Piano Mastery Part 10

XVIII

ADELE AUS DER OHE

ANOTHER ARTIST AT HOME

Another opportunity to see the home of an artist was afforded me when Frl. Aus der Ohe invited me to visit her in her Berlin home. She also lives in the newer western portion of the city, where so many other artists are located. One feels on entering the s.p.a.cious rooms that this home has the true German atmosphere. Adele Aus der Ohe, whose personality is well remembered in America, on account of her various pianistic tours, now wears her brown hair softly drawn down over her ears, in Madonna fas.h.i.+on, a mode which becomes her vastly.

"My time is divided between playing in concert, composing, and my own studies," began the artist. "I give almost no lessons, for I have not time for them. I never have more than a couple of pupils studying with me at one time; they must be both talented and eager. The amount of time I consider necessary for practise depends, of course, on quickness of comprehension. In general, I may say four, or at most five hours are quite sufficient, If used with absolute concentration. The quality of practise is the great essential. If the pa.s.sage under consideration is not understood, a thousand times going over it will be only vain repet.i.tions; therefore, understand the construction and meaning of the pa.s.sage in the beginning, and then a thousand repet.i.tions ought to make it perfect.

"There is so much practise which can be done away from the instrument, by reading the notes from the printed page and thinking about them. Is this understood in America? Always _listen_ to your playing, to every note you make on the piano; I consider this point of the very first importance. My pupils are generally well advanced or are those who intend making music a profession. I have, however, occasionally taken a beginner. This point of listening to every note, of training the ear, should stand at the very foundation.

LETTING THE HAND FIND ITSELF

"In regard to hand position, I endeavor not to be narrow and pedantic.

If pupils play with good tone and can make reasonably good effects, I take them, at the point where they are and try to bring them forward, even if the hand position is not just what I would like. If I stop everything and let them do nothing but hand position, they will be discouraged and think they are beginning all over again. This beginning again is sometimes detrimental. To take a pupil at his present point, and carry him along was also Liszt's idea. He did not like to change a hand position to which the player has grown accustomed for one which seems unnatural, and which the pianist has to work a long time to acquire. He felt that one's time could be spent to more advantage. There are so many legitimate positions, each hand is a separate study, and is apt to take the position most natural to itself.

"I shall play numerous concerts and recitals in Europe the coming season, but shall not be in America. I know your country well as I have made several tours and have lived there. I left it the last time under sad circ.u.mstances, as my sister, who always accompanied me, had just pa.s.sed away after quite a long illness. So you see I have not much zest to return.

"However I am fond of America, and admire the great progress you are making in music and art. And you have the courage of your convictions; you do not admire a musical work simply because some one else says you should, or the critics tell you to. You do not ask your neighbor's opinion before you applaud it. If you do not like it you are not afraid to say so. Even when it is only ragtime that pleases you, you are not afraid to own up to it. When you learn what is better you say so. It Is this honesty which leads to progressive results. You are rapidly becoming competent to judge what is best. I have found the most appreciative audiences in America."

Miss Aus der Ohe had much to relate of the Woman's Lyceum. The Department of Music was founded by Aus der Ohe herself. Not long ago there was an exhibition of woman's work in music. Women composers from all over the country sent examples of their work. Our own Mrs. H.A.A.

Beach, who has been located for some time in Munich, was well represented. There are branches of this inst.i.tution in other German cities.

Several paintings of large size and striking originality hang on the walls of the pianist's home. They all ill.u.s.trate religious themes and are the work of Herr Aus der Ohe, the pianist's only brother, who pa.s.sed away at the height of his career.

"Yes," said the composer, "my mother, brother and sister have been taken away, since I was last in America, and now I am quite alone; but I have my art."

XIX

ELEANOR SPENCER

MORE LIGHT ON LESCHETIZKY'S IDEAS

Eleanor Spencer, whose first American tour is announced for the coming season, happened to be in Berlin during my visit there. I found her in her charming apartments in the Schonberg section of the city, far away from the noise and bustle of traffic. Her windows look out upon a wide inner court and garden, and she seems to have secured the quiet, peaceful environment so essential to an artist's development. Indeed Miss Spencer has solved the problems of how to keep house, with all the comforts of an American home, in a great German city.

"I grew so tired of living in _pensions_ that I took this little apartment over two years ago," she said, "and I like it so much better.

"I have been away from America for nine years, so the foreign cities where I have lived seem almost more like home to me than my native land, to which I have only paid two short visits during those nine years. But I love America, and perhaps you can imagine how eagerly I am looking forward to my coming tour.

"The first eight years of my life were spent in Chicago, and then my family moved to New York. Here I studied with Dr. William Mason. When I was about fifteen I went to Europe for further study, and although I had another master at first, it was not so very long before I went to Vienna, to Leschetizky, for I felt the need of more thorough preparation than I had yet had. There is nothing like a firm technical foundation; it is a rock to build upon; one cannot do great things without it. I have had to labor hard for what I have attained, and am not ashamed to say so. I practise 'all my spare time,' as one of my colleagues expresses it; though, of course, if one studies with the necessary concentration one cannot practise more than five hours to advantage.

