It seems like Anton Rubenstein was quite a giant in the music industry. It is interesting to note that he missed so many notes but made up for that through playing perfectly in the next piece. Rachmaninoff’s quote that he made up for his mistakes through millions of other musical ideas and tones proves that it is not only about playing all the right notes. “When Rubenstein’s playing was over-exact, it lost some of its charm.” That is not something that still applies to piano playing today- or at least the general public would probably feel that if a pianist misses notes etc. that he is not a good musician. We compare everything to the last perfect recording we heard and and if it doesn’t match up we feel that it is not good enough.
I think a lot of times we overlook Faure as a prolific composer. Playing his violin and piano sonata in A major definitely changed my perspective of him and I thoroughly agree with Marguerite Long’s statement that the lyrical qualities should not get lost in playing it with a percussive like technique. I think it is actually harder to play French music in some sense. The sound should not be weak but still reflect an elusive quality. The violin and piano sonata- one of the only works I played by Faure so far- actually makes more sense to me now after I read “the even lightness of the fingers” (that famous gliding), the rapid, winged action”.
I found the quotes on accepting women into the Conservatoire de National in Paris interesting. Only three classes for women?
Marmontel being one of the greatest teachers at the Consevatoire, not even being able to demonstrate on the piano is quite controversial. I would imagine that someone who teaches there would still be able to play really well no matter what age. I guess he had a good ear then and as they say “impeccable style”. But then also being arrogant enough to look into the heavens and say something in French when he felt irritated. I don’t necessarily think that a good teacher should be able to demonstrate everything perfectly, but still I would assume that you need to have somewhat of an ability to show what you meant.
Marguerite Long made it to the top, although she was a woman. It is quite impressive that she knew Faure, Ravel and Debussy! But I don’t think that she has the right to say that she has been chosen as the interpreter, and assuming that if it weren’t for her nobody would have a clue on how to perform these works. I did not quite understand what she meant by saying “to let go” your fingers? What did she mean by that?
It is interesting that both Debussy and Ravel were not the greatest of pianists. Perhaps this is the first instance in the book where we come across this? I enjoyed the part about Ravel’s mom giving him money to practice. And he still didn’t.