The focus on finger training, particularly emphasized in the description of Long's and Cortot's methods, contrasts with the increasing attention to the use of the arm that we have recently read about. Long may have been somewhat critical of the current trend in relaxation, but her encouragement of suppleness sounds comparable. Her comment, "Ugly to the eye, ugly to the ear," (p. 321) is also reminiscent of Deppe. Her quote on the fingers setting the mind in motion rather than vice versa is a good counterpoint to the many suggestions of the opposite. In the end, I think there needs to be a balance between control with the mind and leaving room for instinct to guide the body.
Camille Bellaigue's description of Marmontel as teacher was interesting: "Perhaps he had at one time been a virtuoso; he was now not even a pianist." (317) It sounds like he was an effective teacher despite the limitations of his playing abilities. While perhaps not an ideal situation, it goes to show that being a good teacher requires more than being able to play well.
I admire Debussy's principle behind not indicating fingerings and pedaling. The description of his personality shows that he was a perfectionist; thus, it would be in keeping with that trait to only indicate the absolutes in his scores. From a practical standpoint, though, his pedal markings in particular would be helpful starting points.
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I also really agree with her saying which is the fingers are setting the mind in motion. It is basic attitude when we practice or play the piano, but we usually forget it. I will keep in mind the saying and I am sure it is very helpful for me to improve my piano technique.
ReplyDeleteHow could the fingers set the mind into motion? And do fingers have their own instinct..? I think it has to be the mind that sets everything into motion and allows for musical spontaneity.
ReplyDeleteThe context in which Long made the statement is unclear, so maybe I am off base, but my line of thinking was that it is impossible to deliberately think about every motion at tempo for many pieces. If someone has practiced slowly and done their thinking through of the physical coordinations, there comes a point to just trust yourself. I can do horrible things to myself by thinking too much about what my fingers are doing. As far as musical/interpretative decisions, I definitely agree that the mind leads.
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