Friedrich Wieck - Piano and Song
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Friedrich Wieck >> Piano and Song
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9 PIANO AND SONG
_HOW TO TEACH, HOW TO LEARN,_
AND
HOW TO FORM A JUDGMENT OF MUSICAL
PERFORMANCES.
Translated from the German
OF
FRIEDRICH WIECK.
BOSTON:
LOCKWOOD, BROOKS, & COMPANY.
1875.
Entered according to Act of Congress, in the year 1875, by
NOYES, HOLMES, AND COMPANY,
In the Office of the Librarian of Congress, at Washington.
_Cambridge:_
_Press of John Wilson and Son._
TRANSLATOR'S PREFACE.
FRIEDRICH WIECK, the author of the work a translation of which is here
offered to the public, was during his long life a distinguished teacher
of music. He died in the autumn of 1873. He was the father and teacher
of the celebrated pianist, Clara Wieck, now Fr. Dr. Clara Schumann,
widow of the renowned composer Robert Schumann, who was also a pupil of
Wieck. His second daughter, Fraeulein Marie Wieck, is well known in
Germany as an artistic performer on the piano-forte.
I have translated this little book, with the belief that a knowledge of
the author's views will be no less valuable in America than in his own
country; and with the hope that it may find readers who will be glad to
receive the suggestions of so experienced a teacher.
In illustration of his method, in addition to the two Etudes, already
published by F. Whistling, Leipzig, a number of piano exercises, &c.,
selected from the literary remains of Wieck, by his daughter Marie
Wieck and his pupil Louis Grosse, are, it is said, about to be
published.
I have omitted in the translation a few portions on the composition and
management of the opera, on the giving of concerts, and on the
construction of the piano, thinking that they would be of little
interest or practical value to the general public.
MARY P. NICHOLS.
PREFACE TO THE FIRST EDITION.
I here present to the musical public a book written in a style of my
own, not a scientific and systematically well-arranged treatise. This no
reasonable man would expect of an old music-master, who, in his long
practice in the realm of tones, could not arrive at learned and too
often fruitless deductions. Nature made me susceptible to that which is
good and beautiful; a correct instinct and a tolerable understanding
have taught me to avoid the false and the vicious; a desire for
increased knowledge has led me to observe carefully whatever I met with
in my path in life; and I may say, without hesitation, that I have
endeavored, according to my ability, to fill the position to which I
have been called. This is no vain boast, but only the justifiable
assertion of a good conscience; and this no man needs to withhold. For
these reasons, I have been unwilling to refrain from giving to the world
a true expression of my opinions and feelings. I trust they will meet
with a few sympathizing spirits who are willing to understand my aims;
but I shall be still more happy if, here and there, a music-teacher will
adopt the views here set forth, at the same time carefully and
thoughtfully supplying many things which it did not enter into my plan
to explain more in detail. Abundant material lay spread out before me,
and even increased upon my hands while I was writing. Art is indeed so
comprehensive, and every thing in life is so closely connected with it,
that whoever loves and fosters it will daily find in it new sources of
enjoyment and new incitements to study. The most experienced teacher of
art must be a constant learner.
I have always held and still hold the opinions advanced in this work,
and I have neglected no opportunity to impress them upon my pupils.
I may be allowed to mention here, with some satisfaction, my daughters
Clara and Marie; and, among numerous other pupils, I speak with equal
pleasure of the estimable Herr Waldemar Heller, of Dresden, and Prof.
E.F. Wenzel, of Leipzig. I have always enjoyed their affection and
gratitude, and I feel a pride that they continue to defend and to teach
the principles which they have received from me.
