1. What is the nature of the technical study done by Harold Bauer?

2. Should immediate musical results be sought in technical study?

3. Upon what principle is expression in art based?

4. Is the utmost concentration necessary in all piano playing?

5. How may the piano become a barrier between the student and musical expression?

6. In what spirit should all studies be played?

7. Is the piano an expressive instrument?

8. Should pianists acquire a knowledge of the main feature in the construction of their instrument?

9. How may variety in piano playing be achieved?

10. How is phrasing related to breathing?

[Ill.u.s.tration: F. BLOOMFIELD-ZEISLER]

f.a.n.n.y BLOOMFIELD-ZEISLER

BIOGRAPHICAL

Mrs. f.a.n.n.y Bloomfield-Zeisler was born at Beilitz, Austrian Silesia, July 16, 1866. Two years later her parents took her to Chicago. Her first teachers in Chicago were Bernhard Ziehn and Carl Wolfsohn. At the age of ten she made a profound impression at a public concert in Chicago. Two years later she had the good fortune to meet Mme. Essipoff, who advised her to go to Vienna to study with Theodore Leschetizky.

Accordingly she was taken to the Austrian capital and remained under the instruction of the noted pedagogue for five years. Starting with the year 1883, she commenced a series of annual recitals and concerts in different American cities which made her very famous. In 1893 she toured Europe, attracting even more attention than in the homeland. Since then she made several tours of Europe and America, arousing great enthusiasm wherever she appeared. Her emotional force, her personal magnetism and her keen processes of a.n.a.lysis compelled critics everywhere to rank her with the foremost pianists of the day.

VI

APPEARING IN PUBLIC

f.a.n.n.y BLOOMFIELD-ZEISLER

"The secret of success in the career of a virtuoso is not easily defined. Many elements have to be considered. Given great talent, success is not by any means a.s.sured. Many seemingly extraneous qualities must be cultivated; many mistakes must be avoided.

"Let me start out with a caution. No greater mistake could possibly be made than to a.s.sume that frequent public appearances or extended concert touring in early youth is essential to a great career as a virtuoso. On the contrary, I would say that such a course is positively harmful. The 'experience' of frequent playing in public is essential if one would get rid of stage fright or undue nervousness and would gain that repose and self-confidence without which success is impossible. But such experience should be had only after the attainment of physical and mental maturity.

A young boy or girl, though ever so much of a prodigy, if taken on an extensive concert tour, not only becomes unduly self-conscious, conceited, vain and easily satisfied with his or her work, but--and this is the all-important point--runs the risk of undermining his or her health. The precious days of youth should be devoted primarily to the storing up of health, without which lasting success is impossible.

Nothing is more harmful to sound physical development and mental growth than the strain of extensive tours. It is true that one great virtuoso now before the public played frequently before large audiences as an infant prodigy. But, happily, wise and efficient influences served to check this mad career. The young artist was placed in the hands of a great teacher and given a chance to reach full physical maturity and artistic stature before resuming public appearances. Had it been otherwise, it is a matter of common belief that this great talent would have fizzled out.

"By this I do not mean that the pupil should be prevented from playing at recitals in the home city. Playing of this kind gives the pupil confidence and smooths the way for his work as a mature artist. These performances should be rare, except in the case of performances given in the home of the pupil or at the teacher's home. What I object to is the exploitation on a large scale of the infant prodigy.

THOROUGH PREPARATION NECESSARY

"One of the real secrets of success in public appearance is thorough preparation. In fact there is no talisman, no secret that one can pa.s.s over to another and say, 'Here is my secret, go thou and do likewise.'

What a valuable secret it would be--the mysterious secret processes of the Krupp Gun Works in Germany would be trifling in comparison. Genuine worth is, after all, the great essential, and thorough preparation leads to genuine worth. For instance, I have long felt that the mental technic that the study of Bach's inventions and fugues afford could not be supplied by any other means. The peculiar polyphonic character of these works trains the mind to recognize the separate themes so ingeniously and beautifully interwoven and at the same time the fingers receive a kind of discipline which hardly any other study can secure.

"The layman can hardly conceive how difficult it is to play at the same time two themes different in character and running in opposite directions. The student fully realizes this difficulty when he finds that it takes years to master it. These separate themes must be individualized; they must be conceived as separate, but their bearing upon the work as a whole must never be overlooked.

"The purity of style to be found in Bach, in connection with his marvelous contrapuntal designs, should be expounded to the student at as early an age as his intellectual development will permit. It may take some time to create a taste for Bach, but the teacher will be rewarded with results so substantial and permanent that all the trouble and time will seem well worth while.

"There is also a refining influence about which I would like to speak.

The practice of Bach seems to fairly grind off the rough edges, and instead of a raw, bungling technic the student acquires a kind of finish from the study of the old master of Eisenach that nothing else can give him.

"I do not mean to be understood that the study of Bach, even if it be ever so thorough, suffices in itself to give one a perfect technic.

