Scan 4
Musical Courier 1904-06-01: Vol 48 Iss 1262, 1904
28 lines. Read by computer on 23 September 2026. No printed page number was found. See the scan on archive.org.
1LUITFOLD ST. 24.
2BERLIN, W.
3MAY 15, 1904.
5IN the department "Variations," THE MUSICAL COURIER not long ago reprinted an interesting essay by Eugen d'Albert, in which the distinguished pianist compares modern pedagogical methods with those of Franz Liszt. It is a comparison which is hardly fair, for both as a man and as an artist no teacher of today stands in the same class with the illustrious Magyar pianist and composer, and exception must be taken, too, to that part of D'Albert's article which says of a Liszt lesson: "Here the pupil hears naught of 'fingering' or of dry rules; in fact, scarcely a word is said about piano pedagogics. What cared Liszt about mere accuracy of execution, so long as the interpretation was vital and vivid. Away with the schoolmaster and with pedantry!"
7Now, it is a matter of record, and well known, that Liszt, when in the zenith of his powers, laid especial stress always on accuracy of technic. He himself had a wonderful technic while he traveled as a virtuoso, and later when teaching in Weimar he took real interest only in those of his pupils who were exceptional technicians. D'Albert himself was remarkable in that respect fifteen years ago. He is indifferent now in regard to piano practice, but that does not justify his trying to create a sentiment against technic. That would be a dangerous precedent.
9D'Albert goes on to point out where our German music life of today is ailing, and argues that certain deplorable conditions are due to "the material prosperity of Germany, the lust for gold, and our prosaic conception of life and art." He says furthermore: "The artist who formerly lived for his ideal, and who cared little for material things, now has come to the conclusion that in the mad race for wealth he must not be left behind alone. Nothing is too degrading for him to do, neither the most common réclame nor the most debasing external appeal, so long as the crowd is attracted and the hall filled! And this in every field of art; reproductive as well as productive! The piano teacher with us in Germany has become a business man, just as in America and England. His pupils are his goods and his effort is directed first and foremost toward a good patronage."
11Very true, all this, and in many ways to be regretted, but it is not the "material prosperity of Germany" alone that is to blame for these conditions. We must go beyond the borders of this country for the true underlying principle of the matter. It is the commercial spirit of our times that should be reproached.
13Commercialism is the real and universal ruler of the age. This is the main misfortune and of it all those other conditions are merely the necessary and logical outcome. Commercialism has penetrated into everything—into politics, religion, learning, diplomacy, literature and art! Politicians have an eye chiefly to spoils. Presidents of universities are not elected as formerly because of their learning or their fame as educators, but frequently because they are good financiers, because they are good solicitors and can induce millionaires to endow their institutions. Wars are declared, not to uphold the honor and integrity of nations, but for material gain. Novelists and dramatists write for money, and resort to all sorts of devices to make their works popular. Even the Church is affected by the ruling spirit, and one of the first things a clergyman considers on receiving a "call" is the salary thereof. Is it any wonder, then, that the spirit of commercialism, since it has invaded every other field of activity, has also affected the art of music?
15In justice to other artists it must be said that if Franz Liszt, whose noble character and broad generosity in all money matters were well known, had written an article bewailing materialism in modern music, it would carry conviction, but such an article from D'Albert, whose love for money and penurious habits are not a secret here in the inner circles, naturally fails to do so.
17D'Albert continues: "With such 'factory made' kind of instruction there can, of course, be no free development, no real art. What does it matter? As long as the name of the teacher or of the conservatory is often mentioned, and the pupil is satisfied to have attained his ideal (the giving of a public concert in Berlin), all is well! The concert agencies and the hall owners profit most from this method, and what a rich harvest they reap is shown by the fearful increase in concert halls. The poor, half finished artist gets his savings together—for such a concert in Berlin is an expensive affair—and when the great day of his début comes, and when, plagued by a thousand fears, he reels off his program, bad luck generally has it that the tired, music weary critic (who has attended several other concerts on the same evening) hears our recital giver in the very piece that is least adapted to him, and the net result of the eventful evening is that the poor victim of his teacher gets an annihilating criticism, which ends his career then and there."
19Very true, indeed, as everyone familiar with conditions here can testify. One reason for this is the wholly unjustified hopes of the aspirants to fame and fortune, blinded by the fabulous and exaggerated reports of successes of others. Blame must be put, too, on the promises of wholly unprincipled teachers, on the verbal guarantees which they extend and on all the "methods" that insure a short cut to greatness and promise a pupil everlasting fame and fortune. These sharks that prey upon newcomers here—especially upon Americans—ought to be exterminated from off the face of the earth. Many tales of woe have come to my notice here and some day I shall write them all down and print them as a lesson and as a warning. There are plenty of good, and even great teachers in all branches of music in this city, teachers who are honest and unselfish, and there is no reason why Americans should fall into the hands of the other kind, the unscrupulous ones, and thus go to their artistic and financial ruin.
21"How can these evils be remedied?" asks D'Albert. "First of all, everyone who has not absolute faith in his talent should be advised not to adopt the career of a piano virtuoso. Any other career will prove more remunerative. Piano teachers should talk with their pupils in this way, and in view of the great responsibility which the teachers take upon themselves, it ought not to be hard for them to renounce the vanity of bringing before the public as many pupils as possible. It is possible that they may be often mistaken in a talent, therefore they can hardly be too conscientious in testing, and they must be wholly objective in their judgment. Average talent should be discouraged from public playing, and the great talents must be impressed with the fact that only the most untiring energy and perseverance will lead to the goal. The disappointments and dangers of this career must again and again be pointed out."
23Excellent advice, but where does it lead? How can the professional piano teacher pay his butcher's and baker's bills if he restricts himself to the few really great talents, especially as these are almost invariably poor and unable to pay for instruction at all? In fact, the teacher is usually able to further the gifted one by giving him free instruction, because the "average" and "small" talents pay promptly and well for their lessons.
25The best part of D'Albert's article is the last paragraph. He writes: "The effect of reproductive art disappears like fog before the sun. The public easily forgets its favorites when a new star appears. It is dazzled by externals, by all kinds of secondary things. And then, too, no art is easier to learn than piano playing. Anyone, with industry and patience, can acquire technical facility. But that effluvium which establishes the contact between artist and public exists only in the soul of the born artist, and cannot be acquired. Few have it at best, and none to the extent of that great soul artist and artist soul—Franz Liszt. Both pupil and teacher should make this mighty man their ideal. The teacher, in that he does not unnecessarily burden the pupil with dry pedagogics, and clip his wings and stem his flight; the pupil, in that he copies Liszt in his generosity, and in his ideal conception of art. Beware of narrowness and meanness. Let the young artist not limit his knowledge to the piano. Let him travel, see life, show interest in everything, in sculpture, painting and literature."
27This is for the most part excellent advice, and coming from so eminent a man as D'Albert it is doubly interesting. Much of it, however, is impractical. If all pianists tried to copy Liszt in his ideal conception of art and in his contempt for material gain they would all starve to death. The question of daily bread D'Albert does not consider. Then, too, this discouraging a pupil to become a musician is not such a simple matter. If the desire in him is strong he will do it, advice or no advice. Go for advice to prominent members of any profession—doctors, lawyers, clergymen—they will all say: "Don't enter my profession; it is overcrowded and you have small chances of success." If a boy or girl has a deep love for music, even without great talent, and has real enthusiasm for it, he or she will never be happy in any other calling. And those less gifted ones, who choose music as a life work without great prospects of
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