The Art and Technique of Pianoforte Playing by Petri Pdf
Casus Petri – as seen in a little bit newer perspective.
Part 2
When rationality in pianism becomes considered, one should immediately get-go to call up about no one, but Petri...
Now, a few words apropos the Person: Egon Petri was born in Hanover, Germany, at 23 March 1881 into a Dutch family. His male parent, Henri Willem Petri, was honored with the concertmaster'due south position in the Gewandhaus Orchestra in 1889; about Petri'due south mother, I accept found not 1 bit of information. Young Egon was at showtime determined to follow his father's footsteps and nether his guidance he started to written report the violin. He played well enough to appear – as member of his father's quartet – even in front end of such nifty personage equally Johannes Brahms; Egon not before long after resigned from the idea about a violin career and started learning the piano. He started all the same seriously dealing with the piano only being almost twenty years old. Teachers, who influenced his development for the most, were legendary Venezuelan pianist Teresa Carre�o (erstwhile pupil of Gottschalk, of the Chopin's scholar Yard. Mathias and of Anton Rubinstein) and Ferrucio Busoni . Petri's contacts with Busoni, who was a friend of his father, began in 1901 and lasted to the end of Busoni's life (1924).
Wanting to enlarge his general education, Egon Petri studied philosophy and gained a doctorate in Music at the Royal Manchester College . At the same College, he worked from 1906 until 1910. To the pianoforte pedagogy not somebody else has directed him, only his great instructor Busoni; young Egon studied under his artistic guidance in Berlin, Weimar and Dresden; in years of the 1st Earth War he cooperated with Busoni on editing of the works of Bach. In 1921 he started lecturing in Hochschule f�r Musik in Berlin , and four years later (according to some different sources: in 1927) he moved to Zakopane , a capital of the Smoothen Tatra mountains. Petri'south courses in Zakopane had such a skillful reputation that – in a special sense – the musical Globe owes them the birth of ane of the greatest... cello talents. Mss. Iris Greep, a talented English pianist arrived to Zakopane to participate in Egon Petri's courses in summer of 1938; in the aforementioned year another musically talented Englishman – Mr. Derek du Pr�, the accordionist – spent his holidays in the Tatra mountains. These two young talented musicians were met and roughshod in love with itself just hither, in Zakopane; they entered the state of wedlock in 1940, and on the 26 January 1945 Jacqueline du Pr� was born (in Oxford).
In 1939, when Frg and Russia treacherously invaded Poland, Petri and his wife had been forced to run for their life from hither, leaving his library with an enormously rich drove of books and other rarities. As well, a pair of the m pianos has been left to the favor of fate.
Interior of the 'Slowacki' Theater in Cracow; that is how looks a like the flick of a cultural environment Petri had lived in within his 'Polish-years'...
From 1940 until 1946 Petri was employed at Cornell University in Ithaca (New York), and from 1947 upward to 1957 he worked at Mills Higher in Oakland (California); in the circle of teachers of this College was Darius Milhaud ; John Cage worked in that location every bit an accompanist. In 1957, Egon Petri took up additional work at the Music Conservatoire in Basel, and as well – from 1952 until 1962 – he taught at the San Francisco Conservatory of Music. Egon Petri died in Berkeley (California) on 27 of May 1962 in the age of 81. Prof. Robert Sheldon, about whom we shall speak in a while, became his heir at this college.
Egon Petri was non the piano megastar, which would requite yearly every bit many concerts every bit Arthur Rubinstein (b. 1887 in Ł�dź, Poland) or Artur Schnabel (b. 1882 in Lipnik, Poland). Still as a pedagogue, he definitely belongs to the most prominent piano teachers of the 20th Century. It does not matter that to the circle of his pupils vest John Ogdon and Earl Wild. Petri actually was a tirelessly active and extremely efficient teacher, and that is why in seeking for stronger base of rationalism in the widely understood pianism and piano educational activity, information technology would maybe be exceptionally valuable to get adequately informed about his views. It would surely be priceless to familiarize oneself with opinions originated past the Artist, whose powerful intellect stayed in perfect harmony with truly vibrant emotionality.