This is not the first time that I have appeared as an author. The
"Signale fuer die musikalische Welt," as well as the "Neue Zeitschrift
fuer Musik," have published numerous essays from my pen under various
titles. The approval which they met with, at the time of their
appearance, has induced me to undertake this larger work. Several of
those earlier writings are included in this book, but in a partially
altered form. The frequently recurring character, the teacher Dominie,
originated with these essays; I need hardly say that he represents my
humble self. Those who are otherwise unacquainted with me will through
him understand my character, and will moreover see that a man of such
caustic brevity can be, by no means, a master of polished style. May
this last acknowledgment appease all those critics whose hair is made to
stand on end by my inelegant mode of writing. I will make no further
apology for my style. I have often availed myself of the dialogue form,
because it was conducive to brevity; not less frequently I have made use
of the form of the epistle and of personal discourse, as being more
congenial to my individual manner than that of a serious treatise. I
have also undertaken to say something about singing! A piano-teacher, if
he is possessed of mind and talent, as I suppose him to be, whether he
teaches the elements or occupies himself with more advanced instruction,
should understand the art of singing; he, at least, should show a warm
interest in it, and should have an earnest love for it. When I speak in
general of singing, I refer to that species of singing which is a form
of beauty, and which is the foundation for the most refined and most
perfect interpretation of music; and, above all things, I consider the
culture of beautiful tones the basis for the finest possible touch upon
the piano. In many respects, the piano and singing should explain and
supplement each other. They should mutually assist in expressing the
sublime and the noble, in forms of unclouded beauty. My book will make
this evident to many; but whether it will succeed with all, I doubt. Not
a few will even be found who will lay aside my book with contempt, and
who will scorn the zeal of the "man of the past age." I am quite
prepared for this: it is the fashion at present to undervalue the old
times and their defenders; but I shall continue to be conservative,
until the "men of the future" shall be able to show me results which
shall excel those of the past, or at least shall equal them.
And now I commend my little book to the public, trusting that it will
instruct the willing, correct the erring, incite the indolent, and
chastise those who wilfully persist in the wrong.
THE AUTHOR.
CONTENTS.
CHAP.
I. ON ELEMENTARY PIANO-FORTE INSTRUCTION
II. AN EVENING ENTERTAINMENT AT HERR ZACH'S
III. MANY STUDENTS OF THE PIANO AND FEW PLAYERS
IV. A CONVERSATION WITH MRS. SOLID, AND FOUR LESSONS TO HER
DAUGHTER
V. ON THE PEDAL
VI. THE SOFT-PEDAL SENTIMENT
VII. A MUSICAL TEA-PARTY AT THE HOUSE OF JOHN SPRIGGINS
VIII. SINGING AND SINGING-TEACHERS
IX. THOUGHTS ON SINGING
X. VISIT AT MRS. N.'S
XI. SECRETS
XII. THOUGHTS ON PIANO-PLAYING
XIII. ON MUSICAL TALENT
XIV. EXTRAVAGANCES IN SINGING AND PIANO-PLAYING
XV. CONCLUSION
PIANO AND SONG.
CHAPTER I.
ON ELEMENTARY PIANO-FORTE INSTRUCTION.
You ask, my dear friend, for some particular information about my piano
method, especially with regard to my mode of elementary instruction,
which differs essentially from that in common use.
I give you here the main points; and, if you place confidence in my
experience of forty years, and if you will supply those details which I
have omitted, your own varied experience as a thoughtful, talented, and
earnest piano-teacher will enable you to understand my theory, from the
following dialogue between my humble self under the title of Dominie, my
friend, and the little Bessie:--
DOMINIE. My dear friend, how have you managed to make piano-playing so
utterly distasteful to little Susie? and how is it that the instruction
which you have given her for the last three years actually amounts to
nothing?
FRIEND. Well, I will tell you how I have proceeded. First I taught her
the names of the keys, that was pretty dull work for her; then I made
her learn the treble notes, which was a difficult matter; after that I
taught her the bass notes, which puzzled her still more; then I
undertook to teach her a pretty little piece, which she hoped to perform
for the delight of her parents. Of course she constantly confused the
bass and treble notes, she could not keep time, she always used the
wrong fingers and could not learn it at all. Then I scolded her,--she
only cried; I tried a little coaxing,--that made her cry worse; finally
I put an end to the piano lessons, and she begged me never to begin them
again; and there you have the whole story.
DOMINIE. You certainly might have begun more judiciously. How is it
possible for a child to climb a ladder when not only the lower rounds,
but a great many more, are wanting? Nature makes no leaps, least of all
with children.
FRIEND. But did she not begin to climb the ladder at the bottom?
DOMINIE. By no means. She certainly never was able to reach the top. I
should say, rather, that she tumbled down head foremost. To speak
mildly, she began to climb in the middle; and even then you tried to
chase her up, instead of allowing her, carefully and quietly, to clamber
up one step at a time. Bring me your youngest daughter, Bessie, and I
will show you how I give a first lesson.
DOMINIE. Bessie, can you say your letters after me? so,--_c_, _d_, _e_,
_f_.
BESSIE. _c_, _d_, _e_, _f_.
DOMINIE. Go on,--_g_, _a_, _b_, _c_.
