ART OR MUSIC

Manawatu Standard, Volume XLIX, Issue 242, 11 September 1929, Page 2

ART OR MUSIC

PIANOFORTE TECHNIQUE. A number of students and teachers of the pianoiorte assemuied in the Girls' iviusic Glub room at An Saints' yesterday afternoon to hear an interesting lecture-demonstration by Mr Jtgerum Lowe, the examiner ot Trinity College of Music, London. Mr Lowe gave much helpful, technical advice and played excerpts from various compositions, conciuuing witn a modern jnencli musician s “Freiude to tlie Heroic Gate ot Heaven,” a musical theme minus bar lines, and in winch the interpretation is left to the player’s discretion or musical sense. Mr Lowe stated that this year he had noticed a considerable improvement in the standard, locally, 01 the lower grade students; it was apparent that great pains had been taken witxi tlie younger people, but eventual success'would require a continuance ot that particular care. It was in the early years that faults were acquired, and in tills connection the lecturer stated that speed was not so important in examinations. It speed were overdone at first, it produced' so many faults that success could not come later. One should not expect juniors 10 play scales and arpeggios at the same rate as senior players executed. Mr Lowe urged students to attain a complete mastery of every shade oi tone from pianissimo to fortissimo. Fortissimo notes would always take care of themselves, but it was the pianissimo note that most appealed to the musician’s heart and to the examiner. Every change of tone was brought about by muscular energy and the introduction of Key speed, even though the text books averred that the changes were achieved merely by Key speed. Mr Lowe stated that the question of touch was one of the most important as regards pianoforte playing. Touch was the way in which one depressed and released the key. but there were many who paid over-much attention to the former aspect and forgot the latter. In pianoforte playing there must be complete looseness from the shoulder down to the linger; the more speed in the arm, the greater the speed on the key, and the result was beauty of tone. The great aim should lie to make every note as beautiful as possible.

With regard to the playing of staccato notes, Mr Lowe stated that the student should loosen the muscles that connect the wrist with the forearm and the hand, not carry out the old idea of throwing one’s hand back and hitting down on the keys. Some of the staccato scales played by the preparatory classes during the local examination had been excellent, and Mr Lowe went on to refer to the importance of physical exercises, stating that the lateral movement of the hand, which violinists found so essential, was not taught sufficiently to pianists. To illustrate tone modulations, the lecturer played a Bach Minuet, changing from one key to another, and to illustrate the two-note slur a charming Russian theme, “O tell me Why?” the ending, with its melodic note of interrogation, being most expressive. In pianoforte playing one should try to discover where the strong accents sounded best, and try to give every note in a phrase its full tonal value. The lecturer also dealt with the playing of syncopated i.otes, and selected some of the Bach fugues as illustrations, etati.itr that if Bach had been alive’to-day fid would be the greatest ragtime composer, for agtime was syncopation gone bad. Mr Lowe stated in conclusion that greater care should be taken with the choice of selections for students; it was better that they start on modern compositions so that later they might understand the classics. It was similar ill literal aChildren preferred Milne and the other moderns. On the motion of Mr J. Holmes Runnicies, who referred to the lecturer’s great knowledge of the musical world, and his authority to speak of the subject of pianoforte technique, Mr Lowe was accorded a hearty vote of thanks.