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Study Talks with Foremost Virtuosos. A Series of Personal Educational Conferences with Renowned Masters from the Keyboard, Presenting the Most Modern Ideas upon the Subjects of Technic, Interpretation, Style and Expression
Release Date: February 8, 2009 eBook 28026
E-text cooked by Barbara Tozier, Bill Tozier, Obvious typographical errors are actually corrected within this text. For a whole list, please start to see the bottom of the document.
Quotation marks happen to be left in this particular text because they were within the original. Some are unmatched.
OF THE KEYBOARD, PRESENTING THE
Copyright, 1913, by Theo. Presser Co.
Are Pianists Born or Made?
The father of your young woman who has been preparing to turn into a virtuoso once put on a famous musical educator for advice about the future career of his daughter. I want her to be one from the greatest pianists America has ever produced, he was quoted saying. She has talent, health, unlimited ambition, an excellent general education, and she or he is industrious. The educator thought for awhile, and after that said, It can be quite likely your daughter are going to be successful in their chosen field, even so the amount of grinding study she will probably be obliged to undergo to meet up with the towering standards of recent pianism is awful to contemplate. In the end she is going to have the flattery in the multitude, and, allow us to hope, several of their dollars likewise. In return, she may need to sacrifice many from the comforts and pleasures which women covet. The more successful jane is, the more of the nomad she must become. She will know but 7 days for years when she'll not be compelled to employ for hours. She gets to be a kind of chattel with the musical public. She is going to be harassed by ignorant critics and possibly annoyed by unreliable managers. In return she gets money and fame, but, in reality, far less with the great joy and reason for life than if she followed the customary domestic career by splendid man 6 as her husband. When I was younger I used to preach quite a contrary sermon, nevertheless the more I see on the hardships on the artists life the less I think with the dollars along with the fame it brings. It is tough enough for a man, nonetheless it is two times as hard for a lady.
Some cynic has contended that this much-despised Almighty Dollar is the greatest incentive towards the struggling virtuoso in European music centers. Although this could be true in a very number of cases, which is unjust on other occasions. Many from the virtuosos find travel in America so distasteful that notwithstanding the enormous golden bait, the managers have the very best difficulty in inducing the pianists to go back. Indeed, there are numerous artists of great renown whom the managers will be glad to coax to the country but that have withheld tempting offers for a long time. One of these is Moritz Moszkowski, by far the most popular of contemporary pianoforte composers of high-class music. Grieg, when he finally consented to generate the voyage to America, placed his price at the year 2000 five hundred dollars for each and every concert what can which any manager would regard prohibitive, except from the case of merely one world-famous pianist. Griegs intent was obvious.
The inconveniences of travel in America are already ridiculously exaggerated in Europe, and several virtuosos dread thinking about an American trip, together with the great ocean yawning relating to the two continents, 7 and red-skinned savages just beyond New York or not far from Chicago. De Pachmann detests the ocean, when he comes over in the favorite month of June he isn't going to dare return until these June. Others who may have never visited America must obtain idea of American travel from some such account as that relating to Charles Dickens within his unforgivable American Notes 1842, in which he was quoted saying, in describing one individuals railroads:
There is a superb deal of jolting, a lot of noise, a substantial amount of wall, little window, a locomotive engine, a shriek plus a bell. The cars are just like shabby omnibuses holding thirty, forty, fifty people. In the centre on the carriage there exists usually a stove, fed with charcoal or anthracite coal, which is to the most part red hot. It is insufferably close, and you also see the hot air fluttering between yourself and then any other object you could possibly happen to check out.
There could are already but little improvement within our railroads in 1872 when Rubinstein located America, for although he accepted 40, 000 for 215 concerts during his first trip, he refused a suggestion of 125, 000 for just 50 concerts whenever a manager experimented with persuade him to come back.