BESSIE. _g_, _a_, _b_, _c_.
DOMINIE. Once more: the first four again, then the next four. That's
right: now all the eight, one after the other, _c_, _d_, _e_, _f_, _g_,
_a_, _b_, _c_.
BESSIE. _c_, _d_, _e_, _f_, _g_, _a_, _b_, _c_.
DOMINIE. (_after repeating this several times_). That's good: now you
see you have learned something already. That is the musical alphabet,
and those are the names of the white keys on the piano-forte. Presently
you shall find them out, and learn to name them yourself. But, first,
you must take notice (I strike the keys in succession with my finger,
from the one-lined _c_ to the highest treble) that these sounds grow
higher and become sharper one after the other; and in this way (I
strike the keys from one-lined _c_ to the lowest bass) you hear that
the sounds grow lower and heavier. The upper half, to the right, is
called the treble; the lower half is the bass. You quite understand now
the difference between the high sharp tones and the low deep ones? Now
we will go on. What you see here, and will learn to play upon, is called
the key-board, consisting of white keys and black ones. You shall
presently learn to give the right names both to the white keys and the
black; you see there are always two black keys and then three black keys
together, all the way up and down the key-board. Now put the fore-finger
of your right hand on the lower one of any of the two black keys that
are together, and let it slip off on to the white key next below it; now
you have found the key called _c_; what is the name of the next key
above it? Say the whole musical alphabet.
BESSIE. _c_, _d_, _e_, _f_, _g_, _a_, _b_, _c_.
DOMINIE. Well, then, that key is called _d_.
BESSIE. Then this one must be _e_.
DOMINIE. And now comes _f_. Anywhere on the key-board you can find _f_
just as easily, if you put your finger on the lowest of any three black
keys that are together, and let it slip off on to the white key next
below it. If you remember where these two keys, _f_ and _c_, are, both
in the treble and the bass, you can easily find the names of all the
other keys. Now what is the next key above _f_?
BESSIE. _g_, and then _a_, _b_, _c_.
DOMINIE. Now we will say over several times the names of the keys,
upwards and downwards, and learn to find them skipping about in any
irregular order. At the end of the lesson we will try them over once
more, and before the next lesson you will know the names of all the
white keys. You must practise finding them out by yourself; you can't
make a mistake, if you are careful to remember where the _c_ and the _f_
are.
I told you that the sounds this way (I strike the keys upward) grow
higher, and this way (I strike them downwards) they grow lower. So you
see no tones are just alike: one is either higher or lower than the
other. Do you hear the difference? Now turn round so as not to see the
keys; I will strike two keys, one after the other; now which is the
highest (the sharpest), the first or the second? (I go on in this way,
gradually touching keys nearer and nearer together; sometimes, in order
to puzzle her and to excite close attention, I strike the lower one
gently and the higher one stronger, and keep on sounding them, lower
and lower towards the bass, according to the capacity of the pupil.) I
suppose you find it a little tiresome to listen so closely; but a
delicate, quick ear is necessary for piano-playing, and by and by it
will become easier to you. But I won't tire you with it any more now, we
will go on to something else. Can you count 3,--1, 2, 3?
BESSIE. Yes, indeed, and more too.
DOMINIE. We'll see; now keep counting 1, 2, 3, 1, 2, 3, as evenly and
regularly as you can. (I lead her to count steadily, and strike at the
same time a chord in three even quarter-notes.) Now we'll see if you can
count evenly by yourself. (I count 1 of the chord with her, and leave
her to count 2 and 3 by herself; or else I count with her at 2, and let
her count 1 and 3 alone; but I am careful to strike the chord promptly
and with precision. Afterwards I strike the chord in eighth-notes, and
let her count 1, 2, 3; in short, I give the chord in various ways, in
order to teach her steadiness in counting, and to confine her attention.
In the same way I teach her to count 1, 2, 1, 2; or 1, 2, 3, 4, 5, 6; at
the same time telling her that music is sometimes counted in triple
time, and sometimes in 2/4 or 4/4 time.) Now, Bessie, you have learned
to count very well, and to know the difference in the tones. It is not
every child that learns this in the first lesson. If you don't get tired
of it, you will some time learn to be a good player. As soon as you are
rested, I will tell you about something else, that you will have to
listen to very carefully.
BESSIE. But I like it, and will take pains to listen just as closely as
I can.
