the last note of the mordent receive the accent? I have heard the
mordent sound like a triplet? Is this the correct accent?
The last note of the mordent should be accented in this case.
[Sidenote: _A Disputed Chopin Reading_]
In Chopin's Nocturne in F-sharp, after the _Doppio_ Movement, when
returning to Tempo I, and counting five measures, should the right hand
in the fifth measure play this melody?
[Illustration]
The various editions differ from one another in this measure. Peters's
edition, generally considered the best edition of Chopin's works, has
the second version, which commends itself by its greater naturalness.
[Sidenote: _Playing the "Melody in F"_]
In Rubinstein's "Melody in F" should the melody be played in the left
hand or be divided between the two hands?
Where there is no valid reason for doing otherwise it is always best to
follow the composer's prescription; for, in most cases--and with great
composers in all cases--the author knows what he meant to say. In the
aforesaid piece, too, I advise you to adhere to this principle, since it
is written with a view to teach the division of the melody between the
right and left hand. Any other execution would ruin this purposed
design.
[Sidenote: _When Two Fingers Have the Same Note_]
In Schumann's "Blumenstueck," third number, the uppermost notes of the
left hand are identical with the lowest of the right hand. Should the
thumbs of both hands strike the same keys at the same time all the way
through or should the left hand omit them?
The left hand should omit them, but be careful to omit only those that
are really duplicates. There are a few places toward the end of each
section where the left-hand notes differ from those in the right. In
those cases you must be careful to play all the notes that are written.
BACH
[Sidenote: _The Beginner in Bach Music_]
Can you give me a few helpful suggestions in a preliminary study of
Bach?
A totality consists of many parts. If you cannot master the totality of
a work by Bach try each part by itself. Take one part of the right hand,
one part of the left, add a third part, and so on until you have all the
parts together. But be sure to follow out the line of each separate part
(or "voice," as the Continentals say). Do not lose patience. Remember
that Rome was not built in a day.
[Sidenote: _Bach's Music Necessary to Good Technique_]
Do you think the study of Bach is necessary to the development of one's
technique, or should one let his music alone until a later day when
one's technique is in good condition? Some of his music seems so dry.
Bach's music is not the only music that develops the technique. There
is, for instance, the music of Czerny and Clementi to be considered. But
Bach's music is particularly qualified to develop the fingers in
conjunction with musical expression and thematic characterization. You
may start with Czerny and Clementi, but you ought soon to turn to Bach.
That some of his music seems dry to you may be due to your mental
attitude by which you possibly expect from ecclesiastical music what
only the opera can give you. Think yourself into his style and you will
find a mine of never-dreamed-of enjoyment.
[Sidenote: _Always Keep in Touch with Bach_]
Do you think that the playing of Bach's works will keep one's hands in
good technical condition? And which is the best edition of Bach's piano
works?
Bach is good for the soul as well as for the body, and I recommend that
you never lose touch with him. Which is the best edition would be hard
to say, but I have found the Peters edition to be very good.
[Sidenote: _Bach's Preludes and Fugues_]
What is the plan of a "Fugue," how does it differ from an "Invention"
and "Prelude," and what is the purpose of studying the pieces so named
by Bach?
The explanation of the plan of a Fugue would exceed by far the limits of
the space at my disposal. It would require a text-book, of which there
are many to be found in every good music store. The Fugue is the most
legitimate representation of true polyphony. Its difference from an
Invention is expressed in the two names. A Fugue (_fuga_, flight) is the
flight of one musical thought through many voices or parts, subject to
strict rules, while an Invention is an accumulation of thoughts moving
with absolute freedom. The definition of Prelude, as something which
intentionally precedes and fittingly introduces a main action, fits the
musical Prelude perfectly; especially in the case of Bach. The purpose
of all these forms is that of all good music-making, namely, the
purification and development of good taste in music.
[Sidenote: _As to the Bach Fugues_]
Of the Bach fugues do you consider the C sharp major difficult to
memorize, or do you advise the use of the D flat arrangement instead?
Such little differences have never bothered me, and I can therefore
hardly answer your question definitely. It has been frequently
observed--though never explained--that to many people it comes easier to
read music in D flat than in C sharp. Hence, if you prefer the D flat
edition it will reduce the difficulty for you. Possibly this more
accessible version may aid you optically or visually in your work of
memorizing.
