1. What is it which distinguishes the performance of the great pianist from that of the novice?

2. Upon what detail of interpretation does musical performance most depend?

3. Should the student continually estimate his own ability?

4. Which difficulty should you practice most?

5. What was the principle which made the Tausig exercises valuable?

6. Upon what does fine phrasing depend?

7. Why is it that the compositions of Johann Sebastian Bach are so useful in piano study?

8. How may complex musical problems be solved mentally?

9. Is it advisable to isolate difficulties and practice them separately?

10. How should one seize opportunities to improve?

TERESA CARREnO

BIOGRAPHICAL

Teresa Carreno was born at Caracas, Venezuela, December 22, 1853. She descended from one of the foremost families of Spanish America, which boasted of Simon Bolivar "the Washington of South America" as one of its members. Artists have been known among her ancestors as far back as the fourteenth century when the famous painter Carreno lived in Spain.

Mme. Carreno's first teacher was her father. Later she studied with a German teacher in her native country. At seven she played the _Rondo Capriccio_ of Mendelssohn with great _eclat_. A revolution obliged the Carreno family to move to New York. The death of a friend to whom funds had been entrusted placed the party of eighteen refugees in dire straits and a concert was arranged at which the tiny Teresa came to the front and secured sufficient means for their existence.

Gottschalk, then in the height of his fame in New York, became the child's next teacher. She remained with him for two years. Then she went to Paris and became a pupil of Georges Mathias, the famous disciple of Chopin. Her success as a virtuoso pianist in Europe excited the attention of Rubinstein who devoted a great deal of time to giving her invaluable advice and instruction in interpretation. Indeed Rubinstein was so proud of her that he repeatedly introduced her as his daughter in art and would jokingly say "Are not our hands exactly alike?"

Mme. Carreno's brilliance, force, breadth of thought and almost sensuous love for the beautiful made her numerous tours through all of the music-loving countries remarkably successful.

[Ill.u.s.tration: TERESA CARREnO]

VIII

DISTINCTIVE PIANO PLAYING

TERESA CARREnO

EARLY EVIDENCES OF INDIVIDUALITY

It is difficult for me to discuss the subject of individuality without recollecting one of the most impressive and significant events of my entire career. When I was taken to Europe as a child, for further study, it was my good fortune to meet and play for the immortal Franz Liszt. He seemed deeply interested in my playing, and with the kindliness for which he was always noted he gave me his blessing, a kind of artistic sacrament that has had a tremendous influence upon all my work as an artist. He laid his hand upon my head and among other things said: "Little girl, with time you will be one of us. Don't imitate anyone.

Keep yourself true to yourself. Cultivate your individuality and do not follow blindly in the paths of others."

In this one thought Liszt embodied a kind of a pedagogical sermon which should be preached every day in all the schools, conservatories and music studios of the world. Nothing is so pitiful as the evidences of a strong individuality crushed out by an artificial educational system which makes the system itself of paramount importance and the individual of microbic significance.

The signs of individuality may be observed in little folks at a very early age. With some children they are not very p.r.o.nounced, and the child seems like hundreds of others without any particular inclination, artistic or otherwise. It is then that the teacher's powers of divination should be brought into play. Before any real progress can be made the nature of the child must be studied carefully. In the case of other children, the individuality is very marked at an early age. As a rule, the child with the marked individuality is the one from whom the most may be expected later in life. Sometimes this very individuality is mistaken for precocity. This is particularly the case with musicians. In a few instances the individuality of the master has been developed late in life, as was the case of Richard Wagner, whose early individual tendencies were toward the drama rather than music.

NEW PROBLEMS AT EVERY STEP

The teacher in accepting a new pupil should realize that there at once arises new problems at every step. The pupil's hand, mind, body and soul may be in reality different from those of every other pupil the teacher has taught. The individual peculiarities of the hand should be carefully considered. If the hand has long, tapering fingers, with the fingers widely separated, it will need quite different treatment from that of the pupil with a short, compact, muscular hand. If the pupil's mind indicates mental lethargy or a lack of the proper early educational training, this must be carefully considered by the teacher.

If the pupil's body is frail and the health uncertain, surely the teacher will not think of prescribing the same work she would prescribe for a robust, energetic pupil who appears never to have had a sick day.

One pupil might be able to practice comfortably for four and five hours a day, while another would find her energy and interest exhausted in two hours. In fact, I would consider the study of individuality the princ.i.p.al care or study of the teacher.

The individuality of different virtuoso performers is very marked.

Although the virtuoso aspires to encompa.s.s all styles--that is, to be what you would call an "all-around" player--it is, nevertheless, the individuality of the player that adds the additional charm to the piano-recital. You hear a great masterpiece executed by one virtuoso, and when you hear the same composition played by another you will detect a difference, not of technical ability or of artistic comprehension, but rather of individuality. Rembrandt, Rubens and Vand.y.k.e might have all painted from the same model, but the finished portrait would have been different, and that difference would have been a reflection of the individuality of the artist.

