Chapter 17: The English School: Matthay; His Pupils and Colleagues

The main point of Townsend's book is arm balance, however, I have concerns with his statement regarding finger independence. He states, "The training of the hand therefore, must, from the beginning of study be based upon the idea that movement in any finger which causes simultaneous movement in any other finger is not independent enough." Perhaps it was not yet known that the third and fourth fingers share the same tendon, and that isolating the movement of the fourth finger in particular would likely cause strain or injury. The main concern with the statement is the lack of clarity in the type of independence desired. I believe that if all the fingers are in contact with the keys, depressing the fourth finger without movement of the other fingers will not be harmful, but the potential problem is when lifting the fourth finger independently. Even though Townsend emphasizes the fingers remain in contact with the keys, an extra clarifying sentence would have been helpful.

I admire Bauer and the self-taught nature of his playing. One comment I find particularly important even for pianists with formal training is this: "There was the preconceived idea of a certain kind of tone and it was necessary to find the gesture that could produce it." As pianists, we may have the sound we want in our head, but do not always know how to create that sound. I think there is a lot to be learned by discovering the technique needed to produce the desired tone by experimentation rather than specific directions from our teachers.

Moving on to the method of technique presented by Matthay. I think it is interesting the he looked to the studies of Helmholtz in order to decipher the variances in tone production. It is probably possible to differentiate between famous pianists just by listening to them, as they each have a very individual sound. However, I am not convinced that there is a complete scientific explanation to the differences in tone between Chopin and Liszt or any other two pianists. I realize that it is the way in which a key is struck that produces the tone, but I think the differences come from the various thoughts and images associated with a particular piece of music (and it's notes), and for me, it somewhat cheapens the listening experience if one tries to codify the weight and distance require to produce exact tones.

The "Key-Treatment from its Muscular aspect" contained a particularly interesting point: "The third Species is available in either of two Subgenera: either as 'Weight-touch' or as 'Muscular touch.' This, because the combination of the three components may, in this Species, be started either (a) by Weight-release--that of the arm, or (b) by Exertion--that of the finger and hand. The first makes for roundness of tone; the second for brilliance and even hardness." I had never really thought before how different types of tones are produced, and was probably something I did subconsciously, or without thinking about the actual mechanism of doing so. In thinking about this statement, I came to agree with Matthay in that tones produced with arm-weight have more of a round sound, and if I want a more brilliant or harsh sound, the action comes more from the fingers and the hand.

I appreciate that Matthay viewed technique as a means to a musical objective, and that the technique and interpretation of music go hand in hand. I also found it to be interesting that he seems to have been a nurturing teacher who aimed to inspire and motivate his students.