Chapter 11: Schumann

I find Zelter's caution to those hearing Mendelssohn to be rather wise: "...if you are prompted to sing his praises, which I both hope and fear, please do so moderato, without too much noisy instrumentation, and in C major, the most colourless of the keys. Hitherto I've presented him from vanity and overestimation of himself, those damnable enemies of all artistic progress." I think it is good to guard the ego's of talented young people. These pianists often recognize they are talented, often more talented than other pianists they know. This is a great thing, but if their ego becomes too large, they then appear pompous, which does not bear well on their status amongst other musicians.

In someway I like Mendelssohn as a teacher. Sometimes a certain sternness is better than constant loving support--it pushes us when we most need it. I also like how he would only play sonatas that none of his students would so that they would be forced to have their own interpretation. Sometimes the best things in life are learned the hard way. Okay, enough philosophy.

Schumann's hand injury is scary to read about. Granted, I don't know many pianists today that would consider using such instruments to strengthen their hands, but it does remind me of how careful we have to be when practicing. It is still possible to cause oneself to develop tendonitis or carpal tunnel, which are also very debilitating to the pianist.

The "House-rules and Maxims for Young Musicians" appended to Schumann's Album for the Young, Op. 68 are somewhat general comments that I would assume most pianists have heard at some point in their training. However, I have yet to feel so inspired by these words as none have been written so eloquently. I felt like Schumann was talking to me rather than dictating directions to me. Some of my favorite quotes include: "Always play as though a master were present," "Try to produce each composition the effect at which the composer aimed," "As you grow older, converse more frequently with scores than with virtuosos," and that one is musical when "you have taken music not only into your fingers, but in to your heart and head." I think these statements are very true, and that not only young musicians, but also those more experienced should take the time to remind themselves of such important aspects of making music.

I like the account of Brahms teaching Florence May contributed to this chapter. I think it can be beneficial to students to occasionally point out what they are doing incorrectly and model to them how they can fix it. I also like how he did not see the gain in repeating five finger exercises daily. These exercises do have their importance and can offer great gains, but perhaps, said exercises should be practiced at certain intervals of training rather than continually. I'm not completely sure. I think the importance is that Brahms created exercises from the music that Florence May was studying. Even better still, he made the exercises more difficult than the original passage itself. Then, when the written passage was played it no longer seemed difficult.