S. V. RACHMANINOFF
FORMING THE PROPER CONCEPTION OF A PIECE
It is a seemingly impossible task
to define the number of attributes of really excellent
pianoforte playing. By selecting ten important
characteristics, however, and considering them carefully,
one at a time, the student may learn much that will
give him food for thought. After all, one can
never tell in print what can be communicated by the
living teacher. In undertaking the study of a
new composition it is highly important to gain a conception
of the work as a whole. One must comprehend the
main design of the composer. Naturally, there
are technical difficulties which must be worked out,
measure by measure, but unless the student can form
some idea of the work in its larger proportions his
finished performance may resemble a kind of musical
patchwork. Behind every composition is the architectural
plan of the composer. The student should endeavor,
first of all, to discover this plan, and then he should
build in the manner in which the composer would have
had him build.
You ask me, “How can the student
form the proper conception of the work as a whole?”
Doubtless the best way is to hear it performed by some
pianist whose authority as an interpreter cannot be
questioned. However, many students are so situated
that this course is impossible. It is also often
quite impossible for the teacher, who is busy teaching
from morning to night, to give a rendering of the
work that would be absolutely perfect in all of its
details. However, one can gain something from
the teacher who can, by his genius, give the pupil
an idea of the artistic demands of the piece.
If the student has the advantage of
hearing neither the virtuoso nor the teacher he need
not despair, if he has talent. Talent! Ah,
that is the great thing in all musical work.
If he has talent he will see with the eyes of talent that
wonderful force which penetrates all artistic mysteries
and reveals the truths as nothing else possibly can.
Then he grasps, as if by intuition, the composer’s
intentions in writing the work, and, like the true
interpreter, communicates these thoughts to his audience
in their proper form.
TECHNICAL PROFICIENCY
It goes without saying, that technical
proficiency should be one of the first acquisitions
of the student who would become a fine pianist.
It is impossible to conceive of fine playing that
is not marked by clean, fluent, distinct, elastic
technic. The technical ability of the performer
should be of such a nature that it can be applied immediately
to all the artistic demands of the composition to be
interpreted. Of course, there may be individual
passages which require some special technical study,
but, generally speaking, technic is worthless unless
the hands and the mind of the player are so trained
that they can encompass the principal difficulties
found in modern compositions.
In the music schools of Russia great
stress is laid upon technic. Possibly this may
be one of the reasons why some of the Russian pianists
have been so favorably received in recent years.
The work in the leading Russian conservatories is
almost entirely under supervision of the Imperial
Musical Society. The system is elastic in that,
although all students are obliged to go through the
same course, special attention is given to individual
cases. Technic, however, is at first made a matter
of paramount importance. All students must become
technically proficient. None are excused.
It may be interesting to hear something of the general
plan followed in the Imperial music schools of Russia.
The course is nine years in duration. During
the first five years the student gets most of his
technical instruction from a book of studies by Hanon,
which is used very extensively in the conservatories.
In fact, this is practically the only book of strictly
technical studies employed. All of the studies
are in the key of “C.” They include
scales, arpeggios, and other forms of exercises in
special technical designs.
At the end of the fifth year an examination
takes place. This examination is twofold.
The pupil is examined first for proficiency in technic,
and later for proficiency in artistic playing pieces,
studies, etc. However, if the pupil fails
to pass the technical examination he is not permitted
to go ahead. He knows the exercises in the book
of studies by Hanon so well that he knows each study
by number, and the examiner may ask him, for instance,
to play study 17, or 28, or 32, etc. The
student at once sits at the keyboard and plays.
Although the original studies are
all in the key of “C,” he may be requested
to play them in any other key. He has studied
them so thoroughly that he should be able to play
them in any key desired. A metronomic test is
also applied. The student knows that he will be
expected to play the studies at certain rates of speed.
The examiner states the speed and the metronome is
started. The pupil is required, for instance,
to play the E flat major scale with the metronome at
120, eight notes to the beat. If he is successful
in doing this, he is marked accordingly, and other
tests are given.
Personally, I believe this matter
of insisting upon a thorough technical knowledge is
a very vital one. The mere ability to play a few
pieces does not constitute musical proficiency.
It is like those music boxes which possess only a
few tunes. The student’s technical grasp
should be all-embracing.
Later the student is given advanced
technical exercises, like those of Tausig. Czerny
is also very deservedly popular. Less is heard
of the studies of Henselt, however, notwithstanding
his long service in Russia. Henselt’s studies
are so beautiful that they should rather be classed
with pieces like the studies of Chopin.