THE TEACHER'S RESPONSIBILITY

Again let me emphasize the necessity for the correct "diagnosis" of the pupil's individuality upon the part of the teacher. Unless the right work is prescribed by the teacher, the pupil will rarely ever survive artistically. It is much the same as with the doctor. If the doctor gives the wrong medicine and the patient dies, surely the doctor is to blame. It makes no difference whether the doctor had good intentions or not. The patient is dead and that is the end of all. I have little patience with these people who have such wonderful intentions, but who have neither the ability, courage nor willingness to carry out these intentions. Many teachers would like to accomplish a very great deal for their pupils, but alas! they are either not able or they neglect those very things which make the teacher's work a mission. One of the teacher's greatest responsibilities lies in determining at first upon a rational educational course by divining the pupil's individuality.

Remember that pupils are not all like sheep to be shorn in the same identical fashion with the same identical shears.

EDWARD MACDOWELL'S INDIVIDUALITY

One of the most remarkable cases of a p.r.o.nounced musical individuality was that of the late Edward MacDowell, who came to me for instruction for a considerable time. He was then quite youthful, and his motives from the very first were of the highest and n.o.blest. His ideals were so lofty that he required little stimulation or urging of any kind. Here it was necessary to study the pupil's nature very carefully, and provide work that would develop his keenly artistic individuality. I remember that he was extremely fond of Grieg, and the marked and original character of the Norwegian tone-poet made a deep impression upon him. He was poetical, and loved to study and read poetry. To have repressed MacDowell in a harsh or didactic manner would have been to have demolished those very characteristics which, in later years, developed in such astonishing fashion that his compositions have a distinctiveness and a style all their own.

It gives me great pleasure to place his compositions upon my programs abroad, and I find that they are keenly appreciated by music lovers in the old world. If MacDowell had not had a strong individuality, and if he had not permitted this individuality to be developed along normal lines, his compositions would not be the treasures to our art that they are.

DEVELOPING INDIVIDUALITY THROUGH POETRY

If the teacher discovers a pupil with apparent musical talent, but whose nature has not been developed to appreciate the beautiful and romantic in this wonderful world of ours, he will find it quite impossible to alter the pupil's individuality in this respect by work at the keyboard alone. The mundane, prosaic individual who believes that the sole aim of musical study is the acquisition of technic, or the magic of digital speed, must be brought to realize that this is a fault of individuality which will mar his entire career unless it is intelligently corrected.

Years and years spent in practice will not make either a musician or a virtuoso out of one who can conceive of nothing more than how many times he can play a series of notes within the beats of the metronome, beating 208 times a minute.

Speed does not const.i.tute virtuosity, nor does the ability to unravel the somewhat intricate keyboard puzzles of Bach and Brahms make in itself fine piano playing. The mind of the artist must be cultured; in fact, quite as cultured as that of the composer who conceived the music.

Culture comes from the observation of many things: Nature, architecture, science, machinery, sculpture, history, men and women, and poetry. I advise aspiring music students to read a great deal of poetry.

I find great inspiration in Shakespeare, inspiration which I know is communicated to my interpretations of musical masterpieces at my concerts. Who can remain unmoved by the mystery and psychology of _Hamlet_, the keen suffering and misery of _King Lear_, the bitter hate and revenge of _Oth.e.l.lo_, the sweet devotion of _Romeo and Juliet_, the majesty of _Richard III_, and the fairy beauty of _A Midsummer Night's Dream_? In this wonderful kaleidoscope of all the human pa.s.sions one can find a world of inspiration. I am also intensely fond of Goethe, Heine, and Alfred de Musset. It gives me pleasure to compare them to the great masters of music. Shakespeare I compare to Brahms, Goethe to Bach and Beethoven, and Heine and Musset to Chopin and Liszt.

CULTIVATING VIVACITY AND BRILLIANCY

Vivacity and brilliancy in playing are largely matters of temperament and a fluent technic. I owe a great deal in this respect to Gottschalk.

When he came back to America fresh from the hands of the inimitable Chopin, he took the most minute pains to cultivate this characteristic in my playing. Chopin's own playing was marked by delicacy and an intensity that was apart from the bravura playing of most of the artists of his time. Gottschalk was a keen observer, and he did everything possible to impart this style to me. I have used the studies of Czerny, Liszt, Henselt and Clementi to develop brilliancy with pupils.

It should be remembered that the root of all brilliant playing lies in one thing--accuracy. Without accuracy any attempt at brilliancy must result in "mussiness." It is impossible to explain these things by means of books and theories. Remember what Goethe says: "Alle Theorie is grau, mein Freund" (all theory is foggy or hard to comprehend). One can say fifty times as much in twenty minutes as one can put in a book. Books are necessary, but by no means depend entirely upon books for technical instruction.