"In answer I would say I produce them by listening, criticizing,
judging--working over the point, until I get it as I want it. Then I can
reproduce it at will, if I want to make just the same effect; but
sometimes I want to change and try another.
[Illustration: WILHELM BACHAUS]
"I am particular about the seat I use at the piano, as I sit lower than
most amateurs, who in general are apt to sit too high. My piano stool
has just been taken out for a few repairs, or I could show you how low
it is. Then I am old-fashioned enough to still believe in scales and
arpeggios. Some of the players of the present day seem to have no use
for such things, but I find them of great importance. This does not
necessarily mean that I go through the whole set of keys when I practise
the scales; but I select a few at a time, and work at those. I start
with ridiculously simple forms--just the hand over the thumb, and the
thumb under the hand--a few movements each way, especially for
arpeggios. The principle I have referred to is the difficult point; a
few doses of this remedy, however, bring the hand up into order again."
The pianist turned to the keyboard and illustrated the point very
clearly.
"As you see, I slant the hand considerably across the keys," he said,
"but this oblique position is more comfortable, and the hand can
accommodate itself to the intervals of the arpeggio, or to the passing
of the thumb in scales.
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