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37 chapters
HARRIETTE BROWER
HARRIETTE BROWER
LIST OF ILLUSTRATIONS PRELUDE IGNACE JAN PADEREWSKI ERNEST SCHELLING.....The Hand of a Pianist ERNESTO CONSOLO.....Making the Piano a Musical Instrument SIGISMOND STOJOWSKI.....Mind in Piano Study RUDOLPH GANZ.....Conserving Energy in Piano Practise TINA LERNER.....An Audience the Best Teacher ETHEL LEGINSKA.....Relaxation the Keynote of Modern Piano Playing BERTHA FIERING TAPPER.....Mastering Piano Problems CARL M. ROEDER.....Problems of Piano Teachers KATHARINE GOODSON.....An Artist at Home MA
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PRELUDE
PRELUDE
The following "Talks" were obtained at the suggestion of the Editor of Musical America , and have all, with one or two exceptions, appeared in that paper. They were secured with the hope and intention of benefiting the American teacher and student. Requests have come from all over the country, asking that the interviews be issued in book form. In this event it was the author's intention to ask each artist to enlarge and add to his own talk. This, however, has been practicable only in certain cas
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I. IGNACE JAN PADEREWSKI
I. IGNACE JAN PADEREWSKI
One of the most consummate masters of the piano at the present time is Ignace Jan Paderewski. Those who were privileged to hear him during his first season in this country will never forget the experience. The Polish artist conquered the new world as he had conquered the old; his name became a household word, known from coast to coast; he traveled over our land, a Prince of Tones, everywhere welcomed and honored. Each succeeding visit deepened the admiration in which his wonderful art was held.
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II. ERNEST SCHELLING
II. ERNEST SCHELLING
As I sat in the luxurious salon of the apartments near the Park, where Mr. and Mrs. Ernest Schelling were spending the winter, sounds of vigorous piano practise floated out to me from a distant chamber. It was unusual music, and seemed to harmonize with the somewhat Oriental atmosphere and coloring of the music-room, with its heavily beamed ceiling of old silver, its paintings and tapestries. The playing ceased and soon the artist appeared, greeting the visitor with genial friendliness of manner
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III. ERNESTO CONSOLO
III. ERNESTO CONSOLO
In a long conversation with Ernesto Consolo, the eminent pianist and instructor, many points of vital importance to the player and teacher were touched upon. Among other things Mr. Consolo said: "It is absolutely necessary that the piano teacher should take his profession very seriously. In my opinion there is most excellent instruction to be secured right here in America, with such teachers as are willing to take their work seriously. The time is not far away, I think, when America will enjoy a
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IV. SIGISMOND STOJOWSKI
IV. SIGISMOND STOJOWSKI
Mr. Sigismond Stojowski, the eminent Polish pianist and composer, was found one morning in his New York studio, at work with a gifted pupil. He was willing to relax a little, however, and have a chat on such themes as might prove helpful to both teacher and student. "You ask me to say something on the most salient points in piano technic; perhaps we should say, the points that are most important to each individual; for no two students are exactly alike, nor do any two see things in precisely the
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V. RUDOLPH GANZ
V. RUDOLPH GANZ
"One of the most necessary things is the conserving of vital energy in piano practise," said the pianist Rudolph Ganz to me one day. "The wrong way is to continually practise the piece as though you were playing it in public—that is to say, with all possible energy and emotion. Some of the pianists now before the public do this, and it always makes me sorry for them, for I know what a needless waste of energy and vital force it is. An actor, studying his lines, does not need to continually shout
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VI. TINA LERNER
VI. TINA LERNER
Between the many engagements that crowded upon the close of her long American tour, Miss Tina Lerner found time to talk over certain topics of significance which bear upon pianistic problems. We began by referring to the different methods of holding the hands, moving the fingers and touching the keys, as exemplified by the various pianists now before the public. "It is true that I play with the ball of the finger on the key, which necessitates a flat position of hand, with low wrist." Here the p
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VII. ETHEL LEGINSKA
VII. ETHEL LEGINSKA
The brilliant young pianist, Ethel Leginska, who is located for a time in America, was seen in her Carnegie Hall studio, on her return from a concert tour. The young English girl is a petite brunette; her face is very expressive, her manner at once vivacious and serious. The firm muscles of her fine, shapely hands indicate that she must spend many hours daily at the keyboard. "Yes, I have played a great deal in public—all my life, in fact—ever since I was six. I began my musical studies at Hull,