BEETHOVEN
[Sidenote: _Order of Studying Beethoven's Sonatas_]
I am just beginning to reach an intelligent interpretation of
Beethoven's music. Now, in what order should the Sonatas be studied?
If you should really have the laudable intention to study all the
Sonatas of Beethoven for your repertory I should think that you may
safely take them up very much in the order in which they are printed,
with the exception of Opus 53 and the Appassionata, which--spiritually
as well as technically--rank with the last five. The Steingraeber
edition, however, furnishes a very fair order of difficulty in the index
to the Sonatas.
[Sidenote: _The Beethoven Sonata with a Pastoral Character_]
My teacher calls the Sonata opus 28, by Beethoven, the "Pastoral"
Sonata. I have not found anything "pastoral" in any of the movements. Is
it because I do not understand it, or is the name a mere amateurish
invention?
The name "Pastoral Sonata" could, no doubt, be traced to an arbitrary
invention, perhaps of some over-smart publisher endeavouring to heighten
the attractiveness of the Sonata to the general public by the addition
of a suggestive title. Yet it seems to fit the Sonata pretty well,
because, really, its main characteristic is a rural sort of peaceful
repose. Especially the first movement is of a tranquillity which,
surely, does not suggest the life of a metropolis. But in the other
movements, too, there are many episodes which by their naivete and
good-natured boisterousness indicate the life of the village.
[Sidenote: _A Few, Well Played, Are Enough_]
Must I play all the Sonatas of Beethoven's in order to become a good
player, or is a certain number of them sufficient, and, if so, how many
would you advise?
Since the playing of all the Sonatas does not necessarily prove that
they were all well played, I think it is better to play one Sonata well
than to play many of them badly. Nor should Beethoven's Sonatas be
regarded as a musical drilling-ground, but rather as musical
revelations. As they are not all on precisely the same high plane of
thought, it is not necessary to play them all. To familiarize yourself
with Beethoven's style and grandeur of thought it is sufficient to have
mastered six or eight of his Sonatas; though that number, at least,
should be _mastered_.
MENDELSSOHN
[Sidenote: _The Study of Mendelssohn_]
In a complete course for a piano student should the study of Mendelssohn
be included? Which of his compositions are the most useful?
Mendelssohn is surely a composer who is not to be omitted. His melody
alone, besides other virtues, entitles him to be included, for melody
seems to grow scarce nowadays. To develop a fine cantilena his "Songs
Without Words" of slower motion, for instance, are just the thing.
CHOPIN
[Sidenote: _What Is the Best of Chopin?_]
Which are the best compositions of Chopin to study by one who really
desires to know him?
All the Etudes, all the Preludes, the Ballades in A flat, G minor and F
minor, the Berceuse and the Barcarolle. The Mazurkas, Nocturnes,
Waltzes, and Polonaises you are probably familiar with; hence, I mention
the aforesaid other works. Generally speaking, of Chopin a pianist
should know everything.
[Sidenote: _The Charm of Chopin's Touch_]
What kind of touch did Chopin have?
Since a description of his touch would require too much space I refer
you to the book from which I gathered the most explicit information on
this point. It is "The Life of Chopin," by Frederick Niecks (London and
New York, Novello, Ewer & Co.), and in the second volume, from page 94
to about 104, you will find what you wish to know, as far as it is
possible to convey the charm of one art through the medium of another.
Since you seem interested in Chopin I would recommend that you closely
study both volumes of this masterly biographical work.
[Sidenote: _Mood and Tempo in the A-Flat Impromptu_]
What is the tempo (by metronome) of Chopin's Impromptu in A-flat, and
what idea did the composer embody in it?
The editions vary in their metronome markings and I believe none of
them. Your tempo will largely depend upon the state of your technique.
To the second question my reply is that Chopin has composed "music"
which--as you know--represents thoughts only in a musical sense,
otherwise it deals with purely psychic processes, moods, etc. The humour
of this Impromptu is mainly an amiable, ingratiating one, here and there
slightly tinged with a sweet melancholy. It should not be played too
fast, for it easily loses this latter attribute and then sounds like a
Czerny exercise. A moderate tempo will also tend to bring out the many
charming harmonic turns which, in too quick a tempo, are likely to be
lost.
