Ok, perhaps they weren't the first musicians to emphasize the use of Sturm und Drang (Beethoven anyone?) but if there is one thing that ties all of these musicians together it's the idea of musical expression.
Mendelssohn? A second Mozart? Whatever could you mean? I thought he was just some dude who wrote that wedding song? He was actually pretty cool, all things considered. Surprising! I know! You learn something new every day. What intrigued me the most was his reticent nature. To discourage imitation is to take devotional teaching to a whole new level. It's one thing to teach someone how to do it "your way", but to teach the idea of finding your own voice is not only much more beneficial for the student, but much more difficult for the teacher!
When he wasn't Eusebius or Florestan, he was Robert Schumann, and though he was known more for being a composer than a digit-demonizing pedagogue, his "House-Rules and Maxims for Young Musicians" are so far one my favorite things I have come across in the text. For a crazy person who broke his hand, he surely advocates moderation. Scales in moderation, exercises in moderation, PRACTICE in moderation. He suggests that to practice past your daily work into the land of the exhaustion is harmful. "It is better to rest than to practice without joy or freshness"(206). "OFTEN TAKE EXERCISE OUT IN THE OPEN" (207). (!!!!!!!!!!!! Florescent lights anyone?!!!!) Sing the middle voices in choir, practice on the organ and again, listen to singers. I swear, by the time I'm done with this class my voice teacher is going to be so happy.
Next we have Brahms. Oh the nights I have toiled with your exercises my dear Santa Claus of a man. In all actuality, his exercises, in my humble opinion, are one of the best ones out there. In terms of finger independence, thumb training and rhythm, gotta love those Brahmsian hemiolas! Brahms, C. Schumann and R. Schumann all suggested the frequent study of Bach (like pretty much everyone else apparently) though Brahms says that Bach must never be played stacatto! (224). I wonder to what degree it was "fashionable" to play Stacatto Bach in Clara's day, as Brahms suggested (224). I agree that a light non-legato touch for Bach is best.
The last thing that holds this gang together is their dislike for Liszt. I know he was a rockstar but come on people! You have to love Liszt! I will always be amused by this fact, knowing that Brahms exercises are facilitating part of the technique that helps me study Liszt!
I LOVE THAT VIDEO.
ReplyDeleteIt's hard to imagine hating Liszt, I know. But can you imagine how crazy his music would have been considered at the time? This divergence of preference is quite interesting to me. I also consider Schumann's music quite virtuosic, but there is rarely any fluff in it and it's just so good. Once again, tortured souls for the win.
I agree with you on Mendelssohn's teaching methods. He took the idea of a group piano class to a new level, and while I wonder at this method of teaching for advanced students, refusing to spoon feed them music was quite brilliant.
ReplyDeleteAnd yes, that video makes me happy. :)