American railroads now present the acme of comfort, convenience, and in some cases luxury in travel, however the European artist has difficulty in adjusting himself to journeys of countless miles crowded in a very short wintertime when he may be accustomed to little trips of the few hundred kilometers. He relates to dread the trains even as might a prison van. Paderewski resorts to a non-public car, but even this luxurious mode of travel can be very monotonous and exhausting. 8
The great distances must certainly be the cause of some on the evidences of strain which deform the faces and exhaust the minds of countless virtuosos. The traveling salesman appears to thrive upon miles of railroad travel just like the crews with the trains, though the virtuoso, dragged from concert to concert by his showman, grows tired oh, so tired, pale, wan, listless and indifferent! At the beginning from the season he's quite other people. The magnetism which has done a great deal to win him fame shines within his eyes and usually emanate from his finger-tips, however the difference in their physical being on the end on the season is sickening. Like a bedraggled, worn-out circus coming in in the wear and tear of the hard season, he crawls wearily time for New York that has a cinematographic recollection of varied telegraph poles flying beyond the windows, audience after audience, sleeping cars, budding geniuses, the inevitable receptions using equally inevitable chicken salad or lukewarm oysters, and also the sweet young things, who, like Heines mythical tribe of Asra, must love or perish. Some virtuosos develop the physical strength to have all this, even have fun with this, however some have confessed in my experience that their American tours happen to be literal nightmares.
One with the greatest pianists was obliged in which to stay New York for a short time before attempting the voyage homeward. At the time he am weak on the rigors on the tour that they could scarcely write his name. His haggard face suggested the tortures of your Torquamada in lieu of Buffalo, Kansas City, Denver and Pitts 9 burgh. His voice was tired and faltering, with the exceptional chief interest was that with the invalid getting home at the earliest opportunity. To have talked with him upon music then would are already an injustice. Accordingly, I led him away on the subject and dwelt upon the woes of his native Poland, and, much to his surprise, left him without worrying about educational material that I had been in quest. He asked the explanation, and I told him that your musical conference then could serve no purpose.
As women and men, aside through the attainments which may have made them illustrious, virtuosos are to the most part like ordinary mortals that have to content themselves with the foot of Parnassus. It continues to be my privilege to find out thirty or more in the most eminent artists, and a few have become good personal friends. It is interesting to look at how several unique types of individuals may grow into success winning public favor as virtuosos. Indeed, except with the long-haired caricature that this public accepts because conventional virtuoso there's no virtuoso type. Here is usually a business man, here a designer, here an engineer, here a jurist, here an actor, here a poet and here a freak, these distinguished performers. Perhaps the enthusiastic music-lover will resent the idea of an freak becoming famous being a pianist, but I have known at the least three men who can't possibly be otherwise described, but who've nevertheless made both fame and fortune as virtuosos.
The anthropologist who chooses to conduct special investigations of freaks will get no more entertaining field than that with the remarkable freaks from the brain, shown within the cases of some astonishing performers whose intelligence and mental capacity in other ways has become negligible. The classic case of Blind Tom, by way of example, was that of the freak not very far removed in kind on the Siamese Twins, or General Tom Thumb. Born a slave in Georgia, and wholly without what teachers would term a musical education, Blind Tom amazed many on the most conservative musicians of his time. It was simple for him to repeat difficult compositions after hearing them played only one time. I conversed with him many years ago in New York, to discover that intellectually and physically he was allied for the cretin.
Blind Toms peculiar ability has led many hasty commentators in summary that music is usually a wholly separate mental faculty found particularly in a much more or less shiftless and irresponsible class of gifted but intellectually limited people. The few cases of males and females whose musical talent usually eclipse their brains so that they be in utter darkness to anything else in life, should not taken to be a basis for judging other artists of real genius and undisputed mental breadth. I have at heart, however, true of one pianist that's very well regarded and highly lauded, but that's very slightly taken off 11 the category of Blind Tom. A trained alienist, one acquainted together with the difference between your eccentricities which regularly accompany greatness along with the unconscious physical and psychical evidences of idiocy which so clearly agree together with the antics in the chimpanzee or perhaps the droll Capuchin monkeys, might find within the performer to whom I refer an issue for some quite interesting, not to imply startling reflections. Few have lots of people successful in inducing this pianist to chat upon some other subject than music for a lot more than a matter of minutes at a time. Another pianist, who has been distinguished being a Liszt pupil, and who toured America repeatedly, appeared to have a hatred to the piano that amounted to a obsession. Look, he exclaimed, I am its slave. It has sent me round and about the world, night after night, time and time again. It has cursed me such as a wandering Jew. No rest, no home, no liberty. Do you wonder that I drink to forget it?
