. You do not ask your neighbor's opinion before you applaud it. If you do not like it you are not afraid to say so. Even when it is only ragtime that pleases you, you are not afraid to own up to it. When you learn what is better you say so. It Is this honesty which leads to progressive results. You are rapidly becoming competent to judge what is best. I have found the most appreciative audiences in America."
Miss Aus der Ohe had much to relate of the Woman's Lyceum. The Department of Music was founded by Aus der Ohe herself. Not long ago there was an exhibition of woman's work in music. Women composers from all over the country sent examples of their work. Our own Mrs. H.A.A. Beach, who has been located for some time in Munich, was well represented. There are branches of this institution in other German cities.
Several paintings of large size and striking originality hang on the walls of the pianist's home. They all illustrate religious themes and are the work of Herr Aus der Ohe, the pianist's only brother, who passed away at the height of his career.