DOMINIE. When several tones are struck at the same time, if they sound
well together, they make what we call a chord. But there are both major
and minor chords: the major chord sounds joyous, gay; the minor, sad,
dull, as you would say; the former laugh, the latter weep. Now take
notice whether I am right. (I strike the chord of C major; then, after a
short pause, that of C minor; and try, by a stronger or lighter touch,
to make her listen first to the major and then to the minor chords. She
usually distinguishes correctly; but it will not do to dwell too long
upon these at first, or to try to enforce any thing by too much talk and
explanation.) Now I will tell you that the difference in the sounds of
these chords is in the third, counted upwards from the lower note _c_,
and depends upon whether you take it half a tone higher or lower, _e_
or _e_ flat. I shall explain this better to you by and by, when you come
to learn about the tonic, the third, the fifth or dominant, the octave,
and so on. (It is advantageous and psychologically correct to touch
occasionally, in passing, upon points which will be more thoroughly
taught later. It excites the interest of the pupil. Thus the customary
technical terms are sometimes made use of beforehand, and a needful,
cursory explanation given of them.) That is right; you can tell them
pretty well already; now we will repeat once more the names of the keys,
and then we will stop for to-day. Just see how many things you have
learned in this lesson.
BESSIE. It was beautiful!
DOMINIE. I hope you will always find it so.
BESSIE. When may I have another lesson?
DOMINIE. Day after to-morrow; at first, you must have at least three
lessons a week.
BESSIE. What shall I do in the next lesson?
DOMINIE. I shall repeat all that I have taught you to-day; but I shall
teach you a great deal of it in a different way, and every time I shall
teach it to you differently, so that it shall always be interesting to
you. In the next lesson we will begin to play, first on the table, and
at last on the piano. You will learn to move your fingers lightly and
loosely, and quite independently of the arm, though at first they will
be weak; and you will learn to raise them and let them fall properly.
Besides that, we will contrive a few exercises to teach you to make the
wrist loose, for that must be learned in the beginning in order to
acquire a fine touch on the piano; that is, to make the tones sound as
beautiful as possible. I shall show you how to sit at the piano and how
to hold your hands. You will learn the names of the black keys and the
scale of C, with the half-step from the 3d to the 4th and also that from
the 7th to the 8th, which latter is called the leading note, which leads
into C. (This is quite important for my method, for in this way the
different keys can be clearly explained.) You will learn to find the
chord of C in the bass and the treble, and to strike them with both
hands together. And then in the third or fourth lesson, after you know
quite perfectly all that I have already taught you, I will teach you to
play a little piece that will please you, and then you will really be a
player, a pianist.
FRIEND. From whom have you learned all this? It goes like the
lightning-train.
DOMINIE. A great many people can learn _what_ is to be taught; but
_how_ it is to be taught I have only found out by devoting my whole
mind, with real love and constant thought, to the musical improvement
and general mental development of my pupils. The advancement will
unquestionably be rapid, for it proceeds step by step, and one thing is
founded upon another; the pupil learns every thing quietly,
thoughtfully, and surely, without going roundabout, without any
hindrances and mistakes to be unlearned. I never try to teach too much
or too little; and, in teaching each thing, I try to prepare and lay the
foundation for other things to be afterwards learned. I consider it very
important not to try to cram the child's memory with the teacher's
wisdom (as is often done in a crude and harsh way); but I endeavor to
excite the pupil's mind, to interest it, and to let it develop itself,
and not to degrade it to a mere machine. I do not require the practice
of a vague, dreary, time and mind killing piano-jingling, in which way,
as I see, your little Susie was obliged to learn; but I observe a
musical method, and in doing this always keep strictly in view the
individuality and gradual development of the pupil. In more advanced
instruction, I even take an interest in the general culture and
disposition of the pupil, and improve every opportunity to call forth
the sense of beauty, and continually to aid in the intellectual
development.
FRIEND. But where are the notes all this time?
DOMINIE. Before that, we have a great deal to do that is interesting and
agreeable. I keep constantly in view the formation of a good technique;
but I do not make piano-playing distasteful to the pupil by urging her
to a useless and senseless mechanical "practising." I may perhaps teach
the treble notes after the first six months or after sixty or eighty
lessons, but I teach them in my own peculiar way, so that the pupil's
mind may be kept constantly active. With my own daughters I did not
teach the treble notes till the end of the first year's instruction, the
bass notes several months later.
FRIEND. But what did you do meanwhile?
