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Daventry was able to rescue the guilty pair from an apparently hopeless predicament, by calmly switching on the lights and opening the door to Sir John Langham. The situation was undoubtedly a "strong" one; but the tendency of modern technic is to hold "strength" too dearly purchased at such reckless expense of preparation.
"You have studied with Sherwood," he began. "He has excellent ideas of touch and technic. Some of these ideas came from me, though I don't wish to claim too much in the matter. Sherwood has the true piano touch. Very few pianists have it; Klindworth did not have it, nor von Bülow, nor even Liszt, entirely, for he as well as the others, sought for a more orchestral manner of playing.
The public refuses to admire anything that can be done by a machine, and longs for something finer, more subtle, more closely allied to the soul of the artist. This does not mean, however, that the necessity for a comprehensive technic is depreciated. Quite the contrary is true. The need for an all-comprehensive technic is greater than ever before.
"Oh, but I do not make twice a portrait of Any!" was the answer. "I hope not, indeed!" She examined the newly begun pastel sketch with the air of a woman that understands the technic of art. She stepped back, advanced, made a shade of her hand, sought the place where the best light fell on the sketch, and finally expressed her satisfaction. "It is very good.
Those American painters who have adopted the impressionist point of view, again, have modified its technic to suit their own purposes and are at least as different from the Impressionists of France as are the Impressionists of Scandinavia.
I had some lessons with S.B. Mills, and later did considerable valuable work with Paolo Gallico, who opened up to me the great storehouse of musical treasure, and revealed to me among other things the spiritual technic of the pianist's art. Subsequently I investigated the Virgil and Leschetizky methods. Mr.
He shows where the released arm weight should be applied, and again, where it should be eliminated; makes clear the two opposite forms of technic implied by "flat" and "bent" finger actions, and he goes exhaustively into the little-understood question of forearm rotary exertions, the correct application of which he proves to be necessary for every note we play.
It presupposes absolute accuracy in notes, time, fingerings, etc., and implies the closest possible attention to those things which are generally, though erroneously, regarded as lying outside of technic, such as tonal beauty, dynamic shading, rhythmical matters, and the like. Some have the happy gift of combining practice with study, but this is rare.
My father was a tactful teacher; he never commanded, but would merely say, 'You can play this in the key of C, but I doubt if you can play it in the key of D. This doubt was the spur to fire my ambition and pride: I would show him I could play it in the key of D, or in any other key; and I did! "With all the technic exercises, I had many études also; a great deal of Czerny.
I practise them in various touches, but oftener in legato, as that is more difficult and also more beautiful than the others. I practise technic, when possible, an hour a day, including Bach." Sigismond Stojowski considers that scales and arpeggios must form a part of the daily routine.
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