PROPER PHRASING
An artistic interpretation is not
possible if the student does not know the laws underlying
the very important subject of phrasing. Unfortunately
many editions of good music are found wanting in proper
phrase markings. Some of the phrase signs are
erroneously applied. Consequently the only safe
way is for the student to make a special study of
this important branch of musical art. In the olden
days phrase signs were little used. Bach used
them very sparingly. It was not necessary to
mark them in those times, for every musician who counted
himself a musician could determine the phrases as he
played. But a knowledge of the means of defining
phrases in a composition is by no means all-sufficient.
Skill in executing the phrases is quite as important.
The real musical feeling must exist in the mind of
the composer or all the knowledge of correct phrasing
he may possess will be worthless.
REGULATING THE TEMPO
If a fine musical feeling, or sensitiveness,
must control the execution of the phrases, the regulation
of the tempo demands a kind of musical ability no
less exacting. Although in most cases the tempo
of a given composition is now indicated by means of
the metronomic markings, the judgment of the player
must also be brought frequently into requisition.
He cannot follow the tempo marks blindly, although
it is usually unsafe for him to stray very far from
these all-important musical sign-posts. The metronome
itself must not be used “with closed eyes,”
as we should say it in Russia. The player must
use discretion. I do not approve of continual
practice with the metronome. The metronome is
designed to set the time, and if not abused is a very
faithful servant. However, it should only be
used for this purpose. The most mechanical playing
imaginable can proceed from those who make themselves
slaves to this little musical clock, which was never
intended to stand like a ruler over every minute of
the student’s practice time.
CHARACTER IN PLAYING
Too few students realize that there
is continual and marvelous opportunity for contrast
in playing. Every piece is a piece unto itself.
It should, therefore, have its own peculiar interpretation.
There are performers whose playing seems all alike.
It is like the meals served in some hotels. Everything
brought to the table has the same taste. Of course,
a successful performer must have a strong individuality,
and all of his interpretations must bear the mark
of this individuality, but at the same time he should
seek variety constantly. A Chopin ballade must
have quite a different interpretation from a Scarlatti
Capriccio. There is really very little in common
between a Beethoven Sonata and a Liszt Rhapsody.
Consequently, the student must seek to give each piece
a different character. Each piece must stand
apart as possessing an individual conception, and
if the player fails to convey this impression to his
audience, he is little better than some mechanical
instrument. Josef Hofmann has the ability of
investing each composition with an individual and
characteristic charm that has always been very delightful
to me.
THE SIGNIFICANCE OF THE PEDAL
The pedal has been called the soul
of the piano. I never realized what this meant
until I heard Anton Rubinstein, whose playing seemed
so marvelous to me that it beggars description.
His mastery of the pedal was nothing short of phenomenal.
In the last movement of the B flat minor sonata of
Chopin he produced pedal effects that can never be
described, but for any one who remembers them they
will always be treasured as one of the greatest of
musical joys. The pedal is the study of a lifetime.
It is the most difficult branch of higher pianoforte
study. Of course, one may make rules for its use,
and the student should carefully study all these rules,
but, at the same time, these rules may often be skilfully
broken in order to produce some very charming effects.
The rules represent a few known principles that are
within the grasp of our musical intelligence.
They may be compared with the planet upon which we
live, and about which we know so much. Beyond
the rules, however, is the great universe the
celestial system which only the telescopic artistic
sight of the great musician can penetrate. This,
Rubinstein, and some others, have done, bringing to
our mundane vision undreamt-of beauties which they
alone could perceive.
THE DANGER OF CONVENTION
While we must respect the traditions
of the past, which for the most part are very intangible
to us because they are only to be found in books,
we must, nevertheless, not be bound down by convention.
Iconoclasm is the law of artistic progress. All
great composers and performers have built upon the
ruins of conventions that they themselves have destroyed.
It is infinitely better to create than to imitate.
Before we can create, however, it is well to make ourselves
familiar with the best that has preceded us.
This applies not only to composition, but to pianoforte
playing as well. The master pianists, Rubinstein
and Liszt, were both marvelously broad in the scope
of their knowledge. They knew the literature
of the pianoforte in all its possible branches.
They made themselves familiar with every possible
phase of musical advancement. This is the reason
for their gigantic prominence. Their greatness
was not the hollow shell of acquired technic.
THEY KNEW. Oh, for more students in these days
with the genuine thirst for real musical knowledge,
and not merely with the desire to make a superficial
exhibition at the keyboard!
REAL MUSICAL UNDERSTANDING
I am told that some teachers lay a
great deal of stress upon the necessity for the pupil
learning the source of the composer’s inspiration.
This is interesting, of course, and may help to stimulate
a dull imagination. However, I am convinced that
it would be far better for the student to depend more
upon his real musical understanding. It is a
mistake to suppose that the knowledge of the fact that
Schubert was inspired by a certain poem, or that Chopin
was inspired by a certain legend, could ever make
up for a lack of the real essentials leading to good
pianoforte playing. The student must see, first
of all, the main points of musical relationship in
a composition. He must understand what it is
that gives the work unity, cohesion, force, or grace,
and must know how to bring out these elements.
