Chapter 11

I like Schumann’s advice, “As you grow older, converse more frequently with scores than with virtuosos.” “Conversing” with the score is a great image… I don’t think a great interpretation results from just remembering each marking in the score, but from contemplating its meaning. Mendelssohn, Clara, and Brahms also respected the score and the composer’s intention in their performing and teaching - a much better approach than Liszt’s…..

I liked reading that Brahms demanded neatness and equality of fingers as a starting point rather than an end for works by Bach or Mozart. This is still important today I believe, because too often I hear about a “Bach articulation” or a “Mozart touch,” generalizations, which help little for interpreting a single piece by either composer. While it may be true that Mozart is more delicate than Rachmaninov, I think this understanding is useful only in the beginning of learning his music. As Brahms writes, “varying and sensitive expression” are further necessary, and I would agree that we should take advantage of the resources the modern piano offers to attain this contrast. In other words, two Mozart phrases might require a very different physical approach, and to label them both as “neat” would not be particularly enlightening… but it is a good starting point.

It is interesting that Brahms would watch his students practice and make comments to them. I imagine some of my students would be more focused if I watched them while practicing… In my own experience, I’ve found that a large bust of Beethoven near the piano helps to keep me focused and motivated…

With playing Bach at least, Brahms placed greatest emphasis on rhythm, and in general I agree completely. I think rhythm is the most important aspect in music, and one often overlooked. Perfect rhythm is something that more musicians should strive to attain...