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...

Golden Years (and no, I don't mean the David Bowie song)

Oh, to time travel back to the 1800s, just to witness the flowering of the Romantic period in music, and the Victorian period in literature, around me. Here we have a very extraordinary musical culture; the "Schumann circle" as it is called embodies what today could be an ideal artistic environment. The Schumanns and their friends had the great good fortune of being alive at the same time, and the musical world has never been the same.
What strikes me about this chapter, is how much literature played a role in the music and musical theories of the time. Composers before this time had set texts to music, of course, primarily biblical ones, but in the nineteenth century suddenly there is an outpouring of instrumental music based on literature. And composers were interested in literature; Mendelssohn was friends with the great poet Goethe, and wrote music inspired by his poetry.He was also a huge fan of Shakespeare's works (this obsession inspiring, of course the wonderful music to A Midsummer Night's Dream, with its overture that departed from traditional form in order to follow the arc of the play). Many other composers wrote music inspired by literature (think of Liszt's Dante sonata). It was Schumann himself, though, who used literature the most. His reviews of music and composers are extremely literary, and we know he read poetry avidly, and, what is most interesting to me, advocated reading poetry as a way of improving one's musicianship.
Obviously, literature, especially poetry, was incredibly important to Schumann, as well as to his friends, and I think it should also be important to us as modern pianists. Not only is the subject matter of poetry helpful in putting words and sentiments to music, but also the meter of music is often closely related to the meter of poetry (most often iambic pentameter). Also, if we relate a musical phrase to a sentence in speech, would it not be helpful if we read the great sentences of the master poets? The poets and the musicians had the same artistic ideas, and it is of great worth to help in understanding the one by studying the the other (it goes both ways; literature is enhanced by music, as well).
We shouldn't live in a box that only encompasses music. Schumann espoused exercise out in the open, as well as reading, and I think he's right. As we said with Chopin, exercise can only help our playing, and using the time when we aren't practicing for that, and for reading and taking in other art forms can only enhance it as well.

The one thing I will take away most from this chapter is the importance of a solid technique in general.  Such as scales, arpeggios, trills, double notes and octaves.  We must master all of these to perfection in order to pass it along to our students as well as to improve our own musicianship.  I think Schumann addresses this when he recalls, "I looked at him with a smile, put Herz's finger-exercises before him, and told him to play one everyday for a week, and then come back and try the Concerto again.  This he did and called me his good genius, because my advice had helped him so much.  And he actually did the play the Concerto ten times better" (202).  This shows us that if we have a good solid technique and are continually going back to it in our practicing and incorporating it into our music, better music is produced. 

 Wieck was also a big fan of a solid technical approach.  We can see this from his daughter Clara when she writes in her diary expert about his frustration and her only being able to play scales, Cramer's etudes and Czerny's studies on the trill.  Wieck's own idea was one of taking the greatest care in the teaching  of technique and expression. (208)  

Also Brahms is the same way in his approch to instructing Eugeneie, Clara's daughter.  She states that he made her play a great deal of exercises, scales and arpeggios as a matter of course and also payed special attention to the thumb.  All in all I think Brahms really made her work on a lot of technique and not only in the exercises but also in the music that she played.  For instance in Bach he stressed rhythm the most.  But in the end all her hard work payed off and she saw the benefits of it.  "The seed which he sowed fell upon good soil and bore fruit in the course of years, and when I began to teach I recognized how much I owed to him" (225).  Therefore, a musician with a good solid technique will reap the benefits of it.  All these great musicians and composers of this chapter understood this and stressed the importance of it.  I think if we can follow their example and do the same with ourselves and the students we may have we will see a great improvement.      

           

The Sturm und Drang Gang

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!

Chapter 11

Reading about these pianists' approach to teaching was enlightening. They all, except for maybe Mendelssohn, advocate the practice of scales, arpeggios, and other finger exercises, although Brahms at one time apparently favored using portions of pieces that the student was studying to work on technique. In this type of technical practice, I didn't realize that changing rhythms and doing groupings was such an old practice technique.



The description of Mendelssohn's classes was also interesting. I can see how that arrangement could be beneficial -- having more than one teacher and learning about a piece from both the teacher and peers. The description sounds as though technique and musicality were separated. Based on earlier discussions of the connectedness of these two areas, I wonder if the arrangement was any more effective than not making the distinction.