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VIII. BERTHA FIERING TAPPER
VIII. BERTHA FIERING TAPPER
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—
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IX. CARL M. ROEDER
IX. CARL M. ROEDER
"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 o
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X. KATHARINE GOODSON
X. KATHARINE GOODSON
When one has frequently listened to a favorite pianist in the concert room, and has studied impersonally, so to speak, the effects of touch, tone and interpretation produced during a recital, it is a satisfaction and delight to come into personal touch with the artist in the inner circle of the home; to be able to speak face to face with one who has charmed thousands from the platform, and to discuss freely the points which impress one when listening to a public performance. It has been my recen
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XI. MARK HAMBOURG
XI. MARK HAMBOURG
In one of the most quiet, secluded quarters of London can be found the home of the Russian pianist, Mark Hambourg. Mr. Hambourg lives on a terrace, "far from the madding crowd," and difficult enough of access to keep mere curiosity seekers at a distance. One can scarcely picture to one's self, without an actual sight of them, the quaint charm of these short passages or streets, usually termed "terraces," or "gardens." This particular terrace looks out on a restful green park, where luxuriant tre
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XII. TOBIAS MATTHAY
XII. TOBIAS MATTHAY
One of the first things accomplished after my arrival in London was to seek out Tobias Matthay, the composer and teacher, for an echo of his fame had reached me across the water. Matthay has done much to make the principles of piano technic so clear and simple that even a child can understand them. If he has stated facts in a way which seems to some revolutionary it is because these facts are seldom understood by the rank and file of piano teachers. The work he has done has compelled attention a
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XIII. HAROLD BAUER
XIII. HAROLD BAUER
Buried deep in the heart of old Paris, in one of the narrow, busy thoroughfares of the city, stands the ancient house in which the master pianist, Harold Bauer, has made a home. One who is unfamiliar with Paris would never imagine that behind those rows of uninviting buildings lining the noisy, commercial street, there lived people of refined and artistic tastes. All the entrances to the buildings look very much alike—they seem to be mere slits in the walls. I stopped before one of the openings,
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XIV. A VISIT TO RAOUL PUGNO
XIV. A VISIT TO RAOUL PUGNO
"An audience has been arranged for you to-day, with M. Raoul Pugno; he will await you at four o'clock, in his Paris studio." Thus wrote the courteous representative of Musical America in Paris. It had been very difficult to make appointments with any of the famous French musicians, owing to their being otherwise engaged, or out of the city. I therefore welcomed this opportunity for meeting at least one of the great pianists of France. At the appointed hour that afternoon, we drove through the bu
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XV. THUEL BURNHAM
XV. THUEL BURNHAM
A prominent figure in the musical life of Paris is Thuel Burnham, pianist and teacher. Mr. Burnham is an American, who for a number of years has made his home in Paris. He has studied with the greatest masters of his instrument on both sides of the water. More than this he is a musical thinker who has worked out things for himself, amalgamating what he has found best in other methods with what he has discovered in his own experience. He has been able to simplify the whole fabric of technical mat
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XVI. EDWIN HUGHES
XVI. EDWIN HUGHES
When one has read with pleasure and profit the published ideas of a musical worker and thinker, it is always an interesting experience to meet such an one personally, and have the opportunity to discuss points of special import, particularly when the meeting can take place in some ideal spot in the old world. Such was my thought in visiting Mr. Edwin Hughes, an American who has made a name and place for himself among the pianists and teachers of Europe. After years of study in Vienna with Lesche
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XVII. FERRUCCIO BUSONI
XVII. FERRUCCIO BUSONI
As a man's surroundings and environment are often reflections of his character, it is always a matter of deep interest to get in touch with the surroundings of the creative or executive musician. To meet him away from the glare of the footlights, in the privacy and seclusion of the home, gives one a far more intimate knowledge of the artist as a man. Knowing how difficult it often is to obtain such an opportunity, I can be the more thankful that this privilege has been granted me many times, eve
