Читать книгу Piano Mastery: Talks with Master Pianists and Teachers - Harriette Brower - Страница 10

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"One point Paderewski is very particular about, and that is fingering. He often carefully marks the fingering for a whole piece; once this is decided upon it must be kept to. He believes in employing a fingering which is most comfortable to the hand, as well as one which, in the long run, will render the passage most effective. He is most sensitive to the choice of fingering the player makes, and believes that each finger can produce a different quality of tone. Once, when I was playing a Nocturne, he called to me from the other end of the room: 'Why do you always play that note with the fourth finger? I can hear you do it; the effect is bad,' He has a keen power of observation; he notices little details which pass unheeded by most people; nothing escapes him. This power, directed to music, makes him the most careful and painstaking of teachers. At the same time, in the matter of fingering, he endeavors to choose the one which can be most easily accomplished by the player. The Von Bülow editions, while very erudite, are apt to be laborious and pedantic; they show the German tendency to over-elaboration, which, when carried too far becomes a positive fault.