Music and Musicians.

New Zealand Graphic, Volume XXV, Issue X, 8 September 1900, Page 432

Music and Musicians.

TALKS ON MUSIC.

By

W. H. WEBBE.

(Specially Reported for the •‘Graphic.”) The following is a continuation of a talk to music students by Mr \V. H. We-bbe, at his School of Music, Grafton Road, on Thursday evening. August 16th, about TOUCH AMI TECILXIQUE. The Finger Ix-gato Tone'll.—This is the most important touch, used for scale passages, melodies, for much arpeggio work, and, as a rule, for ornaments that are required to lie played smoothly. This is the first touch to lie learnt, and care must be taken to keep the hand and arm quite steady, with the fingers slightly curved, and raised dearly above the keys, say, about one inch, before striking them. The Hand Staccato Touch. —This is the next touch to lie considered. The tone produced by this touch is in contrast to the legato, it being detached, and not smooth or continuous.

For this touch the keys are struck with a throw of the hand, the fingers curved but somewhat stiffened when in the act of striking the key’s, so as to render the tone sharp and crisp. The fingers must both attack and leave the keys in an extiemely brisk manner. Quite the opposite is required for legato effects. To obtain a good hand staccato touch the hand, before the keys are struck, should be drawn well back and rapidly thrown downwards in playing, and kept loose from the wrist, and immediately after striking the keys brought back to the same position. The Hand Legato Touch.—Without a good hand legato touch a pianist is badly equipped. In every style and form of music this touch is always in requisition: for legato chord passages, frequently for first notes of scale and arpeggio passages, in which accents occur, for first notes of a phrase, and for initial notes in ornaments; in fact, there is hardly a stave of pianoforte music in which the hand legato touch is not called for. The Finger Staccato Touch. —The staccato tone effects - produced from the finger action are not nearly so pronounced as those obtained from the hand action. The finger, to play staccato, must strike the note very rapidly, with the point of the finger .slightly directed towards the palm of the hand, the hand being kept steady, as though plucking x a string,. The finger staccato touch is generally applied for mild staccato playing. which is generally known as the “portamento touch.” This touch is particularly suitable for delicate passages. wherein a quiet style of portamento tone effect is desired. The Down Arm Touch. The down arm touch (legato) is so called because the weight, from the fall of tin 1 lorearm supplies the force ot blow given to the keys. This touch is used for heavy chord and octave passages, for leaps, also for the Bravura style of playing. The greatest power of tone can’ be produced by this touch, the hand being loose from the wrist and the fingers used as in the hand legato touch. Flexibility and smoothness are the chief characteristics of a good down arm touch. The Up Arm Touch (Staccato). Dr. Mason thus describes this touch: “The up arm touch is so named because in making it the arm seems to .spring boundingly into the air away from the keyboard, and when properly made there is no sense of having delivered a blow downwards upon the keys.” This touch is used for producing a staccato tone when great power is needed, more particularly for Octaves ami big chords. Devitalized Touch. —By devitalized is meant a condition of absolute limpness and suppleness, without resistance or constriction. This applies to the devitalized arm, hand, or finger. 'Hie tone produced by this touch is very light and somewhat characterless, but at the same time indispensable. Tt aids in producing delicate shading: in fact, the finest nuances in phrasing are obtainable by means of it.

It is at the same time necessary to utilise in the earlier stages of practice, when studies are taken in hand, the different touches that may be culled lor, more particularly those tor me.ody and accompaniment. Those who desire to know more concerning touch and technique, and about the pedagogic works of Kullak, Kohler, Hauer, Riemann, Franklin Taylor, Beringer, Tuasig, Mason and others will find considerable imormation on the subject in "The Pianists' Primer and Guide,” wherein the most important technical schools are reviewed. In this work will be found further illustrations (in addition to those given) exemplifying the seven different touches enumerated and described.

Christiani, in his magnificent work, "The Principles of Expression in Pianoforte Playing,” says: “Tec'hnique being mechanical, rather than artistic, does not of itself make the artist, and giving .evidence of persevering labour rather than of talent ranks, aesthetically speaking, lowest amongst pianistic attainments, although it is really the most brilliant of them and absolutely indispensable. But when technique, already faultless, is qualified by refinement and poetry in touch and taste, it ceases to be simply mechanical and becomes artistic.”

I would impress upon you all to remember that technical ability alone is not the sine qua non of pianoforte playing. There are many pianists with splendid technique, but who, for lack of expression in their playing, repel rather than attract the artistic listener.

It is far preferable to play with much expression and a moderate technique than with a fine technique minus expression. Get as much technical skill as you like, but never forget that it is the expression in playing that reaches the hearts of your listeners.

severity or sarcasm, will establish one’s authority. The role of teacher and pupil must be kept distinct, it is true, —by kindliness alone, since, when deference and affection are lost, both authority and pupils take to themselves wings.—“ The Etude.”

