y
individual note in a composition is important, but there is something
quite as important as the notes, and that is the soul. After all, the
vital spark is the soul. The soul is the source of that higher
expression in music which cannot be represented in dynamic marks. The
soul feels the need for the _crescendos_ and _diminuendos_ intuitively.
The mere matter of the duration of a pause upon a note depends upon its
significance, and the soul of the artist dictates to him just how long
such a pause should be held. If the student resorts to mechanical rules
and depends upon them absolutely, his playing will be soulless.

Fine playing requires much deep thought away from the keyboard. The
student should not feel that when the notes have been played his task is
done. It is, in fact, only begun. He must make the piece a part of
himself. Every note must awaken in him a kind of musical consciousness
of his real artistic mission.

QUESTIONS IN STYLE, INTERPRETATION, EXPRESSION
AND TECHNIC OF PIANOFORTE PLAYING

SERIES XIV

S. V. RACHMANINOFF

1. Should the student gain an idea of the work as a whole before
attempting detailed study?

2. How is the matter of digital technic regarded in Russia?

3. What part should the study of phrasing play in modern music
education?

4. State how contrast in playing may be accomplished.

5. What may be considered the most difficult branch of pianoforte study?

6. What is the law of artistic progress?

7. How must real musical understanding be achieved?

8. What is the vital spark in piano playing?

9. Can one be overexact in playing?

10. What is the effect of too many mechanical rules?

[Illustration: A. REISENAUER]

ALFRED REISENAUER

BIOGRAPHICAL

Alfred Reisenauer was born at Koenigsberg, Germany, Nov. 1st, 1863. He
was a pupil of his mother, Louis Koehler, and Franz Liszt. His debut as a
pianist was made in Rome, in 1881, at the palace of Cardinal Hohenlohe.
After a concert tour in Germany and a visit to England he studied Law
for one year at the Leipsic University. Not finding this altogether to
his liking he resumed his concert work and commenced a long series of
tours which included all the nooks and corners of the world where one
might find a musical public. He was an accomplished linguist, speaking
many languages very fluently. His work as a composer was not significant
but in certain branches of pianoforte playing he rose to exceptional
heights. He