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XVIII. ADELE AUS DER OHE
XVIII. ADELE AUS DER OHE
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 fas
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XIX. ELEANOR SPENCER
XIX. ELEANOR SPENCER
Eleanor Spencer, whose first American tour is announced for the coming season, happened to be in Berlin during my visit there. I found her in her charming apartments in the Schönberg section of the city, far away from the noise and bustle of traffic. Her windows look out upon a wide inner court and garden, and she seems to have secured the quiet, peaceful environment so essential to an artist's development. Indeed Miss Spencer has solved the problems of how to keep house, with all the comforts o
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XX. ARTHUR HOCHMAN
XX. ARTHUR HOCHMAN
"A pianist, like a painter, should have an infinitude of colors on his palette," remarked Arthur Hochman, the young Russian pianist, in a recent chat about piano playing. He should paint pictures at the keyboard, just as the artist depicts them upon the canvas. The piano is capable of a wonderful variety of tonal shading, and its keys will respond most ideally to the true musician who understands how to awaken and bring forth all this tonal beauty from the instrument. "The modern pianist is ofte
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XXI. TERESA CARREÑO
XXI. TERESA CARREÑO
A music critic remarked, "That ever youthful and fascinating pianist, Teresa Carreño is with us again." I well remember how fascinated I was, as a young girl, with her playing the first time I heard it—it was so full of fire, enthusiasm, brilliancy and charm. How I longed and labored to imitate it—to be able to play like that! I not only loved her playing but her whole appearance, her gracious manner as she walked across the stage, her air of buoyancy and conscious mastery as she sat at the pian
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XXII. WILHELM BACHAUS
XXII. WILHELM BACHAUS
"How do I produce the effects which I obtain from the piano?" The young German artist, Willielm Bachaus, was comfortably seated in his spacious apartments at the Ritz, New York, when this question was asked. A grand piano stood close at hand, and the pianist ran his fingers lightly over its keys from time to time, or illustrated some technical point as he talked. "In answer I would say I produce them by listening, criticizing, judging—working over the point, until I get it as I want it. Then I c
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XXIII. ALEXANDER LAMBERT
XXIII. ALEXANDER LAMBERT
Among American teachers Alexander Lambert takes high rank. For over twenty-five years he has held aloft the standard of sound musicianship in the art of teaching and playing. A quarter of a century of thorough, conscientious effort along these lines must have left its impress upon the whole rising generation of students and teachers in this country, and made for the progress and advancement of American art. It means much to have a native-born teacher of such high aims living and working among us
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XXIV. FANNIE BLOOMFIELD ZEISLER
XXIV. FANNIE BLOOMFIELD ZEISLER
Each year, as Mme. Bloomfleld Zeisler plays for us, we feel the growth of a deeper experience, a clearer insight into human nature, a broader outlook and grasp on art and life. Such a mentality, ever seeking for truth and the sincerest expression of it, must continually progress, until—as now—the greatest heights are reached. Mme. Zeisler is no keyboard dreamer, no rhapsodist on Art. She is a thoroughly practical musician, able to explain as well as demonstrate, able to talk as well as play. Out
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XXV. AGNES MORGAN
XXV. AGNES MORGAN
One of the busiest of New York piano teachers, whose list of students taking private lessons in a season, almost touches the hundred mark, is Mrs. Agnes Morgan. Mrs. Morgan has been laboring in this field for more than two decades, with ever increasing success. And yet so quietly and unobtrusively is all this accomplished, that the world only knows of the teacher through the work done by her pupils. The teacher has now risen to the point where she can pick and choose her own pupils, which is a g
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XXVI. EUGENE HEFFLEY
XXVI. EUGENE HEFFLEY
Eugene Heffley, the Founder and first President of the MacDowell Club, of New York, a pianist and teacher of high ideals and most serious aims, came to New York from Pittsburg, in 1900, at the suggestion of MacDowell himself. He came to make a place for himself in the profession of the metropolis, and has proved himself a thoroughly sincere and devoted teacher, as well as a most inspiring master; he has trained numerous young artists who are winning success as pianists and teachers. Mr. Heffley,
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XXVII. GERMAINE SCHNITZER
XXVII. GERMAINE SCHNITZER