And drink he did in Bacchanalian measure! One time he gave an unconscious exhibition of his technical ability that, while regrettable, would have already been of immense interest to psychologists that need to prove that music depends on a separate operation of an special faculty. During his American tours I called frequently upon this virtuoso with the purpose of investigating his way of playing. He was rarely free from your influence of alcohol for a lot more than a few 12 hours at any given time. One morning it absolutely was necessary for me to view him professionally, so when I found him at his hotel he was at a truly disgraceful condition. I remember he was not able to stand, in the fact that they fell upon me while I was sitting in a very Morris chair. He was barely able to communicate, and simply prior to my leaving he insisted upon scrawling upon his visiting card, Zur freundlichen Errinerung, auf einen sehr sp ten Abend. Friendly remembrances of your very late evening. Since it turned out still very early from the morning, it could possibly be realized which he had lost all understanding of his whereabouts. Nevertheless, he sat for the piano keyboard and played tremendously difficult compositions by Liszt and Brahms compositions which compelled his hands to leap from a single part in the keyboard on the other as from the case from the Liszt Campanella. He never missed a communication until he lost his balance upon the piano stool and fell for the floor. Disgusting and pathetic as being the exhibition was, I could hardly help feeling that I was witnessing a fabulous instance of automatism, that wonderful power on the mind working with the body to reproduce, apparently easily or thought, operations which are actually repeated countless times that they are becoming second nature. More than this, it indicated clearly that while the greater part on the mans body was dead towards the world, the faculty he previously cultivated on the highest extent still remained alive. Some years later this man was a victim of alcoholism.
Contrasted having a type in this kind can be mentioned such men as Sauer, Rachmaninov, dAlbert, Paderewski, Godowsky, Bachaus, Rosenthal, Pauer, Joseffy, Stojowski, Scharwenka, Gabrilowitsch, Hofmann, Bauer, Lh vinne, to express nothing with the ladies, Bloomfield-Zeisler, Carre o, Goodson, et al., lots of whom are intellectual giants. Most all are exceedingly regular inside their habits, and a minimum of two are strong temperance advocates. Intellectually, pianists with this class represent a really remarkable type of mentality. One is impressed while using surprising quickness in which their brains operate even during ordinary conversation. Speaking in alien languages, they find comparatively little difficulty in expressing themselves with rapidity and fluency. Very few great singers ever buy a similar ease. These pianists are wonderfully well read, many being acquainted while using literature of three or higher tongues from the original. Indeed, it's not unusual to discover them skipping through several languages during ordinary conversation without realizing that they may be performing linguistic feats that might put the standard college graduate to shame. They are knowledgeable about art, science, politics, manufactures, even within their most recent developments. What is your best type of an roplane? asked one some years ago within the kindergarten times cloud navigation. I told him that I had made no choice, since I had not witnessed a 14 flying machine, despite the undeniable fact that I was a native in the country that gave it birth. He then vouchsafed his opinions and applied for a physical and mechanical discussion in the matter, indicating which he had spent hours in receiving the whole subject straightened out within his mind. This same man, a German, knew whole cantos on the Inferno by heart, and may even repeat long scenes from King Lear that has a very creditable English accent.
The average American tired business man that's inclined to take a look upon the touring virtuoso as merely a pianist can be immensely surprised if he were asked to compare his store of universal information with that on the performer. He would soon observe that his long close confinement behind the bars from the dollar sign had made him the intellectual inferior on the musician he almost ignores. But it can be hardly fair to check these famous interpreters using the average tired business man. They are the Cecil Rhodes, the Thomas Edisons, the Maurice Maeterlincks of the fields. It is easy enough to discover musicians of smaller life opportunities basking into their ignorance and conceit.
While the virtuoso could possibly be described as intellectual from the broader sense in the term, he typically has a great nervous about becoming academic. He aspires to get artistic instead of scholarly. He strives to elevate as opposed to to teach inside the strictly pedagogical sense. Some on the greatest performers are actually notoriously weak as teachers. They do not seek the 15 walls in the college, neither do they really long for that cheap Bohemianism that so many on the French feuilletonists love describing. Why should the immorality in the artists life be laid for the doors of fair Bohemia? The artists every day life is wrapped up in making his readings of master works more, more eloquent, more beautiful. He is enthusiastic about everything that plays a part in his artistry, whether it is literature, science, history, art or perhaps the technic of his or her own interpretative development. He penetrates different mystic problems which surround piano playing with the infallible technique of persistent study and reflection. The psychical phase of his work interests him immensely, especially the phenomena of non-public attraction known as magnetism.
