Musicon / Musical education / Playing the Piano: Strength of finger must be coupled with strength of thought
-Playing the Piano: Strength of finger must be coupled with strength of thought
In one respect, it may be said that the mechanics of piano playing represent a low plane of artistic activity, a fact which ought always to be remembered whenever the temptation is felt greatly to exalt the technique of the art; but it must also be borne in mind that the mechanical nature of simple tone production in piano playing raises the value of the emotional quality which, nevertheless, stands at the command of the player. The emotional potency of the tone must come from the manner in which the blow is given to the string.
Recognition of this fact has stimulated reflection, and this in turn has discovered methods by which temperament and emotionality may be made to express themselves as freely, convincingly, and spontaneously in piano as in violin playing. If this were not so it would be impossible to explain the difference in the charm exerted by different virtuosi, for it has frequently happened that the best-equipped mechanician and the most intellectual player has been judged inferior as an artist to another whose gifts were of the soul rather than of the brains and fingers.
The feats accomplished by a piano virtuoso in the mechanical department are of so extraordinary a nature that there need be small wonder at the wide prevalence of a distinctly technical cult. All who know the real nature and mission of music must condemn such a cult. It is a sign of a want of true appreciation to admire technique for technique’s sake. It is a mistaking of the outward shell for the kernel, a means for the end. There are still many players who aim to secure this admiration, either because they are deficient in real musical feeling, or because they believe themselves surer of winning applause by thus appealing to the lowest form of appreciation.
They care no more for the “murmurs made to bless,” unless it be occasionally for the sake of contrast, but seek to astound, amaze, bewilder, and confound with feats of skill and endurance. He must be a wonder, indeed, who can disturb our critical equilibrium by mere digital feats. We want strength and velocity of finger to be coupled with strength, velocity, and penetration of thought. We want no halting or lisping in the proclamation of what the composer has said, but we want the contents of his thought, not the hollow shell, no matter how distinctly its outlines be drawn.
From: H. Krehbiel’s, How to Listen to Music; excerpts, edited by Musicon