New-York tribune., 1918-10-20
Feel and Think
At Same Time
by Louis Stillman


Training tho ear to recognize vari-
ous scales, intervals and rhythms Is an
emotional intellectual training Of the
material of composition. The deeper.
more complex, emotional expression Of
phrase depends upon the feeling for
the dynamic sequence for emotional
satisfaction. Psyche o-physical-cmotion-
al training requires a conscious, pur-
poscful effort to control finger action
and pressure, increasing, decreasing
and accenting those notes or groups
which have emotional significance.
The technique Of emotional express
sion should be developed with the same
material which is used to strengthen
the muscles and mind concentration.
One must learn to feel and think at the
same time. It is quite impossible to
give pleasure if one is not thinking
about the composition while playing
it. Professor James, the psychologist.
says that "thought" may occupy the
centre Of focus" or border on the
marginal consciousness" at any par
servation may be applied to the pianist
who is giving a recital. We must con-
slider that the artist has schooled him
self against allowing such little things
to disturb his equanimity as lack Of
attention to his comfort before he ap-
pears upon the platform, not shielding
him from the unwelcome intruder,
temperature Of the room he has to sit
in, in midwinter or warm spring day.
Then, too, he may worry about the con-
dition Of his hands; whether he prac-
tised too much or too little of this OF
that study or composition; the final
arrangement Of the programme num-
bers, etc.
Unless he has complete mental con-
troll (concentration) he cannot Danish
all these and numerous unmentioned
thoughts from his mind at 8 o'clock and
give himself up solely to performing
the Sonata Appassionata. For the sake
OF argument we must assume that the
Sonata is under such perfect control
that it can even be played in slow
tempo in public without the pedal il
so wished
AS the artist walks from the stage
door to The piano he may become con-
scious for the first time during that
day that he is using his muscles for
walking; his gait may even be little
unsteady: 1t suddenly becomes neces-
sary for him to think Of balancing HIM
self on his feet. and to use all his
"will power" to maintain as natural a
step as possible.
1t is a great relief to sit down and
actually put both hands on the KEYS.
q A.;
one thing is Immediately exchanged for
another No sooner do we lose self
consequences in regard 10 locomotion
than the upper limbs become heavy as
lead aud stiff. During the few seconds
III Wfilch The artist has been before the
Der has vanished. Now at the critical
moment he must bring it before his
mcntal vision with all the vividress
possible and relax all muscles which
are not going to be directly used.
lac one thing that must be in the
centre OF focus now is a clear picture
OF The notes and rhythm. The mar
OF ihlnss. sensations. experience, in
panoramic review, which come and 90
IN such rapid Succession that thev can
only De recalled with great difficulty.
Presently the artist begins to feel at
ease, All thought Of the audience van
lshes The moment the tempestuous
nature of Beethoven comes to mind.
The thought is musical suggestion of
the character of the composer from the
work itself.
When this condition is induced the
emotional message in each composition
VIII more than likely fill the 'centrc of
focus" and those essentials, such as
notes, rhythm, lingering. keys, modula-
tons and pedailing occasionally. will
liil The "maroinal cnnsrinuSnnns,