[Sidenote: _Chopin's Barcarolle_]
In Chopin's Barcarolle there is a number of trills preceded by grace
notes. Are they to be executed according to Philipp Emmanuel Bach's
rule, so that the grace notes take their time from the note that follows
them?
Philipp Emmanuel Bach's rule is a safe one to follow, but do not
confound a rule with a law. If you have reached that plane on which an
attempt at the Barcarolle by Chopin is rational, you must feel that your
individual taste will not lead you too far astray even if it should
prompt you occasionally to depart from the rule.
[Sidenote: _Chopin's Works for a Popular Concert_]
What works of Chopin would you suggest for a popular concert programme?
Nocturne, Opus 27, No. 2; Fantasy Impromptu, Opus 66; Scherzo, Opus 31;
Berceuse, Opus 57; Valse, Opus 64, No. 2; Polonaise, Opus 26, No. 1;
Chants Polonais (in Liszt's transcription).
[Sidenote: _Taking Liberties with the Tempo_]
In playing Chopin may one take liberties with the tempo and play
different parts of the same mazurka or nocturne in various degrees of
tempo?
Undoubtedly. But the extent of such liberties depends upon your aesthetic
training. In principle your question admits of an affirmative reply, but
a specific answer is impossible without an acquaintance with your
musical status. I recommend that you be very cautious about "taking
liberties"; without, however, ceasing altogether to follow the
promptings of your good taste here and there. There is such a thing as
"artistic conscience"; consult it always before taking a liberty with
the tempo.
[Sidenote: _Omitting One Note in a Chord_]
[Illustration]
In the beginning of the Waltz in E minor by Chopin the left hand has to
play this chord a number of times. I can stretch any three of the four
notes, but not all four. Can one of them be omitted, and which one?
You may omit the upper E, the second note from the top, but you may do
so only so long as it is physically impossible for you to strike all
the four notes. For, by omitting this note you do alter the tone colour
of the chord as well as its sonority. As soon as you have acquired the
requisite stretch--and anybody who does possess it--I would advise that
the note be not unnecessarily omitted. Chopin evidently meant to have
that note played.
[Sidenote: _Masters Cannot be Studied in Order_]
Will you give me your views as to the order in which the masters of
piano composition should be studied?
To classify composers, without specifying their works, is never
advisable. Beethoven's first and last sonatas differ so fundamentally
from each other in every particular that one may play the first one very
well and yet be for many years (perhaps forever) unable to play the last
one. And still, it is the same Beethoven that wrote both works. We can,
therefore, hardly speak of an "order of composers." So long as we are
dealing with masters the question should not be: Which master?--but,
Which composition does your stage of mental and technical development
call for? If you will defer the study of any other composer until you
have fully mastered the works of Beethoven--only the principal ones, at
that--you will need a life of more length than the Bible allots to the
average man.
[Sidenote: _The Greatest Composers as Pianists_]
Is it true that nearly all the great composers have been pianists?
If by pianists you mean musicians whose sole medium of audible musical
utterance was the piano, your question admits of no other than an
affirmative reply. The only exception I can think of just now was
Berlioz; there were, no doubt, others, but none who belongs to the truly
great ones. The reason for this is, perhaps, the circumstance that the
pianist throughout his education is brought into touch with greater
polyphony than the players of other instruments, and that polyphony is a
basic principle in music.
[Sidenote: _The Study of Operatic Transcriptions_]
Is the study of Thalberg's operatic transcriptions of any value to the
piano student?
Operatic transcriptions begin with Liszt. What was written before him in
that line (and in some degree contemporary with him, hence it includes
Thalberg) is hardly of any significance. If you feel a special
inclination toward the transcriptions of Thalberg you may play them;
they will not harm you so very much. But if you ask me whether they are
of any musical value I must frankly say, no.
[Sidenote: _Modern Piano Music_]
Are such pieces as "Beautiful Star of Heaven" or "Falling Waters" in
good taste? What contemporary composers write good piano music?
