Piano and Song | Page 9

have had the same experience myself, though not to
the same degree, and though I did not bring home to my wife a dreary
face, but only a good appetite. But I did not give myself up to
lamentation over piano-teaching. I gathered up courage and rose above
mere drudgery. I reflected and considered and studied, and tried
whether I could not manage better, as I found I could not succeed with
the boys; and I have managed better and succeeded better, because I
have hit upon a different way, and one more in accordance with nature
than that used in the piano schools. I laid down, as the first and most
important principle, the necessity for "the formation of a fine touch,"
just as singing-teachers rely upon the culture of a fine tone, in order to
teach singing well. I endeavored, without notes, to make the necessary
exercises so interesting that the attention of the pupils always increased;
and that they even, after a short time, took great pleasure in a sound,
tender, full, singing tone; an acquirement which, unfortunately, even
many virtuosos do not possess. In this way, we made an opening at the
beginning, not in the middle: we harnessed the horse before the wagon.
The pupil now obtained a firm footing, and had something to enjoy,
without being tormented at every lesson with dry matters to be learned,
the advantage of which was not obvious to him, and the final aim of
which he did not perceive. Until a correct touch has been acquired, it is
of no use to talk about a fine singing tone. How can we expect to
arouse an interest by mere toneless tinkling, while stiff, inflexible
fingers are struggling with the notes; while the pupil sees only his

inability to do any thing right, and receives nothing but blame from the
teacher; while, at the same time, so much is to be kept in mind, and he
must be required to observe the time, and to use the right fingers? Poor,
stupid children! Later, after teaching the notes, I did not fall into the
universal error of selecting pieces which were either too difficult, or
such as, though purely musical, were not well adapted to the piano; but
I chose short, easy pieces, without prominent difficulties, in the correct
and skilful performance of which the pupil might take pleasure.
Consequently, they were studied carefully, slowly, willingly, and with
interest, which last is a great thing gained; for the pupil rejoiced in the
anticipation of success. The struggle over single difficult places
destroys all pleasure, palsies talent, creates disgust, and, what is worse,
it tends to render uncertain the confirmation of the faculty already
partially acquired,--of _bringing out a fine legato tone, with loose and
quiet fingers and a yielding, movable wrist, without the assistance of
the arm_.
You suppose that talent is especially wanting, and not merely good
teachers; for otherwise, with the zealous pursuit of piano-playing in
Saxony, we should produce hundreds who could, at least, play correctly
and with facility, if not finely. Here you are mistaken: we have, on the
contrary, a great deal of musical talent. There are, also, even in the
provincial cities, teachers who are not only musical, but who also
possess so much zeal and talent for teaching that many of their pupils
are able to play tolerably well. I will add further, that the taste for
music is much more cultivated and improved, even in small places, by
singing-societies and by public and private concerts, than was formerly
the case. We also have much better aids in instruction books, études,
and suitable piano pieces; but still we find everywhere "jingling" and
"piano-banging," as you express it, and yet no piano-playing.
Let us consider this aspect of the subject a little more closely. In the
first place, the proper basis for a firm structure is wanting. The
knowledge of the notes cannot afford a proper basis, except in so far as
it is of service in the execution of a piece. Of what use are the notes to a
singer, if he has no attack, and does not understand the management of
the voice? of what use to the piano-learner, if he has no touch, no tone

on the piano-forte. Is this to be acquired by playing the notes? But how
then is it to be learned?
One thing more. Owing to an over-zeal for education, children are kept
in school from seven to ten hours in a day, and then they are required to
work and commit to memory in their free hours, when they ought to be
enjoying the fresh air. But when are they then to have their piano
lessons? After they have escaped from the school-room, and
consequently when the children are