Magnetism is definitely one in the most enviable possessions in the successful pianist. Just what magnetism is and ways in which it relates to be, few psychologists try to relate. We all have our theories, just why one pianist who often blunders as readily like a Rubinstein, or who displays his many shortcomings each and every concert can still draw larger audiences and arouse more applause than his confr re with weaker vital forces, although he be admittedly a greater technician, a far more highly educated gentleman and perhaps a much more sensitive musician.
Charles Frohman, keenest of theatrical producers, attributed the actors success to vitality, along with 16 achieving this he merely chose one with the weaker synonyms of magnetism. Vitality within this sense doesn't imply great bodily strength. It is rather soul-strength, mind-strength, life-strength. Professor John D. Quackenbos, , , formerly of Columbia University, essays this definition of magnetism within his excellent Hypnotic Therapeutics :
Magnetism is not more than earnestness and sincerity, in conjunction with insight, sympathy, patience and tact. These essentials can't be bought and is not taught. They are born naturally, they may be dyed while using red ripe from the heart.
But Dr. Quackenbos is often a physician and also a philosopher. Had he been a lexicographer he'd have found the definition of magnetism considerably more inclusive. He would at the least have admitted the phenomenon which we have now witnessed so frequently when one possessed with volcanic vitality overwhelms a terrific audience.
The old concept that magnetism is a type of invisible kind of intellectual or psychic electricity went down the grotesque phrenological vagaries of Gall also as some in the pseudoscientific theories of their very unusual man, Mesmer. We all possess what is known as magnetism. Some contain it in an unusual degree, as did Edwin Booth, Franz Liszt, Phillips Brooks and Bismarck. It was surely neither the art nor the ability of Daniel Webster that made his audiences accept a few of his fatuous platitudes as great utterances, nor could it have been the histrionic talent alone of Richard Mansfield that enabled him to wring success from a very obvious theatrical contraption 17 as Prince Karl. Both Webster, in reference to his fathomless eyes with the exceptional ponderous voice, and Mansfield, regarding his compelling personality, were exceptional instances of magnetism.
Among virtuosos Paderewski is peculiarly forceful inside personal spell he casts over his audience. Someone claims that it cost over a hundred thousand dollars to use his hair before he made his first American tour. But it absolutely was by no means curiosity to determine his hair which maintained filling auditorium after auditorium. I attended his first concert in New York, and was amazed to view a comparatively small gathering of musical zealots. His command from the audience was at the same time imperial. The critics, several of whom would are finding Paderewskis hirsute crown a wonderful rack on which to hang their ridicule, went into ecstasies instead. His art and his awesome striking personality, entirely other than his appearance, soon made him the very best concert attraction within the musical world. Anyone who may have conversed with him for a lot more than a few moments realizes the meaning with the word magnetism is. His entire bearing his lofty attitude of mind, his personal dignity all contribute on the inexplicable attraction how the arch hypnotist Mesmer first termed animal magnetism.
That magnetism from the pianist should be considered wholly other than personal beauty and great physical strength is evident to individuals who have given the 18 subject a moments thought. Many with the artists already mentioned with this book who possess magnetism similar to that relating to Paderewski could surely never make claim web hosting beauty. Neither is magnetism like that attraction we all experience once we see a powerful, well-groomed horse, a sleek hound, a handsome tiger that may be, it's not mere admiration for an incredible animal. Whether it has any similarity on the mysterious charm that makes the doomed bird lose control of the company's wings upon the approach of your snake is very to estimate. Certainly, inside paraphernalia from the modern recital featuring its lowered lights and its particular solitary figure playing away in a polished instrument one could find something from the physical apparatus employed with the professional hypnotist to insure concentration but even this may not account for your pianists real attractiveness. If Mr. Frohmans vitality means the vital spark, lifespan element, it comes down very close to your true concise explaination magnetism, for fulfillment without this precious Promethean force is inconceivable. It might be only a smouldering ember within the soul of an dying Chopin, however if it is there it really is irresistible until it gets extinct. Facial beauty and physical prowess all made way for that kind of magnetism that Socrates, George Sand, Julius C sar, Henry VIII, Paganini, Emerson, Dean Swift or Richard Wagner possessed.