Until the contempo days, Egon Petri's biography had not been written at all. An article of Mrs. Michaele Bridegroom, the former Prof. Sheldon's educatee, printed some years ago in the Clavier Mag, is one of very few, truly credible sources of data almost the Petri'southward teaching; her newest text related to Petri could be plant nether this link . How I already mentioned a moment ago, Mrs. Benedict was not the pupil of Petri, she studied under creative direction of Prof. Robert Sheldon yet, which for 14 years studied under the Primary and after his decease embraced his form in the music conservatoire in San Francisco. Prof. Sheldon gathered the tens of tapes fulfilled with recordings of the Petri'south lessons; he also very scrupulously kept notes, which with time became the real treasury of wisdom related to the pedagogy of his Principal. Hither you are one of favorite Petrie's anecdotes concerning the piano practicing methods, written downward by Prof. Sheldon: A pedestrian who was on his fashion to Athens, met a peasant working by the roadside and asked him " How far is it to Athens? " The peasant replied, " Walk! " The man said, " I know I have to walk, but tell me how long will it take me to become at that place? " The peasant repeated, " Walk! " When the third inquiry drew forth the aforementioned data, the traveler, giving the peasant upward as a hopeless idiot, walked abroad with great strides. After a few seconds the peasant chosen out: " Half an hour! " Greatly surprised, the man turned back and said: " Why did you lot not tell me that at once? " Whereupon the peasant replied, " How could I tell you before I saw, how you lot walked? "
With this anecdote, Petri unremarkably answered questions essential to capture some aspects of his pedagogical work or to overcome some mechanical bug. " If you practice fast and carelessly - it is bad. If you are practicing fast and efficiently – it is very well. If you practise slowly, merely efficiently – it likewise is very skillful. If you do slowly and carelessly – it is very bad. If exercises you practice help y'all in coming off – you probably don't need them; but when yous do them improperly – they could crusade much harm " . Petri's remarks were remarkably concrete, he was not supposed however in the custom to talk too much " direct " . He liked the good anecdote and quoted a lot. Master did non take metaphors and comparisons, which bottom of the matter was not related to the actual bug. Being given by the agile and very sharp mind, being – from a kid years – familiar with the company of people who belonged to the creative-intellectual aristocracy of Europe, and fluently speaking all the nigh vital languages, Egon Petri understood very well that building a positive approach of the pupil towards the object of studies, was the responsibility of him – as of his the teacher of music. Portraying his piece of work as the chemical element of the " storage payment " to the World Culture and Art, he understood information technology equally a satisfaction that goes along with permanent widening intellectual ranges, and which provokes the students for self-reliant solutions, as well in a field of the technique of playing the pianoforte. Petri was a virtuoso performer in the full meaning of this word, just all the same he offered many extra " technical solutions " to his pupils, he stood outside of any thought of paying attention to benefits allegedly coming from usage of a crude muscular power. He held a view that it is necessary " to take, to accept UP " the sounds from the keys, besides – in the very concrete pregnant of this words, but not to sadistically press ON them.
I focus on what I call motility and emotion – the human relationship between concrete motions, technique, and human emotion, interpretation, while taking into consideration the inherent properties of the piano.
Rebecca Penneys
Playing [technically] upwardly , according to his beliefs, should be understood as a basically important ground for the physical ease in playing the piano. From the psychological betoken of view – with at least my own stance – such a fashion is the most natural solution of the technical part of piano playing and greatly helps to solve the quadrature of the magical circumvolve in technique of the piano playing, generally. We, human beings, were created as the psychophysical entirety and if nosotros are sure that the idea is supposed to control functioning of majority of the manual aspects of playing, THIS [upwardly...!] is the direction that, thinking about the best results, should have the ruling position in the piano technical schooling. Nosotros must to start the bulldoze of imagination or we would be forced to act on the tightened brake – tertium not est datur . Instead of barely unmusically pianoforte technical exercises habitually ordered by the piano tradition, Petri ordinarily advised to exercise fragments of bigger musical forms composed by the Great Masters and containing the concrete technical problem; for sample, these could exist the Preludes of Bach as well every bit the faster parts of his Partitas or Suites, as Courantes and Gigues.
