Читать книгу Great Pianists on Piano Playing - James Francis Cooke - Страница 14

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Some years ago the Director of the Leipsic Conservatorium gave the writer a complete record of the number of graduates of the conservatory from the founding to the late nineties. Of the thousands of students who had passed through the institution only a few had gained wide prominence. Hardly one student in one hundred had won his way into the most voluminous of the musical biographical dictionaries. The proportion of distinguished graduates to those who fail to gain renown is very high at Leipsic compared with many other institutions. What becomes of the thousands of students all working frantically with the hope of becoming famous pianists? Surely, so much earnest effort can not be wasted even though all can not win the race? Those who often convince themselves that they have failed go on to perform a more useful service to society than the laurel-crowned virtuoso. Unheralded and unapplauded, they become the teachers, the true missionaries of Frau Musik to the people.

What is it then, which promotes a few "fortunate" ones from the armies of students all over America and Europe and makes of them great virtuosos? What must one do to become a virtuoso? How long must one study before one may make a début? What does a great virtuoso receive for his performances? How long does the virtuoso practice each day? What exercises does he use? All these and many more similar questions crop up regularly in the offices of music critics and in the studios of teachers. Unfortunately, a definite answer can be given to none, although a great deal may be learned by reviewing some of the experiences of one who became great.

Some virtuosos actually seem to be born with the heavenly gift. Many indeed are sons and daughters of parents who see their own demolished dreams realized in the triumphs of their children. When little Nathan creeps to the piano and quite without the help of his elders picks out the song he has heard his mother sing—all the neighbors in Odessa know it the next day. "A wonder child perhaps!" Oh happy augury of fame and fortune! Little Nathan shall have the best of instruction. His mother will teach him at first, of course. She will shape his little fingers to the keyboard. She will sing sweet folk melodies in his ear—songs of labor, struggle, exile. She will count laboriously day after day until he "plays in time." All the while the little mother sees far beyond the Ghetto—out into the great world—grand auditoriums, breathless crowds, countless lights, nobles granting trinkets, bravos from a thousand throats, Nathan surrounded by endless wreaths of laurel—Oh, it is all too much—"Nathan! Nathan! you are playing far too fast. One, two, three, four—one, two, three, four—there, that is the tempo Clementi would have had it. Fine! Some day, Nathan, you will be a great pianist and—" etc., etc.

Nathan next goes to the great teacher. He is already eight years old and fairly leaping out of his mother's arms. Two years with the teacher and Nathan is probably ready for a début as a wonder child. The critics are kind. If his parents are very poor Nathan may go from town to town for awhile being exhibited like a trained poodle or a tiny acrobat. The further he gets from home the more severe his critics become, and Nathan and his mother hurry back to the old teachers, who tell them that Nathan must still practice long and hard as well as do something to build up his general education. The world in these days looks askance at the musician who aside from his keyboard accomplishments is a numskull. More sacrifice for Nathan's mother and father—but what are poverty and deprivation with such a goal in sight? Nathan studies for some years in the schools and in the high schools as well as at the conservatory. In the music school he will doubtless spend six years in all—two years in the post-graduate or master classes, following the regular four-year course. When sufficiently capable he will take a few pupils at a kopeck or so per lesson to help out with the family expenses.

Nathan graduates from the conservatory with high honors. Will the public now receive him as a great pianist? A concert is planned and Nathan plays. Day and night for years his whole family have been looking forward to that concert. Let us concede that the concert is a triumph. Does he find fame and fortune waiting for him next morning? No indeed—there are a thousand Nathans all equally accomplished. Again he must work and again he must concertize. Perhaps after years of strife a manager may approach him some day with a contract. Lucky Nathan—have you not a thousand brothers who may never see a contract? Then—"Can it be possible Nathan—is it really America—America the virtuoso's Golconda!" Nathan makes a glorious tournée. Perhaps the little mother goes with him. More likely she stays at home in Odessa waiting with glistening eyes for each incoming mail. Pupils come to Nathan and he charges for each lesson a sum equaling his father's former weekly wage. Away with the Ghetto! Away with poverty! Away with oblivion! Nathan is a real virtuoso—a veritable Meister!