More wonderful still may be the fact that magnetism is under no circumstances confined to those who've finely trained intellects or with achieved great reputations. 19 Some vaudeville buffoon or some gypsy fiddler can have more attractive power as opposed to virtuoso who had spent years in developing his mind and his awesome technic. The average virtuoso thinks a great deal more of his geist, his talent or as Emerson would contain it, the shadow from the soul the otherwise than he does of his technic, or his cadenzas. By what mystic means magnetism might be developed, the writer won't pretend to find out. Possibly by placing ones deeper self shall we say subconscious self in closer communion while using great throbbing problems in the invisible though perpetually evident forces of nature which surround us organic meat become more alive, more sensitively vivified. What would it mean on the young virtuoso if he may go to some occult master, some seer of an higher thought, and have that lode-stone that has drawn fame and fortune to your blessed few? Hundreds have spent fortunes upon charlatans from the attempt.
All artists have in mind the part that this audience itself plays in falling beneath the magnetic spell from the performer. Its connection while using phenomena of autosuggestion is incredibly clear. Dr. Wundt, the famous German psychologist, showed a class of students how superstitions unconsciously acquired at the begining of life affect sensible adults with long since passed happens at which they may put any credence in omens. At a concert written by a famous player, the audience is well schooled in anticipation. The artist always appears beneath a halo his reputation has created 20 for him. This very reputation makes his conquest in an easier way than that on the novice who may have to prove his ability before they can win the sympathy in the audience. He is considerably more likely to get the audience en rapport than indifferent. Sometime, in the play inside a theater, watch how the crowd will unconsciously mirror the facial expressions from the forceful actor. In some similar manner, the virtuoso for the concert platform sensitizes the minds and emotions with the sympathetic audience. If the effect is deep and lasting, the artist has been said to possess that Kohinoor of virtuosodom magnetism.
Some widely read critics have elected the very natural error of confounding magnetism with personality. These words have quite different connotations personality comprehending greater subtle force of magnetism. An artists individual worth is quite closely allied in reference to his personality that's, his whole extrinsic attitude toward the idea and action with the world about him. How important personality is might be judged with the widely advertised efforts with the manufacturers of piano-playing machines to convince the population that their products, often astonishingly fine, do actually reproduce the person effects which come from your playing with the living artist. Piano-playing machines get their place, and it can be an important one. However, wonderful when they may be, they're able to never be definitely not machines. They bring unquestioned joy to thousands, and so they act as missionaries for both music as well as the 21 music-teacher if you take the art into countless homes where it may otherwise not have penetrated, thus creating the inspiration for a substantial desire for any thorough study of music. The piano-playing machine may easily boast of an mechanism as wonderful as that of an Liszt, a dAlbert or even a Bachaus, however it can forget about claim personality compared to the typewriter on which this article is being written can claim that they can reproduce the individuality which characterizes the handwriting of myriads of numerous persons. Personality, then, could be the virtuosos one great unassailable stronghold. It is personality which enables us would like to hear a half dozen different renderings of an single Beethoven sonata using a half dozen different pianists. Each has the charm and flavor from the interpreter.
But personality in their relation to art is so exquisitely defined because of the inimitable British essayist, A. C. Benson, that we can easily do no superior to to quote his words:
I have lately arrived at perceive which the one thing giving value to the piece of art, whether it is book, or picture, or music, is subtle and evasive thing and that is called personality. No number of labor, of zest, even of accomplishment, may make up for that absence of the quality. It has to be an almost instinctive thing, I believe. Of course, the mere presence of personality inside a work of art will not be sufficient, considering that the personality revealed could be lacking in charm; and charm, again, is surely an instinctive thing. No artist can attempt to capture charm; he can toil 22 each of the night and take nothing; but what every artist can and must target is to possess a perfectly sincere standpoint. He must take his chance whether his point of view is definitely an attractive one; but sincerity would be the one indispensable thing. It is useless to consider opinions on trust, to retail them, to look at them; they should be formed, created, felt. The work of any sincere artist is practically certain to involve some value; the project of an insincere artist is of the very nature worthless.
Mr. Bensons charm is the virtuoso feels as magnetism. It puts something in the artists playing which he cannot define. For a moment the vital spark flares right into a bewildering flame, and his world is peopled with moths hovering across the divine fire.
