“As an illustration, take the case of a pianist in a traveling concert company.  He must play the same pieces night after night, with no opportunity to practise between.  For the first few days the pieces go well; then small errors and weak spots begin to appear.  There is no time for slow practise, so each nightly repetition increases the uncertainty.  In a few months his playing degenerates so it is hardly fit to listen to.  This is the result of constant fast playing.”

(8) How do you keep technic up to the standard?

“If one is far advanced a few arpeggios and scales, or a brilliant etude will put the hand in condition.  After one has rested, or had a vacation, some foundational exercises and finger movements may be necessary, to limber up the muscles and regain control and quickness.  One may often have to review first principles, but technical facility is soon regained if it has once been thoroughly acquired.  If one has stopped practise for quite a period, the return is slower, and needs to be more carefully prepared.

“I use considerable Czerny for technical purposes, with my pupils.  Op. 299, of course, and even earlier or easier ones; then Op. 740.  A few of the latter are most excellent for keeping up one’s technic.  The Chopin Studies, too, are daily bread.”

(9) The best way to study chords?

“From the wrist and with fingers of steel Small hands must of course begin with smaller positions.”

(10) What gymnastic exercises do you suggest?

“Whatever seems necessary for the special hand.  Tight hands need to be massaged to limber the fingers and stretch the web of flesh between them.  The loose, flabby hand may also be strengthened and rendered firm by massage; but this is often a more difficult task than to stretch the right hand.  If technical training is properly given, it is sure to render the hand flexible and strong.”

XXV

AGNES MORGAN

SIMPLICITY IN PIANO TEACHING

One of the busiest of New York piano teachers, whose list of students taking private lessons in a season, almost touches the hundred mark, is Mrs. Agnes Morgan.  Mrs. Morgan has been laboring in this field for more than two decades, with ever increasing success.  And yet so quietly and unobtrusively is all this accomplished, that the world only knows of the teacher through the work done by her pupils.  The teacher has now risen to the point where she can pick and choose her own pupils, which is a great comfort to her, for it dispels much of the drudgery of piano teaching, and is one of the reasons why she loves her work.

When one teaches from nine in the morning till after six every day of the season, it is not easy to find a leisure hour in which to discuss means and methods.  By a fortunate chance, however, such an interview was recently possible.