Many years of contact with the violin and admiration for the melodiousness of this instrument put him to promote the violin-like way in understanding of serving role of the upper parts of pianist's hands. They should deed in the very like manner the right hand of the violinist does, when it really draws a bow. Petri demanded the excellent fluidity of phrases and he was desperately interested in the question of keeping up the menstruation of the emotionally full-bodied musical thought and emotions inside of the sounds; he never tolerated sounds, which would be produced without whatever connection with the musical thought. He talked: " the flow of musical movement is one of my obsessions " . As everyone aspiring to mastery, Petri was a pedant, who never becomes satisfied from results of the work; one must to say yet, that these moods were superbly balanced by his brilliant intelligence and a tactful feeling of humor.
I remember very well the similar lightness of thinking and freedom of the atmosphere in lessons, I take experienced existence the private student of Prof. Karol Szafranek , who – how he was used to say – more than than to his other teachers (Zygmunt Lisicki, Paul Brande, Leonid Kreutzer ), for the most owed his great pedagogic fine art exactly to Petri, under whom he privately studied in Zakopane and Cracow . Prof. Szafranek, talking about the Petri's method, very oftentimes mentioned the Chopin's Method, particularly underlining the Chopin's famous awareness of leggiero. Until I started to re-edit my understanding of the Petri'due south mode of piano technical schooling, I saw the Chopin-similar leggiero as sole and 1 chemical element that could increase the efficiency of the piano playing technique. After hearing the performances completed at the 15th International Chopin Pianoforte Contest, and becoming especially deeply irritated by performances, which in spite of clearly perceptible talent of young pianists, possessed the one and same characteristic of the " frozen thoughts " and were – as seen from the piano technical bespeak of view – truly brutal, I just discovered the different pregnant of this notion. Leggiero could, also, exist interpreted as the special kind of the atmosphere of teaching, as well. Information technology should be initiated by the teacher and get unbroken past the students, who must be in charge of its developing via the dialogue. Spiritual leggiero would absolutely not crusade the collapse of authority of the principal! Furthermore, it should be seen as the style of achieving and reinforcing the thinking about the sounds' upward taking manner, then strongly promoted past Petri...
Allow you have a look at this unforgettable recording of Maria Callas, the famous aria from " Norma " of Bellini, Casta diva . Permit you try to go as far as possible in your tries to recognize her FACTUAL FEELINGS that finally ruled her as well mental, equally Concrete approach to the vocal technique, generating then greatly touching musical performance; thoughts & feelings yet, factually determine our concrete activity as an entirety [not only I am profoundly assured they simply are able to complete this]. Maria Callas acted and her interim was extremely effective. If such has happened, her acting must went into any clearly determined direction. Did she PRESS her vocalisation, her heed and just herself as a psychophysical entirety downwardly? Not at all! She simply tried to drive all of her mental powers UP in the similar mode Rembrandt probably did – when he painted, and Michelangelo – when he drew his architectural projects. Petri also was right, and this is actually true, that he in his pedagogic practise once once more totally canonical the Chopin'southward leggiero as the most efficient way in forming such a piano instrumental technique, which liberating the easily from unnecessary tension and opening the doors to World of the really artistically efficient work.
In history of the piano teaching is virtually impossibly to find the – seeing it from the piano technical point of view – as highly valuable idea as the authentic leggiero of the Chopin manner. Correspondingly, equally well as Neuhaus, who e'er emphasized the technical easiness of the pianoforte, Petri was the next Great one, who did Not Like to brutally press on the keys.
Recall that technique is mental rather than physical. Therefore, information technology is necessary to imagine a movement before making it.