DOMINIE. You really ought to be able to answer that question for
yourself after hearing this lesson, and what I have said about it. I
have cultivated a musical taste in my pupils, and almost taught them to
be skilful, good players, without knowing a note. I have taught a
correct, light touch of the keys from the fingers, and of whole chords
from the wrist; to this I have added the scales in all the keys; but
these should not be taught at first, with both hands together. The pupil
may gradually acquire the habit of practising them together later; but
it is not desirable to insist on this too early, for in playing the
scales with both hands together the weakness of the fourth finger is
concealed, and the attention distracted from the feeble tones, and the
result is an unequal and poor scale.
At the same time, I have in every way cultivated the sense of time, and
taught the division of the bars. I have helped the pupils to invent
little cadences with the dominant and sub-dominant and even little
exercises, to their great delight and advantage; and I have, of course,
at the same time insisted on the use of the correct fingering. You see
that, in order to become practical, I begin with the theory. So, for
instance, I teach the pupil to find the triad and the dominant chord of
the seventh, with their transpositions in every key, and to practise
them diligently; and to make use of these chords in all sorts of new
figures and passages. But all this must be done without haste, and
without tiring the pupil too much with one thing, or wearing out the
interest, which is all-important.
After that, I teach them to play fifty or sixty little pieces, which I
have written for this purpose. They are short, rhythmically balanced,
agreeable, and striking to the ear, and aim to develop gradually an
increased mechanical skill. I require them to be learned by heart, and
often to be transposed into other keys; in which way the memory, which
is indispensable for piano playing, is unconsciously greatly increased.
They must be learned _perfectly_ and played well, often, according to
the capacity of the pupil, even finely; in strict time (counting aloud
is seldom necessary) and without stumbling or hesitating; first slowly,
then fast, faster, slow again, _staccato_, _legato_, _piano_, _forte_,
_crescendo_, _diminuendo_, &c. This mode of instruction I find always
successful; but I do not put the cart before the horse, and, without
previous technical instruction, begin my piano lessons with the
extremely difficult acquirement of the treble and bass notes. In a word,
I have striven, as a psychologist and thinker, as a man and teacher, for
a many-sided culture. I have also paid great attention to the art of
singing, as a necessary foundation for piano-playing. I have devoted
some talent, and at least an enthusiastic, unwearied love to the
subject. I have never stood still; have learned something of teaching
every day, and have sought always to improve myself; I have always been
something new and different, in every lesson and with every child; I
have always kept up a cheerful, joyous courage, and this has usually
kindled the same in my pupil, because it came from the heart. Moreover,
I have never been a man of routine, have never shown myself a pedant,
who is obliged to hold fast to certain ideas and views.
I have lived up to the century, and have tried to understand and to
advance the age; have heard every thing great and fine in music, and
have induced my pupils also to hear it. I have opposed with
determination all the prejudices and false tendencies of the times, and
never have allowed impatient parents to give advice about my lessons. I
have insisted upon a good and well-tuned instrument for my pupils, and
have endeavored to merit the love and confidence both of my pupils and
of their parents. In fact, I have devoted myself thoroughly to my
calling, and have been wholly a teacher, always fixing my eye on the
true, the beautiful, and the artistic; and in this way have been of
service to my pupils.
FRIEND. But how do you find parents who sympathize with your ideas and
with your lofty views?
DOMINIE. I have found that almost all the parents of my pupils have
entered into my views, if not immediately, at least after they had been
present at a few lessons. In the case of those few who would not enter
into them, I have abandoned the lessons; but, nevertheless, I have found
that my time has been fully occupied. My friend, do you not think that
views like these will assist in the training of young and inexperienced
teachers, who are striving for improvement? and do you not think they
will be useful even to those who already possess general mental culture,
and who are animated by an ardent love for their calling? I especially
avoid giving here any exclusive method, a servile following of which
would be entirely contrary to my intentions, and, in fact, contrary to
my method.
But as for the rest! Alas, all those who do not understand me, or who
choose to misunderstand me, those are the worst!--especially the
ill-natured people, the _classical_ people who bray about music, stride
straight to the notes, and have no patience till they come to Beethoven;
who foolishly prate and fume about my unclassical management, but at
bottom only wish to conceal their own unskilfulness, their want of
culture and of disinterestedness, or to excuse their habitual drudgery.
Lazy people without talent I cannot undertake to inspirit, to teach,
and to cultivate.
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