Teachers’ Shortcomings.

Many teachers, even those of exceptional ability, complain of a lack of patronage. Their pupils number less, possibly, this year than last, — even are at present falling off, —and perplexed and discouraged they accuse fate, chance, or destiny, and settle down into a pathetic acceptance of “circumstances over which they have no control.” Pathetic, yes! for there is truly pathos as well as tragedy in the life that is given over by its rightful ruler to the hap-hazard antics of “fate” and of “chance.” There are a multitude of details entirely overlooked by the disheartened teacher with his eye fixed on an imaginary Destiny; details are tangible and may be speedily proved, by one who will merely rouse himself to the effort, to be all of destiny there is. A hint even to the wise is necessary at times, especially if the latter have neglected their lamps and are bemoaning that a strange chance has sent darkness to overwhelm them. Let these, instead, criticise their own conduct and views', and examine their own consciences.. Is the vivacity, the perseverance, and withal the patience which once pervaded all their work showing signs of waning? Do they consider punctuality a duty as binding as a moral obligation, and are they careful to establish 'over the pupil an authority which shall command a certain deference, as well as a. winsomeness which shall command affection ? “Why did you leave Mr M?” a pr >- mising pianist was asked a short time since; "he is surely a fine teacher.” “Oh, he always had ways I didn’t like, and is worse lately, if anything. I think he must have taken Henselt for a model. ,Ile is eccentric, sarcastic, overbearing, ,and whimsical! A line teacher, I admit, but even one of these qualities will aggravate a pupil to the point of leaving a teacher. I understand that his class is small, and it’s not to be wondered at.” This is but one of many similar instances, and always in the reasons given by pupils for making a change will l>e found a sketch of the teacher’s short-coinings, true to the life, and as telling as a Gibson jotting. It is a mistake too frequently made to suppose that the employment, either of

Music Teaching as a Business.

The true teacher of to-day must be a widely-educated, broad-minded person. He should teach systematically, thoroughly, as well as with love and enthusiasm. With all these qualifications and acquirements can the average teacher of music hope for even a fair share of financial success? Of course there are a few, as at the head of every profession, whose talents and opportunities have been great, and their energies equally so, to whom this article will not apply, for these fortunate few are in a position to demand what is just, and to obtain their demands. The number of persons teaching music is great, and seems to be on the increase. But the number of persons fitted by natural disposition and acquired knowledge to be true instructors is small. The fact is that any person is free to engage in this pursuit, no matter how ignorant and ill-fitted he may be. Thus, people teach music who could not practice either law or medicine without first passing rigid examinations. A feeling of incompetence, and the fact that frequently it is not entered upon as a serious business or as permanent employment, lead to a willingness to lower the charge on the part of many; the consequence is that we fall into public contempt. This is a fact, and these problems face every teacher of music to-day, and must be solved. Let the teacher whose early opportunities were not very good, and who has not kept up well with advanced thought of the day in the teaching of this study, take some good magazine, then supply himself with some good systematic course, whose general lines of instruction he can follow, even though he be unable to attend any modern college or summer course, and renew his interest and his knowledge in this way. No one would teach any other science without well graded, properly arranged textbooks. To be worth a good price and to charge what you are worth would be one step in the right direction, at all events. But I hear the teacher saying: “Well, and when 1 have done all you suggest, the public so little understand and appreciate true music that the cheap, pretentious, badly-prepared teacher might be preferred.” This is true in some localities to some extent. The average patrons of music may be generous and liberal in all other matters, but so little do they seem to understand the difficulties in the acquisition of a good technic and the slowness of progress possible to a thorough knowledge of music, especially with young children, that they seem to actually grudge giving a fair equivalent in return for this knowledge and power. This does not apply to any one place or country, but is widespread, and the prevalence of those, who, conscious of their deficiencies, are willing to cater to those whose patronage they desire, is great.—<E. Calnek.

A Dialogue Concerning Freaks.

Persons: Public Opinion. A Private Citizen. Public Opinion: How is it musicians frequently have the appearance of freaks? Private Citizen: Do you not consider that a harsh assertion, my dear Madam? Besides, would you oblige me by making your meaning more clear? P. 0.: By all means. Do you see that individual glaring al us with his shaggy hair, eyebrows to match, and otherwise eccentric in his appearance? He is a musician, is lie not? P.C.: I happen to know him. He is a well-known violinist. P. 0.: Do you deny' that the wild man from Borneo is like an innocent

babe in comparison to this individual? P.C.: I admit that the gentleman in question is rather conspicuous in his make-up. However, that fact does not detract from his merits as an artist.

P. 0.: 1 am not alluding to his artistic capabilities. But why and wherefore this ludicrous appearance? P.C.: If you insist upon having the real reason, my dear Madam, 1 suppose it is in order to differentiate himself from his fellow-creatures.