Pieces with pretentious names are usually devoid of such contents as
their names imply, so that the names are merely a screen to hide the
paucity of thoughts and ideas. Speaking very generally, there seems to
be not very much good music written for the piano just at present. By
far the best comes from Russia. Most of these compositions are rather
difficult to play, but there are some easy ones to be found among them,
such as the "Music Box," by Liadow, "Fantastic Fairy Tales," No. 12, by
Pachulski, and others.
EXERCISES AND STUDIES
[Sidenote: _Exercises for the Beginner to Practise_]
Is there any special book of practice exercises that you think best for
a beginner and that you would care to recommend?
Any reliable music publisher will tell you which book of exercises is
most in demand. The effect of the exercises depends, of course, upon the
way you play them. Indications as to touch, etc., are usually given in
such books. What kind of exercises your case demands cannot be
determined without a personal examination by an expert.
[Sidenote: _Good Finger Exercises_]
What would you say are the best studies for plain finger work?
The exercises of "Pischna" are to be recommended. They have appeared in
two editions, of which one is abridged. They are known as the "large"
and the "small Pischna." You may obtain them through any large music
house, I think, in the Steingraeber Edition.
[Sidenote: _The Value of Heller's Studies_]
Are Heller's studies practical for a young student lacking in rhythm and
expression?
Yes, they are very good, provided the teacher insists that the pupil
plays exactly what is indicated and does not merely "come near it."
[Sidenote: _Good Intermediate Books of Etudes_]
Living in the country, where there is no teacher available, I would
thank you for telling me what Etudes I ought to study. I have finished
those by Cramer and Moscheles, and can play them well, but find those by
Chopin too difficult. Are there no intermediate works?
You seem to be fond of playing Etudes. Well, then, I suggest:
"Twelve Etudes for Technique and Expression," by Edmund Neupert.
"Concert Etudes," by Hans Seeling (Peters Edition).
"Etudes," by Carl Baermann (two books), published in Germany.
"Etudes," by Ruthardt (Peters Edition).
But why not select an easy Etude by Chopin and make a start? The best
preparation--if not the Etudes themselves--is Heller's Opus 154.
[Sidenote: _Etudes For Advanced Players to Work at_]
What regular technical work would you prescribe for a fairly advanced
pianist--one who plays pretty well such things as the Chopin Etudes in
C minor, Opus 10, No. 12, and in D flat, Opus 25, No. 8, and the B flat
minor prelude?
My advice to advanced players is always that they should construct their
technical exercises out of such material as the different places in the
pieces at hand furnish. If you should feel the need of Etudes for
increasing your endurance and control of protracted difficult passages I
suggest that you take up the Etudes by Baermann and those by Kessler.
The former are a little easier than the latter.
[Sidenote: _The Value of Clementi's "Gradus" To-day_]
My first teacher laid great store by Clementi's "Gradus ad Parnassum,"
and insisted upon taking every study in it, while my new teacher, with
whom I recently started lessons, says that it is "outlived,
superannuated." Was my old or my new teacher right?
They were both right; one as a pedagogue, the other as a musician. As
you do not mention the reason of your first teacher's insistence, I must
assume that he employed the "Gradus" as exercises, pure and simple. It
serves this purpose quite well, though even as studies for the applying
of technical disciplines they are, on account of their dryness,
"outlived," as your new teacher correctly says. Modern writers have
produced studies which combine with their technical usefulness greater
musical value and attractiveness.
POLYRHYTHMS
[Sidenote: _Playing Duple Time Against Triple_]
How must I execute triplets played against two-eighths? In Clementi's
Sonatina, Opus 37, No. 3, first page, you will find such bars.
In a slow tempo it may serve you to think of the second eighth-note of
the triplet as being subdivided into two sixteenths. After both hands
have played the first note of their respective groups simultaneously,
the place of the aforesaid second sixteenth is to be filled by the
second note of the couplet. In faster motion it is far better to
practise at first each hand alone and with somewhat exaggerated accents
of each group until the two relative speeds are well established in the
mind. Then try to play the two hands together in a sort of
semi-automatic way. Frequent correct repetition of the same figure will
soon change your semi-automatic state into a conscious one, and thus
train your ear to listen to and control two different rhythms or
groupings at the same time.