[Ill.u.s.tration: To Miss Brower in appreciation and pleasant remembrance of our Berlin meeting ...ELEANOR SPENCER]

"I thoroughly believe in practising technic outside of pieces; I have always done so and still continue to do it. This brings the hand into condition, and keeps it up to the mark, so that difficult compositions are more readily within the grasp, and the technical requirements in them are more easily met. When the hand is in fine condition, exhaustive technical practise in pieces is not necessary, and much wear and tear of nerve force is saved. In this technical practise, to which I give an hour or more daily, I use very simple exercises, but each one contains some principle of touch, movement or condition. Hand over thumb and thumb under hand; different qualities of tone; staccato or clinging touch; scales, arpeggios and various other forms are used. Part of the technic study period is always given to Bach.

"I began my studies in Vienna with Mme. Bree, to get the preparatory foundation, but before long combined her lessons with those of the professor, and later went to him entirely."

"Just here I should like to mention a trifling point, yet it seems one not understood in America by those who say they are teachers of the Leschetizky method. These teachers claim that the professor wishes the fingers placed on a straight line at the edge of the keys, and in some cases they place the tip of the thumb in the middle of its key, so that it extends considerably beyond the tips of the other fingers. Is this the position taught by the _Vorbereiters_, or favored by Leschetizky?"

Miss Spencer's laugh rang out merrily.

"This is the first I have ever heard of the idea! Such a position must seem very strained and unnatural. Leschetizky, on the contrary, wishes everything done in the most easy, natural way. Of course, at first, when one is seeking to acquire strength and firmness of hand and fingers, one must give time and thought to securing an arched hand and steady first joints of fingers. Later, when these conditions have been thoroughly established, the hand can take any position required. Leschetizky's hand often lies quite flat on the keys. He has a beautiful piano hand; the first joints of the fingers have so long been held firmly curved, that they always keep their position, no matter what he is doing; if he only pa.s.ses his fingers through his hair, his hand is in shape.

"Leschetizky is indeed a wonderful teacher! The player, however, must divine how to be receptive, how to enter into the master's thought, or it may go hard with him. If he does not understand, nor grasp the master's words he may suffer terribly during the ordeal of the lessons.

I have witnessed such scenes! Those who are equal to the situation receive most illuminative instruction.

"I trust I do not give you the impression of being so devoted to, and enthusiastic in, the work I enjoyed with my venerated master that I wish to exclude other masters and schools. I think narrowness one of the most unpleasant of traits, and one I should dread to be accused of. I see so much good in others, _their_ ways and ideas, that, to me, all things great and beautiful in art seem very closely related.

MEMORIZING

"How do I memorize a composition? I first play it over a few times to become somewhat familiar with its form and shape. Then I begin to a.n.a.lyze and study it, committing it by phrases, or _ideas_, one or two measures at a time. I do not always take each hand alone, unless very intricate; sometimes it is easier to learn both hands together. It is a good thing to study out the melodic line, to build each phrase, to work with it till you get it to suit you. Then come the larger proportions, the big climaxes, which have to be thought out and prepared for in advance. A composition should be so thoroughly your own that you can play it at any time, if your hand is in condition. Or, if it has been laid aside for a long time, a couple of days should bring it back.

"The subject of forming a repertoire is one often overlooked or not understood. The repertoire should be comprehensive and built on broad lines. A pupil intending to make music a profession should know the literature of the piano, not only the small and unimportant works of the great composers (as is too often the case), but the big works as well.

If one is well grounded in the cla.s.sics at an early age, it is of great benefit afterwards.

POWER AND VELOCITY

"For gaining power, heavy chords are very beneficial; combinations of five notes that take in all the fingers are most useful.

"The principle of velocity is the doing away with all unnecessary movement--raising the fingers as little as possible, and so on. But in early stages of study, and at all times for slow practise, exactness and clearness, the fingers must be raised, Leschetizky _is a great believer in finger action; he holds it to be absolutely necessary for finger development_.

"I have been concertizing for the last three years, and studying alone.

This does not mean I have learned all the masters can teach, but only that I have come to a place where I felt I had to go alone, that I must work out what is in me. No master can teach us that; we have to find ourselves alone.

"I shall probably play considerably with orchestra next season. There is a Concerto by Rimsky-Korsakow which is quite short, only one movement.

It Is charming and brilliant, and I think has not yet been played in America. There is also a new work by Stavenhagen for piano and orchestra, which is a novelty on the other side. I greatly enjoy playing with orchestra, but of course I shall play various recitals as well."

Miss Spencer has appeared with the best orchestras in England and on the continent, and has everywhere received commendation for her pure, singing tone, plastic touch, and musical temperament. She is certain to have success in America, and to win hosts of friends there.

XX

ARTHUR HOCHMAN

HOW THE PIANIST CAN COLOR TONE WITH ACTION AND EMOTION

"A pianist, like a painter, should have an infinitude of colors on his palette," remarked Arthur Hochman, the young Russian pianist, in a recent chat about piano playing. He should paint pictures at the keyboard, just as the artist depicts them upon the canvas. The piano is capable of a wonderful variety of tonal shading, and its keys will respond most ideally to the true musician who understands how to awaken and bring forth all this tonal beauty from the instrument.