The Kind of Music the Russian Child Hears
The Russian child is spared all contact with really bad music. That is, he hears for the most part either the songs of the people or little selections from classical or romantic composers that are selected especially with the view of cultivating his talent. He has practically no opportunity to come in contact with any music that might be described as banal. America is a very young country and with the tension that one sees in American life on all sides there comes a tendency to accept music that may be most charitably described as "cheap." Very often the same themes found in this music, skilfully treated, would make worthy musical compositions. "Rag-time," and by this I refer to the peculiar rhythm and not to the bad music that Americans have come to class under this head, has a peculiar fascination for me. There is nothing objectionable about the unique rhythm, any more than there is anything iniquitous about the gypsy melodies that have made such excellent material for Brahms, Liszt and Sarasate. The fault lies in the clumsy presentation of the matter and its associations with vulgar words. The rhythm is often fascinating and exhilarating. Perhaps some day some American composer will glorify it in the Scherzo of a Symphony.
In Russia, teachers lay great stress upon careful grading. Many teachers of note have prepared carefully graded lists of pieces, suitable to each stage of advancement. I understand that this same purpose is accomplished in America by the publication of volumes of the music itself in different grades, although I have never seen any of these collections. The Russian teacher of children takes great care that the advancement of the pupil is not too rapid. The pupil is expected to be able to perform all the pieces in one grade acceptably before going to the next grade. I have had numerous American pupils and most of them seem to have the fault of wanting to advance to a higher step long before they are really able. This is very wrong, and the pupil who insists upon such a course will surely realize some day that instead of advancing rapidly he is really throwing many annoying obstacles directly in his own path.
Instruction Books
Many juvenile instruction books are used in Russia just as in America. Some teachers, however, find that with pupils starting at an advanced age it is better to teach the rudiments without a book. This matter of method is of far greater importance than the average teacher will admit. The teacher often makes the mistake of living up in the clouds with Beethoven, Bach, Chopin, and Brahms, never realizing that the pupil is very much upon the earth, and that no matter how grandly the teacher may play, the pupil must have practical assistance within his grasp. The main duty in all elementary work is to make the piano study interesting, and the teacher must choose the course likely to arouse the most interest in the particular pupil.
Opportunities for Virtuoso-Students in Russia
It may surprise the American student to hear that there are really more opportunities for him to secure public appearances right here in his own country than in Russia. In fact, it is really very hard to get a start in Russia unless one is able to attract the attention of the public very forcibly. In America the standard may not be so high as that demanded in the musical circles of Russia, but the student has many chances to play that would never come to him in the old world. There, the only chance for the young virtuoso is at the conservatory concerts. There are many music schools in Russia that must content themselves with private recitals, but the larger conservatories have public concerts of much importance, concerts that demand the attendance of renowned artists and compel the serious interest of the press. However, these concerts are few and far between, and only one student out of many hundreds has a chance to appear at them.
One singular custom obtains in Russia in reference to concerts. The pianist coming from some other European country is paid more than the local pianist. For instance, although I am Russian by birth, I reside in Germany and receive a higher rate when I play in Russia than does the resident artist. In fact, this rate is often double. The young virtuoso in the early stages of his career receives about one hundred roubles an appearance in Russia, while the mature artist receives from 800 to 1000. The rouble, while having an exchange value of only fifty cents in United States currency, has a purchasing value of about one dollar in Russia.
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.