Vastly more is necessary. The student who would fit himself for a concert career must have the advice of a great teacher and must work incessantly and conscientiously under his guidance. I emphasize the study of Bach merely because I find it is not pursued as much as it deserves. That technical finish is of the very essence of success in public appearance, goes without saying. It is not only indispensable for a creditable performance, but the consciousness of possessing it contributes to that confidence of the player without which he cannot hope to make an impression upon his audience.

LESCHETIZKY AND 'METHOD'

"Speaking about teachers reminds me to put forth this caution: Do not pin your faith to a method. There is good and, alas! some bad in most methods. We hear a great deal these days about the Leschetizky method.

During the five years I was with Leschetizky, he made it very plain that he had no fixed method in the ordinary sense of the word. Like every good teacher, he studied the individuality of each pupil and taught him according to that individuality. It might almost be said that he had a different method for each pupil, and I have often said that Leschetizky's method is to have no fixed method. Of course, there are certain preparatory exercises which with slight variations he wants all his pupils to go through. But it is not so much the exercises in themselves as the patience and painful persistence in executing them to which they owe their virtue. Of course, Leschetizky has his preference for certain works for their great educational value. He has his convictions as to the true interpretation to be given to the various compositions, but those do not form what may properly be called a method. Personally, I am rather skeptical when anybody announces that he teaches any particular method. Leschetizky, without any particular method, is a great force by virtue of his tremendously interesting personality and his great qualities as an artist. He is himself a never-ending source of inspiration. At eighty he was still a youth, full of vitality and enthusiasm. Some student, diffident but worthy, was always encouraged; another was incited by sarcasm; still another was scolded outright. Practical ill.u.s.tration on the piano, showing 'how not to do it,' telling of pertinent stories to elucidate a point, are among the means which he constantly employed to bring out the best that was in his pupils. A good teacher cannot insure success and Leschetizky has naturally had many pupils who will never become great virtuosos. It was never in the pupils and, no matter how great the teacher, he cannot create talent that does not exist.

"The many books published upon the Leschetizky system by his a.s.sistants have merit, but they by no means const.i.tute a Leschetizky system. They simply give some very rational preparatory exercise that the a.s.sistants give in preparing pupils for the master. Leschetizky himself laughs when one speaks of his 'method' or 'system.'

"Success in public appearance will never come through any system or method except that which works toward the end of making a mature and genuine artist.

WELL-SELECTED PROGRAMS

"Skill in the arrangement of an artist's programs has much to do with his success. This matter has two distinct aspects. Firstly, the program must _look_ attractive, and secondly, it must _sound_ well in the rendition. When I say the program must look attractive, I mean that it must contain works which interest concert-goers. It should be neither entirely conventional, nor should it contain novelties exclusively. The cla.s.sics should be represented, because the large army of students expect to be especially benefited by hearing these performed by a great artist. Novelties must be placed on the program to make it attractive to the maturer habitues of the concert room.

"But more important, to my mind, is the other aspect of program making which I have mentioned. There must be contrasts in the character and tonal nature of the compositions played. They must be so grouped that the interest of the hearers will be not only sustained to the end, but will gradually increase. It goes without saying that each composition should have merit and worth as musical literature. But beyond that, there should be variety in the character of the different compositions: the cla.s.sic, the romantic, and the modern compositions should all be given representation. To play several slow movements or several vivacious movements in succession would tend to tire the listener.

Anti-climaxes should be avoided.

"It may truly be said that program making is in itself a high art. It is difficult to give advice on this subject by any general statement.

Generalizations are too often misleading. I would advise the young artist to study carefully the programs of the most successful artists and to attempt to discover the principle underlying their arrangement.

"One thing which should never be forgotten is that the object of a concert is not merely to show off the skill of the performer, but to instruct, entertain and elevate the audience. The bulk of the program should be composed of standard works, but novelties of genuine worth should be given a place on the program.

PERSONALITY

"The player's personality is of inestimable importance in winning the approval of the public. I do not refer particularly to personal beauty, although it cannot be doubted that a pleasing appearance is helpful in conquering an audience. What I mean is sincerity, individuality, temperament. What we vaguely describe as magnetism is often possessed by players who can lay no particular claim to personal beauty. Some players seem fairly to hypnotize their audiences--yes, hypnotize them. This is not done by practicing any species of black art, or by consciously following any psychological formula, but by the sheer intensity of feeling of the artist at the moment of performance.

"The great performer in such moments of pa.s.sion forgets himself entirely. He is in a sort of artistic trance. Technical mastery of the composition being presupposed, the artist need not and does not give thought to the matter of playing the notes correctly, but, re-creating in himself what he feels to have been the mood of the composer, re-creates the composition itself. It is this kind of playing which establishes an invisible cord, connecting the player's and the hearers'

hearts, and, swayed himself by the feelings of the moment, he sways his audience. He makes the music he draws from the instrument supreme in every soul in the audience; his feeling and pa.s.sion are contagious and carry the audience away. These are the moments, not only of the greatest triumph, but of the greatest exultation for the artist. He who cannot thus sway audiences will never rise above mediocrity.

DO NOT ATTEMPT THE IMPOSSIBLE