Egon Petri
Pianoforte youngsters, being constantly provoked for self-reliant searches of the meaning of everything in what they are participating in, nolens volens must grow up their young beliefs and emotions; they are being taught to discern the " second bottoms " of things, especially in the creative sense of the matter. If here would not exist actively played such a game, results they could achieve volition nearly e'er be stigmatized by any kind of " ingenuous simplicity " . How to avoid it, is a question, to which everyone must come for the reply merely personally, indeed. Prof. Szafranek , thanks to whom the author of the this text likewise have got a chance to entrance into the zone of influence of the Petri's schooling organization, in the initial phase of our contacts repeatedly used very known Shine saying about the pointless tries to observe America once over again, Columbus did information technology for us and so many years ago...
In pianism, besides, many smaller and greater " Americas " have been discovered by Chopin, Liszt, Leszetycki, Leimer-Gieseking, Godowski, Hofmann and Neuhaus besides. Here we can find the interesting and quite big land, institute by Egon Petri personally; his understanding of the piano playing and teaching, seen in the perspective of the THINK UP! idea should become as famous as possible earth-wide.
My tiny Variations on Petri are coming to the end. Now let us to recapitulate the other topic: the 15th International Chopin Pianoforte Competition. Recently I visited the Van Cliburn Foundation Web-Site and I think that instead of the concluding commentary at this place, information technology will exist sufficient enough to take a few $.25 of information from there.
Here you are the list of Members of the Jury (2005), which served at the 20th Competition: Mr. John Giordano (Usa) - the usher and the composer, leading the Jury from 1973; Mr. Marcello Abbado (Italy) - the composer and the pianist; Mr. Peter Coss� (Germany) - the sociologist and the philosopher, the musical adviser of many festivals; Mr. Richard Dyer (Usa) - music critic; Mr. Claude Frank (USA) - the pianist and the teacher; Mr. Thomas Frost (USA) - producer (violinist, he also studied limerick under Paul Hindemith); Mr. Joseph Kalichstein (Israel) - the pianist and the chamber musician; Mr. J�rgen Mayer Josten (Deutschland) - musicologist; Mr. Menahem Pressler (Usa) - the pianist and the sleeping accommodation musician; Mr. Tadeusz Strugala (Poland) - usher; Mrs. Zhou Guangren (Prc) - teacher of the piano. Just eleven persons plus the Screening Jury (where the i new Fellow member, Mrs. Yoheved Kaplinsky (Israel/Usa).
Simply the three Persons were the " pure pianoforte teachers " here...
Reading the Rules of work of the Jury ane could see many interesting things: " Water is H two O, two molecules of hydrogen and one molecule of oxygen, merely hither acts something, a third element, what causes that this is only water. Nobody however knows what it is. " (D.H. Lawrance)
Two articles from Rules of the piece of work of the Jury:
- " Even though nosotros cannot exist sure that on each of competitions we volition be made happy discovering the Artist, nosotros tin can accept hope of identifying somebody who one mean solar day volition become the Artist. "
- " The Jury Member, who inside four last years stayed in any informal, pedagogic or different professional relations with any of participants should reveal this fact and if the Chairman of the Jury decides this way, to end oneself from judging him. Each of the Jury Members, who through the longer time stayed in whatever pedagogic or unlike relations with anybody of participants should reveal this fact... "
And for the finish, 3rd, very important signal:
- " Breaking principles described in the points (higher up)... could cause leaving the Jury Fellow member out of work or/and the disqualification of the participant. "
I recall that Petri could bluntly be smiling both reading the quotations taken from these Rules and becoming informed that his instruction has been understood as and so near to the Chopin'southward ane. He truly was a man, who knew and so much about the pianoforte, and whom powerful intellect stayed in a perfect harmony with the truly vibrant emotionality...
Dorsum to the Part I – Cheers!
At this place, I would like to express my profound thankfulness to Mr. Jamie Hippner-Page from Washington, USA, for his greater help in editing of this Petri-commodity!
Thank you so much – Dearest Friend!
Thank you, Dear Visitor, besides – for your involvement in EGON PETRI and his teaching system!
Any your annotate would be received with the truly great appreciation!
Yours sincerely – S.Yard.
Actualized: 2007-x-31
Source: http://www.pianoeu.com/teacher_petri.html
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