P. 0.: It is now my turn to request an explanation.

P.C.: With pleasure. If you take various members of the professions in turn, you will notice that many of them have characteristic features by means of which they are easily recognisable. The soldier has his uniform, the clergyman dresses in a certain way to show that he belongs to the cloth. The musician, not being- able to carry his violin or his piano about with him continually, elects to allow his hair to grow long. Do you follow me? P. 0.: Quite so.

P.C.: Of course, the underlying sentiment is one of vanity, of foolish vanity, if you will have it so, but are not all human beings more or less vain, and why not allow the musicians this harmless idiosyncrasy? P. 0.: Idiotsyncrazy! T should call You forget that the professions you allude to hardly lower their dignity by endeavouring to reveal their identity. I fail to see, however, how the musician enhances his personal dignity by adopting the ridiculous methods he resorts to. Do you remember the young pianist who, with an impatient gesture, brushed back the rebellious lock of hair that would persist upon bobbing up at the most inopportune moments —

P.C. (continuing): While any barber could have cut its existence short for the modest fee of sixpence. Exactly. But you forget, my dear Madam, that, shorn of his locks, your Samson sinks into complete insignificance when away from the piano, and becomes a

private citizen of whom no one takes ♦he slightest notice. While when adbrned in the splendour of his hirsute attainments he only need show himself to have a passer-by whisper: “There goes Mr Ivory Smasher. I think I will go and hear him at his next concert.” Thus, you see, my dear Madam, the musician not alone attracts attention by means of his shaggy mane, but preserves it as a means of advertisement to be carried about with him upon all occasions, rain or shine. P. 0.: You have almost convinced me that a long haired musician, owing to practical reasons, is a necessity, but why this utter disregard for the conventionalities in matters of dress? I have just noticed you bowing to a musician whose general untidiness and slouchy appearance suggests the idea that he is as averse to bath tubs and regular ablutions as our own whilom friend Svengali? P.C.: I admit that our friend does not dress like a Beau Brummel. I also admit that with him soap and art should form a closer alliance. But why so severe on an individual whose art lias often thrilled you? Remember artists are like children. Their thoughts are constantly occupied with fancies far removed from this terrestrial sphere. Music to them means stories of knights and ladies, the courtship of the nightingale and the rose, the battle cry of legions pressing on to victory, the— P.O. (interrupting him): This is strange. I recently overheard a conversation between two musicians, and do not remember hearing anything of the sort. Mr Fiddler remarked that he had just bought a new house, while Mr Pounder said that if the Broken Reefs dropped a few shillings lie would buy a few hundred shares more. How is this? P.C.: To be sure, this modern musician has given up some of his old ideas. While still clinging to long hair, he does not despise the good things of life. He has discarded some of the old traditions. Thus, while the pianoforte virtuoso in times gone by possessed more virtuosity than virtue and wrecked his life and chances in dissipation and riotous living, the modern pianist has become more practical and business like, and, in consequence, erects magnificent villas on the Hudson or Lake Como. P. 0.: You thus admit that he has abandoned some of his old methods. Why not then go a step farther and conform to the demands of modern society and exhibit a certain neatness of appearance, which is expected of every citizen? . This subject I hope to continue at some future time. P.C. (bowing): Always at your service, Madam.

The New Plymouth Philharmonic Society gave its opening- concert at the Theatre Royal on Tuesday evening of lasi week. to a. large and appreciative audience. The Society is just three months old —a mere bantling, in fact—yet in that short period of its existence so miieli real hard work has been put in by its members under the able conductorship of Mr A. E. Fletcher, that the results obtained at its initial concert were, with some few exceptions. eminently satisfactory. The Society is to be congratulated on the part songs and choruses, which were crisply, although perhaps not faultlessly, rendered; while the soloists, Mrs Wrigley, Miss Daisy Taylor, Miss Jollie and Mr N. Miller, met with the hearty appreciation of a critical audience. There is considerable room for improvement in the Society's orchestra, which has been rather hurriedly got together: but the hope has been born and is growing apace that this will come in time. The Society is particularly fortunate in having secured the valuable services of Mrs J. Hempton as its pianist. This talented lady (then Miss Wildman) was for many years pianist to the old Taranaki Philharmonic Society, which had such a favourable run, under the conductorship of the late Air Angelo Forrest. Mrs Pope (whose piano solo at the concert was, by the way. a brilliant performance, is deputy pianist. o o o o o Al the school examination in the elements of music, held in Auckland last June, by.the Associated Board of the Royal Academy of Music and the Royal College of Music, London, all of ♦ he nine pupils presented by Mr J. F. Bennett passed the examination successsfully. The following are the Hames of the students and the num-

her of marks awarded, of which the number required to pass is 66, and the maximum 99; Margaret Cardnb, 99; V. S. Dacre, 98; Margaret Dacre, 97; Jeannie Maxfield, 94; Isabella Bolous, 94; Mildred Haselden, 94; Lydia Pegler, 93; Minnie Clark, 92; Estelle Davis, 86.