If we've got dwelt too much time upon magnetism, people that know its importance within the artists life will readily perceive the key reason why. But do not allow us to be led away into believing that magnetism might take the place of effort. Even the tiny prodigy incorporates a career on the job behind him, along with the master pianist has often climbed to his position over Matterhorns and Mt. Blancs of industry. Days of practice, months of study, numerous years of struggle are part from the biography of just about every one who's got attained real greatness. What a pity to destroy time-old illusions! Some choose to think of these artist heroes dreaming their 23 lives away from the hectic caf s of Pesth or buried inside melancholy, absinthe and paresis of some morbid cabaret of Paris. As just a few fact, the most effective known pianists live a uniquely different life a life of grind, grind, grind incessant study, endless practice and ceaseless seek out means to raise their artistic standing. In some quiet country villa, miles away on the center of unlicensed Bacchanalian revels, the virtuoso could possibly be found making an effort upon next seasons repertoire.
After all, the very best thing from the artists every day life is W-O-R-K.
Some a long time ago the Director from the Leipsic Conservatorium gave the article author a complete record from the number of graduates from the conservatory from your founding on the late nineties. Of the a huge number of students who had passed from the institution a few had gained wide prominence. Hardly one student in a hundred had won his way to the most voluminous with the musical biographical dictionaries. The proportion of distinguished graduates to people who fail to gain renown can be quite high at Leipsic compared to many other institutions. What becomes from the thousands of students all working frantically while using hope of becoming famous pianists? Surely, a great deal earnest effort can 't be wasted although all cannot win the race? Those who often convince themselves they've failed continue to perform a useful plan to society compared to the laurel-crowned virtuoso. Unheralded and unapplauded, they end up being the teachers, the actual missionaries of Frau Musik to your people.
What would it be then, which promotes some fortunate ones in the armies of students everywhere America and Europe and makes of those great virtuosos? What must one do to turn into virtuoso? How long must one study before one might make a d but? What does 25 a fantastic virtuoso receive for his performances? How long does the virtuoso practice every day? What exercises does he use? All these and a lot of more similar questions occur regularly from the offices of music critics and from the studios of teachers. Unfortunately, an absolute answer could be given to none, although a fantastic deal might be learned by reviewing some in the experiences of a single who became great.
Some virtuosos actually seem to become born with all the heavenly gift. Many indeed are sons and daughters of parents who see their very own demolished dreams realized inside the triumphs in their children. When little Nathan creeps to your piano and quite without worrying about help of his elders picks your song she has heard his mother sing, all of the neighbors in Odessa be aware of it the next day. A wonder child perhaps! Oh happy augury of fame and fortune! Little Nathan shall possess the best of instruction. His mother will teach him to start with, obviously. She will shape his little fingers on the keyboard. She will sing sweet folk melodies as part of his ear, songs on the job, struggle, exile. She will count laboriously every single day until he plays with time. All the while the tiny mother sees far beyond the Ghetto, out in to the great world, grand auditoriums, breathless crowds, countless lights, nobles granting trinkets, bravos from the thousand throats, Nathan enclosed by endless wreaths of laurel, Oh, it can be all an excessive amount, Nathan! Nathan! you happen to be playing too fast. One, two, three, four, one, two, three, four, there, which is the tempo Clementi could have 26 been there. Fine! Some day, Nathan, you will likely be a great pianist and etc., etc.
Nathan next goes to your great teacher. He is already eight years and fairly leaping away from his mothers arms. Two years with all the teacher and Nathan might be ready to get a d but being a wonder child. The critics are kind. If his parents are extremely poor Nathan might have to go from town to town for awhile being exhibited just like a trained poodle or perhaps a tiny acrobat. The further he gets from home the greater severe his critics become, and Nathan and the mother hurry back towards the old teachers, who inform them that Nathan must still practice long and hard at the same time as take a step to build up his general education. The world nowadays looks askance with the musician who in addition to his keyboard accomplishments is really a numskull. More sacrifice for Nathans father and mother, but exactly what are poverty and deprivation by using these a goal in view? Nathan studies for a lot of years inside schools and inside high schools too as on the conservatory. In the music school he'll almost certainly doubtless spend six years in every, two years from the post-graduate or master classes, following regular four-year course. When sufficiently capable he's going to take a couple of pupils with a kopeck or possibly even longer per lesson to help out using the family expenses.
