Chapter 5

I would love to be a fly on the wall for some of these old-fashioned rivalries that we've read about. The Clementi and Mozart feud was interesting but this Hummel/Beethoven fiasco is fascinating to me. You just don't really see that kind of behavior as much today. If there was, I think it would be fair to a duel to settle it once and for all and the winner should have to leave the country or something....Of course Beethoven is the victor of this feud, he's awesome.

Now onto Hummel the teacher. I remember only briefly learning about Hummel as one of those transitory composers that got a passing mention. In fact I think I've only heard his A minor concerto once (though it is a dazzling piece). He had some good philosophies for teaching. I liked his idea of daily musical instruction, though in this society it's just not practical as music is "just" and extracurricular activity. I might mention that most other extracurricular activities have daily instruction such as sports practices and the like, but I digress. I think it would be beneficial to do multiple lessons per week if it works for the teacher and student. That way the student gets positive reenforcement and less space for learning bad habits. This would also make the student practice more, but who really has time for that?

I like the point that he suggested students listen to other distinguished musicians, not only pianists but other instrumentalists, vocalists and ensembles. This is indispensable advice and most certainly would help the student become a better musician. Imagine learning a Chopin nocturne without any thought to the vocal origins. And in many cases if you sing the melody, you get a much better idea on how to shape it. One last thing to mention from his treatise. He, like the others we have seen, mentions that music should speak for itself. Any unnecessary movements or attempt to show off do not make you a better musician *ahem*.

At first I wondered why his treatise (and treatises in general) has fallen out of prominence. But after thinking about it for a while, I understand why people don't really need treatises anymore. For one, you may not agree with everything it says. Secondly, if you've been teaching, you figure out your own way to present technique and musicality to your students with your own un-boring exercises. And who really wants to read a multi-volume book on teaching when we really should be practicing! Maybe someone will one day make an abridged version as Gerig suggests and we can reference if we choose without having to sift through hundreds of pages.