[Sidenote: _The Two Hands Playing Different Rhythms_]
How should, in Chopin's Fantasy Impromptu, the four notes of the right
be played to the three of the left? Is an exact division possible?
An exact division would lead to such fractions as the musician has no
means of measuring and no terms for expressing. There is but one way to
play unequal rhythms simultaneously in both hands; study each hand
separately until you can depend upon it, and put them together without
thinking of either rhythm. Think of the points where the two hands have
to meet, the "dead points" of the two motions, and rely on your
automatism until, by frequent hearing, you have learned to listen to two
rhythms at once.
[Sidenote: _The Old Problem of Duple Time Against Triple_]
[Illustration]
How should the above-quoted notes be brought in with the lower triplets?
It would be futile to attempt a precise and conscious division in such
cases. The best, in fact, the only, way to do is to practise the hands
separately with an exaggerated accent on each beat until the points
where the hands meet are well conceived and the relative speed ratios
are well understood. Then try to play the hands together, and do not be
discouraged if the first attempts fail. Repeat the trial often and you
will finally succeed if the separate practice has been sufficient to
produce a semi-automatic action of the hands.
PHRASING
[Sidenote: _The Value and Correct Practice of Phrasing_]
Can you give an amateur a concise definition of phrasing and a few
helpful suggestions as to clear phrasing?
Phrasing is a rational division and subdivision of musical sentences,
and serves to make them intelligible. It corresponds closely with
punctuation in literature and its recitation. Find out the start, the
end, and the culminating point of your phrase. The last-named is
usually to be found upon the highest note of the phrase, while the
former are usually indicated by phrasing slurs. Generally speaking, the
rising of the melody is combined with an increase of strength up to the
point of culmination, where, in keeping with the note design, the
decrease of strength sets in. For artistic phrasing it is of the utmost
importance properly to recognize the principal mood of the piece, for
this must, naturally, influence the rendition of every detail in it. A
phrase occurring in an agitated movement, for instance, will have to be
rendered very differently from a similar-looking phrase in a slow,
dreamy movement.
[Sidenote: _Do Not Raise Wrist in Marking a Rest_]
In observing a rest should the hand be raised from the wrist?
Never! Such a motion should be made only in rapid wrist octaves or other
double notes when a staccato is prescribed. The regular way to conclude
a phrase, or observe a pause, as you say, is to lift the arm from the
keyboard and keep the wrist perfectly limp, so that the arm carries the
loosely hanging hand upward.
RUBATO
[Sidenote: _As to Playing Rubato_]
Will you please tell me what is the best method of playing rubato?
The artistic principles ruling rubato playing are good taste and keeping
within artistic bounds. The physical principle is balance. What you
shorten of the time in one phrase or part of a phrase you must add at
the first opportunity to another in order that the time "stolen"
(rubato) in one place may be restituted in another. The aesthetic law
demands that the total time-value of a music piece shall not be affected
by any rubato, hence, the rubato can only have sway within the limits of
such time as would be consumed if the piece were played in the strictest
time.
[Sidenote: _How to Play Passages Marked "Rubato"_]
I find an explanation of _tempo rubato_ which says that the hand which
plays the melody may move with all possible freedom, while the
accompanying hand must keep strict time. How can this be done?
The explanation you found, while not absolutely wrong, is very
misleading, for it can find application only in a very few isolated
cases; only inside of one short phrase and then hardly satisfactorily.
Besides, the words you quote are not an explanation, but a mere
assertion or, rather, allegation. _Tempo rubato_ means a wavering, a
vacillating of time values, and the question whether this is to extend
over both hands or over only one must be decided by the player's good
taste; it also depends upon whether the occupation of the two hands can
be thought of as separate and musically independent. I assume that you
are able to play each hand alone with perfect freedom, and I doubt not
that you can, with some practice, retain this freedom of each hand when
you unite them, but I can see only very few cases to which you could
apply such skill, and still less do I see the advantage thereof.
[Sidenote: _Perfect Rubato the Result of Momentary Impulse_]
In playing _rubato_ do you follow a preconceived notion or the impulse
of the moment?