Nathan graduates on the conservatory rich in honors. Will the general public now receive him like a great pianist? A concert is planned and Nathan plays. Day and night for a long time his whole family 27 have already been looking forward to that concert. Let us concede which the concert is usually a triumph. Does he find fame and fortune looking forward to him next morning? No indeed, there is a thousand Nathans all equally accomplished. Again he or she must work and again he has to concertize. Perhaps after many years of strife a manager may approach him some day which has a contract. Lucky Nathan, perhaps you have not a thousand brothers who may never view a contract? Then, Can it be possible Nathan, could it be really America, America the virtuosos Golconda! Nathan constitutes a glorious tourn e. Perhaps the limited mother matches him. More likely she stays at your home in Odessa waiting with glistening eyes for every single incoming mail. Pupils go to Nathan and that he charges per lesson an amount equaling his fathers former weekly wage. Away together with the Ghetto! Away with poverty! Away with oblivion! Nathan is really a real virtuoso, a veritable Meister !
How does the American aspirant take on Nathan? Are there much less fine teachers within America such as Europe? Is it really important to go to Europe to complete ones musical education? Can one not turn into virtuoso in America? more questions in which editors and teachers are constantly plied. Can one who for a long time has waged a battle to the American teacher and American musical education answer this question without bias? Can we who trace the roots in our lineage back in barren 28 Plymouth or stolid New Netherland judge the question fairly and honestly?
One case suffices to exhibit the road that this American virtuoso is prone to travel. She is still a new woman, in her own twenties. Among her teachers was person who ranks among ab muscles best in America. Her general education was excellent, in truth far finer quality than that with the average gal of good family in continental Europe. While in their early teens she took over as the leading feature at conservatory concerts. Her teacher won many a profitable pupil through her brilliant playing. She studies, as do countless American pupils, without building a regular business of the usb ports. Compared with all the six year right through the day, week in and week out course which Nathan pursued in Odessa our little compatriot was at the decided disadvantage. But the person heard of any music student setting up a regular business of learning the profession as would a doctor or possibly a lawyer? Have not students contented themselves with two lessons each week since time immemorial? Need we go further to learn one in the flaws in our very own educational system, a flaw that's not due on the teacher or to your methods of instruction, but rather to your time-old custom. Two lessons weekly are adequate for that student who isn't going to aspire to turn into a professional, but altogether insufficient for that student who must accomplish a vast volume of work in the comparatively small volume of years. She requires constant advice, regular daily instruction and attention under experienced 29 instructors. Teachers are not for being blamed if she isn't going to receive this form of attention, because there are abundant opportunities now in America for systematic training under teachers as thorough, as able and since inspiring as can be found in Europe. The excuse the expense is greater in America falls if we learn the high prices charged by leading teachers in Germany, Austria and France.
To go back to the particular case, the woman is informed in the end of your course of a couple of lessons weekly during 2 or 3 years, that she's a full-fledged virtuoso and could now enter in the concert field to contend with Carre o, Bloomfield-Zeisler or Goodson. Her playing is undoubtedly superior to that relating to her contemporary students. Someone insists upon this short course of study abroad, not because it truly is necessary, but because it may add to her reputation making her first flights inside American concert field more spectacular. Accordingly she would go to Europe, to discover that she's literally enclosed by budding virtuosos, an army of Nathans, any kind of whom would likely eclipse her. Against her personal charm, her new-world vigor, her Yankee smartness, Nathan places his numerous systematic training, his soul saturated from the music and art of past centuries of European endeavor and maybe his youth of poverty helping to make success imperative. The young ladys European teacher frankly tells her that while her playing is delightful for your salon or parlor she is going to never do with the great concert hall. 30 She must learn how to play with more power, more virility, more character. Accordingly he sets her at the job along special muscle-building, tone-cultivating, speed-making lines of technic in order to generate up with the lack from the training that your young lady will certainly have had in your own home had her parents been schooled to systematic daily study to be a necessity. Her first technical exercises together with the new teacher are very simple how the young woman is about the verge of despair until she realizes that her playing is actually taking on a whole new and more mature character. She has become lifting fifty pound weights occasionally. Her teacher is training her to lift over a hundred pound weights every single day. She may be sketching in pastels, her teacher is teaching her how to create Velasquez-like strokes in oils. Her gain will not be a mere a few loudness. She could play quite as loud before she traveled to Europe. There is something mature within this new type of playing, an issue that resembles the playing in the other virtuosos this lady has heard. Who may be the great European master that's working such great wonders for my child? None other than a celebrated teacher who taught for decades in America, a guru no much better than dozens of others in America at the moment. Can the teachers in America be blamed if your parents plus the pupils fail for making as serious and continued a feat here? Atmosphere, bosh! Work, long, hard and unrelenting, which is the salvation in the student who would be a virtuoso. With our increasing wealth and advancing culture American 31 parents are beginning to learn that in the same work as well as the same volume of instruction musical education in America differs very slightly from musical education abroad.