It was a a boost to the ego to read from Schumann/Florestan that playing from memory indicated "uncommon musical powers" (p. 207)). It is practically a requirement for all piano students to do this now, so it is easy to forget that it once was an impressive act. However, there are various degrees to which a piece may be memorized. I imagine Schumann was not thinking of simply motor memory when he wrote on this topic.



On the issue of performance practice, Brahms finds no fault in making use of any expressive devices unique to the modern piano when playing music from an earlier time period, but he was still concerned with applying an appropriate style, as evidenced by his opinion on staccato in Bach. I think this is a nice compromise, so to speak, on the issue -- upholding tradition while accommodating present circumstances.

chapter 11

I was impressed on Robert Schumann's teaching. He emphasized 'touch'. I think touch is related to tone or sound. In my experience, it is too difficult for me to express and make a tone and sound what I would like to. I usually too much hit the key when I play the forte. On the contrary, I play the piano too much light or sometimes I missed the notes when I play the piano or pianissimo. I do not know exactly how I could make a sound deeply but not too heavy or softly but not too light. My previous teacher always told me I have to hear when I play the piano and I have tried to do so far, but it is not easy and certain.

Personally, I strongly respect Clara Schumann because she was a virtuous pianist, the mother of six children and the wife of great master Robert Schumann. She is like a super woman.
Amy fay said that Clara Shumann's playing is grand, finished and perfected rounded off, but there is nothing of the analytic. However, I am sure she played musically as well as technically to study the pieces because almost all keyboard pieces by Robert Schumann are very characteristic and his Lied is based on the poetry so his Lied is so meaningful. Clara Schumann played Robert Schumann's works very frequently after Robert Schumann died. Also she got a glowing praise after her performances. I think it is the evidence Clara Schumann analyzed Robert Schumann's music and she had already known what Schumann had to say.

Chapter 11: Schumann

I find Zelter's caution to those hearing Mendelssohn to be rather wise: "...if you are prompted to sing his praises, which I both hope and fear, please do so moderato, without too much noisy instrumentation, and in C major, the most colourless of the keys. Hitherto I've presented him from vanity and overestimation of himself, those damnable enemies of all artistic progress." I think it is good to guard the ego's of talented young people. These pianists often recognize they are talented, often more talented than other pianists they know. This is a great thing, but if their ego becomes too large, they then appear pompous, which does not bear well on their status amongst other musicians.

In someway I like Mendelssohn as a teacher. Sometimes a certain sternness is better than constant loving support--it pushes us when we most need it. I also like how he would only play sonatas that none of his students would so that they would be forced to have their own interpretation. Sometimes the best things in life are learned the hard way. Okay, enough philosophy.

Schumann's hand injury is scary to read about. Granted, I don't know many pianists today that would consider using such instruments to strengthen their hands, but it does remind me of how careful we have to be when practicing. It is still possible to cause oneself to develop tendonitis or carpal tunnel, which are also very debilitating to the pianist.

The "House-rules and Maxims for Young Musicians" appended to Schumann's Album for the Young, Op. 68 are somewhat general comments that I would assume most pianists have heard at some point in their training. However, I have yet to feel so inspired by these words as none have been written so eloquently. I felt like Schumann was talking to me rather than dictating directions to me. Some of my favorite quotes include: "Always play as though a master were present," "Try to produce each composition the effect at which the composer aimed," "As you grow older, converse more frequently with scores than with virtuosos," and that one is musical when "you have taken music not only into your fingers, but in to your heart and head." I think these statements are very true, and that not only young musicians, but also those more experienced should take the time to remind themselves of such important aspects of making music.

I like the account of Brahms teaching Florence May contributed to this chapter. I think it can be beneficial to students to occasionally point out what they are doing incorrectly and model to them how they can fix it. I also like how he did not see the gain in repeating five finger exercises daily. These exercises do have their importance and can offer great gains, but perhaps, said exercises should be practiced at certain intervals of training rather than continually. I'm not completely sure. I think the importance is that Brahms created exercises from the music that Florence May was studying. Even better still, he made the exercises more difficult than the original passage itself. Then, when the written passage was played it no longer seemed difficult.