THE QUESTION OF VELOCITY

In speaking of velocity in piano playing and how it is to be acquired, Mr. Bauer continued: 

“I believe the quality of velocity is inherent—­an integral part of one’s thought.  Even a child, if he has this inherent quality, can play a simple figure of five notes as fast as they need to be played.  People of the South—­not on this side of the water—­but of Spain and Italy, are accustomed to move quickly; they gesticulate with their hands and are full of life and energy.  It is no trouble for them to think with velocity.  Two people will set out to walk to a given point; they may both walk fast, according to their idea of that word, but one will cover the ground much more quickly than the other.  I think this idea of a time unit is again a limiting idea.  There can be no fixed and fast rule as to the tempo of a composition; we cannot be bound by such rules.  The main thing is:  Do I understand the meaning and spirit of the composition, and can I make these clear to others?  Can I so project this piece that the picture is alive?  If so, the fact as to whether it is a few shades slower or faster does not enter into the question at all.

OBTAINING POWER

“Many players totally mistake in what power consists.  They think they must exert great strength in order to acquire sufficient power.  Many women students have this idea; they do not realize that power comes from contrast.  This is the secret of the effect of power.  I do not mean to say that we must not play with all the force we have at times; we even have to pound and bang occasionally to produce the needed effects.  This only proves again that a tone may be beautiful, though in itself harsh, if this harshness comes in the right time and place.

“As with velocity so with power; there is no fixed and infallible rule in regard to it, for that would only be another limitation to the feeling, the poetry, the emotion of the executant’s thought.  The quality and degree of power are due to contrast, and the choice of the degree to be used lies with the player’s understanding of the content of the piece and his ability to bring out this content and place it in all its perfection and beauty before the listener.  This is his opportunity to bring out the higher, the spiritual meaning.”

XIV

A VISIT TO RAOUL PUGNO

TRAINING THE CHILD

“An audience has been arranged for you to-day, with M. Raoul Pugno; he will await you at four o’clock, in his Paris studio.”  Thus wrote the courteous representative of Musical America in Paris.

It had been very difficult to make appointments with any of the famous French musicians, owing to their being otherwise engaged, or out of the city.  I therefore welcomed this opportunity for meeting at least one of the great pianists of France.