"It is difficult to define such a comprehensive term as technic, for it means so much," remarked Germaine Schnitzer the French pianist to me one day, when we were discussing pianistic problems. "There is no special sort or method of technic that will do for all players, for every mentality is different; every hand is peculiar to itself, and different from every other. Not only is each player individual in this particular, but one's right hand may differ from one's left; therefore each hand may r
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XXVIII. OSSIP GABRILOWITSCH
XXVIII. OSSIP GABRILOWITSCH
Arthur Hochman, Russian pianist and composer, once remarked to me, in reference to the quality of tone and variety of tonal effects produced by the various artists now before the public: "For me there is one pianist who stands above them all—his name is Gabrilowitsch." The quality of tone which this rare artist draws from his instrument, is unforgettable. I asked him one morning, when he was kind enough to give me the opportunity for a quiet chat, how he produced this luscious singing quality of
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HANS VON BÜLOW AS TEACHER AND INTERPRETER
HANS VON BÜLOW AS TEACHER AND INTERPRETER
Those who heard Hans von Bülow in recital during his American tour, in 1876, listened to piano playing that was at once learned and convincing. A few years before, in 1872, Rubinstein had come and conquered. The torrential splendor of his pianism, his mighty crescendos and whispering diminuendos, his marvelous variety of tone—all were in the nature of a revelation; his personal magnetism carried everything before it. American audiences were at his feet. In Von Bülow was found a player of quite a
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HINTS ON INTERPRETATION FROM TWO AMERICAN TEACHERS
HINTS ON INTERPRETATION FROM TWO AMERICAN TEACHERS
While a young student the opportunity came to attend a Summer Music School, founded by this eminent pianist and teacher. He had surrounded himself with others well known for their specialties in voice, violin and diction; but the director himself was the magnet who attracted pianists and teachers from the four corners of the land. Perhaps the most intimate way to come in touch with a famous teacher, is to study with him during the summer months, in some quiet, retired spot. Here the stress of th
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VITAL POINTS IN PIANO PLAYING
VITAL POINTS IN PIANO PLAYING
How things are done, how others do them, and the reasons for the doing of them in one way and not in another, used to occupy my thoughts back as far as I can remember. As a child I was fond of watching any one doing fine needlework or beautiful embroidery, and tried to imitate what I saw, going into minutest details. This fondness for exactness and detail, when, applied to piano study, led me to question many things; to wonder why I was told to do thus and so, when other people seemed to do othe
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SECTION II
SECTION II
When we listen to a piano recital by a world-famous artist, we think—if we are musicians—primarily of the interpretation of the compositions under consideration. That the pianist has a perfect technic almost goes without saying. He must have such a technic to win recognition as an artist. He would not be an artist without a great technic, without a complete command over the resources of the instrument and over himself. Let us use the word technic in its large sense, the sense which includes all
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SECTION III
SECTION III
We have seen that if the pianist hopes to perfect himself in his art he must lay the foundation deep down in the fundamentals of hand position, body condition, correct finger movements and in careful attention to the minutest details of touch and tone production. The remark is often heard, from persons who have just listened to a piano recital: "I would give anything in the world to play like that!" But would they even give the necessary time, to say nothing of the endless patience, tireless ene
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SECTION IV
SECTION IV
At the present stage of pianistic development, an artist does not venture to come before the public and "use his notes." No artist who values his reputation would attempt it. Everything must be performed from memory—solos, concertos, even accompaniments. The pianist must know every note of the music he performs. The star accompanist aspires to the same mastery when he plays for a famous singer or instrumentalist. We also have the artist conductor, with opera, symphony or concerto at his finger-t
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SECTION V
SECTION V
How shall two such opposites as rhythm and tone color be connected, even in name, some will ask. One belongs to the mechanical side of piano playing, while the other appertains to the ideal, the poetic, the soulful. The two subjects, however, are not so wide apart as might at first appear; for the beauty and variety of the second depends largely upon the mastery of the first. You must play rhythmically before you can play soulfully; you must first be able to keep time before you can attempt to e
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