SMOOTH PLAYING IMPORTANT

Southland Times, Issue 23977, 18 November 1939, Page 8

SMOOTH PLAYING IMPORTANT

ADDRESS GIVEN BY MR ADOLPH MANN EXAMINER FOR TRINITY COLLEGE An address that was both instructive and entertaining was given last night in St. John’s Hall by Mr E. H. Adolph Mann, who has been . mductingexaminations in Invercargill for the Trinity College of Music (London) during 'the last 10 days. Mr Mann made many remarks which were invaluable to both teachers and candidates and spoke_in a lucid and interesting style. Mr E. D. Pilcher, president of the Invercargill Centre, was chairman. It was important to play smoothly and candidates should take full advantage of phrasing' marks, said Mr Mann. If the candidate observed the correct phrasing he would gain a Much sounder idea of rhythm. He thought that the phrasing and sense f rhythm was not as as it should be. Referring to the type of candidate who told himself that he was going to astound and infatuate the examiner with runs up and down the piano, the speaker said that this playing would be all right provided the performers work showed finish. More often than not, however, it did lot show polish and ragged playing often resulted. This could be avoided if a moderate tempo was chosen. Musical examinations set a standard of proficiency, no matter what was said j for or against the system, Mr Mann continued. Every candidate took his chance and although he might be slightly nervous‘he had a lot of preparation behind him and all the knowledge that could be imparted by the teacher. » . c j “I have not been entirely satisfied with the sight reading generally, more particularly in diploma examinations, he said. They all ki.aw that it was bad to stop during sight reading and correct mistakes. The first thoughts were the best and the candidate, having glanced at the test, should decide what to do and go about it in determined style. He should not quibble or retrace his steps, but should be always going forward. Modern music had done more to develop piano playing that any other form of music, said Mr Mann. His association with modern music, of which he was a great admirer, extended back a long way and he recalled that in 1906 he was the first in London to perform one of the more important works of Debussy. Many varied touches were necessary in a performance of this composer’s music. “What is required most in Mozart’s sonatas is crystal-clear passage work, with each note expressing itself. I have heard many beautiful movements in his sonatas played in very _ ordinary fashion. Schnabel, I think, is one of the finest performers of Mozart’s sonatas and his playing is such that it is scarcely necessary for him to, use the right foot pedal.” Mr Mann delighted _ the audience with a number of selections, including “Petite Valse” by Carreno, “Viennese Dance No. 2” by Friedman, a Chopin Nocturne and portion.of the “Moonlight Sonata.” A feature of his playing, which was most expressive, was his clarity of tone and his strong sense of climax. His facility at the keyboard was such that he was easily able to demonstrate in practice all the various points that he mentioned in his address. A vote of thanks was proposed by Mr A. le H. Hoyles and was carried by acclamation.