But we're deserting our young virtuoso most ungallantly. In Berlin she hears numerous concerts and recitals, a lot of different varieties of playing, that they begins to think for herself and her feeling of artistic discrimination interpretation, when you becomes more and even more acute. Provided with funds for attending concerts, she does regularly, whereas in America she neglected opportunities equally good. She never realized before that there could be a lot to a Brahms Intermezzo or perhaps a Chopin Ballade. At the final of her novice her American common-sense tells her that the plunge to the concert field continues to be dangerous. Accordingly she remains two, or even three, more years and for the end if she's got worked hard jane is convinced that with proper management she may stand some prospects for winning that fickle treasure, public favor.
But, persists you, it would have already been possible to be with her to have accomplished exactly the same work at your home in America. Most certainly, if she had had any one with the hundred or maybe more virtuoso teachers now resident within the United States every one of whom are prepared for bringing a properly talented pupil to virtuoso heights, and if inside their teaching that they exerted sufficient will-power to demand from your pupil along with the pupils parents exactly the same conditions which could 32 govern the work in the same pupil studying in Europe. Through long tradition and also by means of endless experiences the conditions are actually established in Europe. The student who aspires to turned into a professional emerged a distinctively professional course. In America the requirement for such a training is but scantily appreciated. Only an exceptionally few of people are in a position to appraise the real significance about music inside advancement of human civilization, nor is unusual, since most folks have but to return but a really few generations to find our blessed Puritan and Quaker ancestors to whom all music, barring the lugubrious Psalm singing, was the inspiration with the devil. The teachers, as has become said before, are fully ready and greater than anxious to present the type of training required. Very frequently parents are themselves to blame to the slender dilettante type of playing which their well-instructed children present. They study the needs on the concert hall through the dimensions from the parlor. The teacher from the would-be professional pupil aspires to generate a quantity of tone which will fill an auditorium seating at the very least one thousand people. The pupil at your home is enjoined not to ever bang or pound. The result can be a feeble, characterless tone which rarely fills an auditorium because it should. The actor are not able to forever rehearse in whispers if he's to fill a massive theater, and also the concert pianist must employ a strong, sure, resilient touch so as to bring about climaxes making the range of his dynamic power all-comprehensive. Indeed, the separation from your own home 33 ties, or shall we refer to them as home interferences, is normally more responsible with the results achieved abroad than superior instruction.
Unfortunately, the quantity of virtuosos who are already taught exclusively in America is very very small. It just isn't a question of ability upon the part from the teacher or talent upon the part in the pupil. It is entirely a matter with the attitudes in the teacher, the pupil as well as the pupils home advisers. Success demands strong-willed discipline and also the most lofty standards imaginable. Teachers who've taught for several years in America have returned to Europe, doubled and quadrupled their fees, and, under old-world surroundings is actually more rigid standards of artistic work, have produced results they declare would are already impossible in America. The author contends these particular results would are actually readily forthcoming whenever we in America assumed exactly the same earnest, persistent attitude toward the effort itself. If these words do no longer than attain the eyes of a number of those who're advising students wrongly within this matter they will not have already been written in vain. The European concert triumphs of Mrs. H. H. A. Beach, whose training was received wholly within the United States, can be an indication of what could possibly be achieved in America if the appropriate course is pursued. Conditions are changing rapidly within our country, particularly within the wonderful West and Middle-West. It seems likely that numerous pianists without foreign instruction of any sort will have as great success in this concert 34 field as have many in our best opera singers with never stood a lesson around the other side.
Our little pianist has again been playing truant from manuscript. Let us see what goes on to her when she finished her work with all the famous teacher abroad. Surely the making of your virtuoso is undoubtedly an expensive matter. Let us go ahead and take estimate on the young pianists father, who practically mortgaged his financial existence to provide his daughter the correct musical training.
Lessons with first teacher at 1.00 a lesson. Eighty lessons 12 months for four years
Lessons with second American teacher for 24 months at 2.00 a lesson
Lessons with third American teacher at 4.00 a lesson for starters year and six months
Maintenance for eight years at 200.00 12 months minimum estimate