31, of Chopin, and the Liszt Rhapsodies he can hear in
the concert room, where he can become familiar with most of the famous
piano compositions. Why should he not learn to know many less hackneyed
pieces, which do not so frequently appear on concert programs?
"Herein lies one of the great opportunities for the broad-minded
teacher--to be individual in his work. According to his progressive
individuality will his work be valued."
XXVII
GERMAINE SCHNITZER
MODERN METHODS IN PIANO STUDY
"It is difficult to define such a comprehensive term as technic, for it
means so much," remarked Germaine Schnitzer the French pianist to me one
day, when we were discussing pianistic problems. "There is no special
sort or method of technic that will do for all players, for every
mentality is different; every hand is peculiar to itself, and different
from every other. Not only is each player individual in this particular,
but one's right hand may differ from one's left; therefore each hand may
require separate treatment.
"An artistic technic can be acquired only by those who have an aptitude
for it, plus the willingness to undertake the necessary drudgery;
practise alone, no matter how arduous, is not sufficient. Technic is
evolved from thought, from hearing great music, from much listening to
great players; intent listening to one's own playing, and to the effects
one strives to make.
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