In recognition of the strength of this desire, months after a half-forgotten wish had been expressed by me, came a request by Musical America to prepare a series of interviews with the world famed pianists who were visiting our shores, and also with prominent teachers who were making good among us, and who were proving by results attained that they were safe and efficient guides.

SEARCHING FOR TRUTH

Never was an interesting and congenial labor undertaken with more zest.  The artists were plied with questions which to them may have seemed prosaic, but which to the interrogator were the very essence of the principles of piano technic and piano mastery.  It is not a light task for an artist to sit down and analyze his own methods.  Some found it almost impossible to put into language their ideas on these subjects.  They had so long been concerned with the highest themes of interpretation that they hardly knew how the technical effects were produced, nor could they put the manner of making them into words.  They could only say, with Rubinstein, “I do it this way,” leaving the questioner to divine how and then to give an account of it.  However, with questions leading up to the points I was anxious to secure light upon, much information was elicited.

One principle was ever before me, namely the Truth.  I desired to find out the truth about each subject and then endeavored to set down what was said, expressed in the way I felt would convey the most exact meaning.  In considering the vital points or heads under which to group the subjects to be considered, the following seem to cover the ground pretty thoroughly: 

1.  Artistic piano technic; how acquired and retained.

2.  How to practise.

3.  How to memorize.

4.  Rhythm and tone color in piano playing.

SECTION II

Hand Position, Finger Action, and Artistic Touch

WHAT TECHNIC INCLUDES

When we listen to a piano recital by a world-famous artist, we think—­if we are musicians—­primarily of the interpretation of the compositions under consideration.  That the pianist has a perfect technic almost goes without saying.  He must have such a technic to win recognition as an artist.  He would not be an artist without a great technic, without a complete command over the resources of the instrument and over himself.

Let us use the word technic in its large sense, the sense which includes all that pertains to the executive side of piano playing.  It is in this significance that Harold Bauer calls technic “an art in itself.”  Mme. Bloomfield Zeisler says:  “Piano technic includes so much!  Everything goes into it:  arithmetic, grammar, diction, language study, poetry, history and painting.  In the first stages there are rules to be learned, just as in any other