There is a tendency with some teachers to magnify
the importance of auxiliary studies and minimize the
importance of essentials. This course is wrong,
and must lead to erroneous results.
PLAYING TO EDUCATE THE PUBLIC
The virtuoso must have some far greater
motive than that of playing for gain. He has
a mission, and that mission is to educate the public.
It is quite as necessary for the sincere student in
the home to carry on this educational work. For
this reason it is to his advantage to direct his efforts
toward pieces which he feels will be of musical educational
advantage to his friends. In this he must use
judgment and not overstep their intelligence too far.
With the virtuoso it is somewhat different. He
expects, and even demands, from his audience a certain
grade of musical taste, a certain degree of musical
education. Otherwise he would work in vain.
If the public would enjoy the greatest in music they
must hear good music until these beauties become evident.
It would be useless for the virtuoso
to attempt a concert tour in the heart of Africa.
The virtuoso is expected to give his best, and he
should not be criticized by audiences that have not
the mental capacity to appreciate his work. The
virtuosos look to the students of the world to do
their share in the education of the great musical public.
Do not waste your time with music that is trite or
ignoble. Life is too short to spend it wandering
in the barren Saharas of musical trash.
THE VITAL SPARK
In all good pianoforte playing there
is a vital spark that seems to make each interpretation
of a masterpiece a living thing. It
exists only for the moment, and cannot be explained.
For instance, two pianists of equal technical ability
may play the same composition. With one the playing
is dull, lifeless and sapless, with the other there
is something that is indescribably wonderful.
His playing seems fairly to quiver with life.
It commands interest and inspires the audience.
What is this vital spark that brings life to mere
notes? In one way it may be called the intense
artistic interest of the player. It is that astonishing
thing known as inspiration.
When the composition was originally
written the composer was unquestionably inspired;
when the performer finds the same joy that the composer
found at the moment the composition came into existence,
then something new and different enters his playing.
It seems to be stimulated and invigorated in a manner
altogether marvelous. The audience realizes this
instantly, and will even sometimes forgive technical
imperfections if the performance is inspired.
Rubinstein was technically marvelous, and yet he admitted
making mistakes. Nevertheless, for every possible
mistake he may have made, he gave, in return, ideas
and musical tone pictures that would have made up for
a million mistakes. When Rubinstein was overexact
his playing lost something of its wonderful charm.
I remember that upon one occasion he was playing Balakireff’s
Islamei at a concert. Something distracted
his attention and he apparently forgot the composition
entirely; but he kept on improvising in the style
of the piece, and after about four minutes the remainder
of the composition came back to him and he played
it to the end correctly. This annoyed him greatly
and he played the next number upon the program with
the greatest exactness, but, strange to say, it lost
the wonderful charm of the interpretation of the piece
in which his memory had failed him. Rubinstein
was really incomparable, even more so perhaps because
he was full of human impulse and his playing very
far removed from mechanical perfection.
While, of course, the student must
play the notes, and all of the notes, in the manner
and in the time in which the composer intended that
they should be played, his efforts should by no means
stop with notes. Every individual note in a composition
is important, but there is something quite as important
as the notes, and that is the soul. After all,
the vital spark is the soul. The soul is the
source of that higher expression in music which cannot
be represented in dynamic marks. The soul feels
the need for the crescendos and diminuendos
intuitively. The mere matter of the duration
of a pause upon a note depends upon its significance,
and the soul of the artist dictates to him just how
long such a pause should be held. If the student
resorts to mechanical rules and depends upon them
absolutely, his playing will be soulless.
Fine playing requires much deep thought
away from the keyboard. The student should not
feel that when the notes have been played his task
is done. It is, in fact, only begun. He
must make the piece a part of himself. Every
note must awaken in him a kind of musical consciousness
of his real artistic mission.
QUESTIONS IN STYLE, INTERPRETATION, EXPRESSION
AND TECHNIC OF PIANOFORTE PLAYING
SERIES XIV
S. V. RACHMANINOFF
1. Should the student gain an
idea of the work as a whole before attempting detailed
study?
2. How is the matter of digital
technic regarded in Russia?
3. What part should the study
of phrasing play in modern music education?
4. State how contrast in playing may be accomplished.
5. What may be considered the
most difficult branch of pianoforte study?
6. What is the law of artistic progress?
7. How must real musical understanding be achieved?
8. What is the vital spark in piano playing?
9. Can one be overexact in playing?
10. What is the effect of too many mechanical
rules?