The Penn's Grove record., 1884-05-10
Pianoforte

When the student has gone through
the more elementary studies, there still
lies before him an immense tract of I'M
discovered country. He may be liken-
ed to a traveller who, after a long and
weary journey spent in overcoming
difficult obstacles, suddenly comes to a
place from whence he sees fresh noun
tains rise before his view. True, he
has mastered the works of Bertini, and
Cramer, and Moscheles; but of what
avail does it seem when the giant forms
of List and Chopin are seen looming
through the mIstp
ChOpin's studies are very difficult,
not only to play, but to read. Theo-
rists have disputed yer the origin of
some of the chords, so it is natural that
an ordinary person should find them
troublesome. The difficulties are also
very great, but once they are in any
degree overcome they give the player
the most delightful sense of mastery
over the instrument. If you could
play those studies as they ought to be
played you could play anything. They
are particularly good for any player
who is inclined to stiffness, as they pro-
duce great freedom of style. The
student has many opportunities of
hearing these studies performed, as
they are frequently played at the hest
p~ianoforte recitals.
Henselt's studies are extremely
idealistic; they all embody some par
ticular thought, bat without plenty of
study the idea escapes one. Many of
them are played at concerts and make
charming p~ianoforte pieces. 1t was
something wonderful to hear Rubin
stein play ISL Olseau j'etais.n The
dazzling arpeggios flew up the piano;
the longing and struggling and futter-
ing of wings were apparent, and the
idea flashed into the listeners mind at
once: 81 would fyi" The "Priere
d'Amour," in the same series, is a very
charming little piece, full of expression
and feeling. 1t is also an excellent
study for playing a melody with the
thumb of the right hand whilst carry
ing on the accompaniment with the
fingers. "Repos glamour" is another
piece somewhat in the same style, not
so taking at first sight as the other, but
full of interest to the person who
studies it. 1t is an excellent study for
participating and also for bringing out
a melody on the left hand. 1t com
mences with a melody in the bass, and
then, after a time, another voice comes
in, and a kind Of duet is carried on up
to the end.
1t is difficult to say, without knowing
the exact condition of the student, at
what point in his studies he should COM
menc the preludes and fugues of
Bach. He should learn them when
they are a pleasure to him, and not a
drag; he should be able to take an
intellectual delight in them, and be
sufficiently advanced in his reading for
the mere mastering of the notes not to
till him with encouragement. He can
prepare the way by first learning the
shorter diversions" and ''suites, !" so as
to get a little into the masters style.
All the preludes are delightful and
interesting, particularly the n to
which Gounod has set a melody, but
there is no disruting the fact that the
fugues are very tough work. Yet
must the student brace himself up and
attack them with a good courage, for
the love of Bach is n of the tastes
which grow with feeding, and the
player who begins with thinking the
work dry will often end by willingly
spending hour after hour in polishing
up some little turn or passage.
Moreover, the study of Bach is a
most important factor in the students
progress. No playing can be good
without it, and the hard hours of work
spent over It's study leave a lifelong
trace ON the style of the player. Clean
illness of touch and clearness of exeeu.
ton, vigor and precision, good lingering
and proficiency In part-playing-al
these things are the characteristics OF
the student who has played plenty OF
Bach. Even the very position OF the
hand and the CLEVER look or the
fingers will betray at once to the expert
enced eye that the pianist is well
acquainted with the works of that "old
mar who is always young"
To leave for a while the consideration
of particular studies to lay down
general principles that apply to all OF
them, every book of studies should be
zone through twice. That is the way
to get all the good out OF them. FIRST,
they must be gone through tolerably
quick for the sake or the reading-a
two-page one occupying about the
space of a week-and then the book
must be gone through again, and this
time 1t is the mechanical difficulties
tbat pnuct ha unaotarad pay aanapial