During my periods of rest from concert work, I practise a great deal--I
wish I could say all the time, but that is not quite possible. I give an
hour or more a day to technical practise. As to the material, I use
Chopin's Etudes constantly, playing them with high-raised, outstretched
fingers, in very slow tempo. One finds almost every technical problem
illustrated in these etudes; octaves, arpeggios, scales in double thirds
and sixths, repeated notes, as in number 7, broken chords and passage
work. I keep all these etudes in daily practise, also using some of the
Liszt _Etudes Transcendantes_, and, of course, Bach. The advantage of
using this sort of material is that one never tires of it; it is always
interesting and beautiful. With this material well in hand, I am always
ready for recital, and need only to add special pieces and modern music.
"In learning a new work I first study it very slowly, trying to become
familiar with its meaning. I form my concept of it and _live_ with it
for months before I care to bring it forward. I try to form an ideal
conception of the piece, work this out in every detail, then always
endeavor to render it as closely like the ideal as possible."
VII
ETHEL LEGINSKA
RELAXATION THE KEYNOTE OF MODERN PIANO PLAYING
The brilliant young pianist, Ethel Leginska, who is located for a time
in America, was seen in her Carnegie Hall studio, on her return from a
concert tour.
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