They show that Pugno possessed a most refined, superior mind, and was
truly a great artist.
"I studied with Pugno ten years. At the end of that time he wished me to
play for Emil Saur. Saur was delighted with my work, and was anxious to
teach me certain points. From him I acquired the principles of touch
advocated by his master, Nicholas Rubinstein. These I mastered in three
months' time, or I might say in two lessons.
"According to Nicholas Rubinstein, the keys are not to be struck with
high finger action, nor is the direct end of the finger used. The point
of contact is rather just back of the tip, between that and the ball of
the finger. Furthermore we do not simply strive for plain legato touch.
The old instruction books tell us that legato must be learned first, and
is the most difficult touch to acquire. But legato does not bring the
best results in rapid passages, for it does not impart sufficient
clarity. In the modern idea something more crisp, scintillating and
brilliant is needed. So we use a half staccato touch. The tones, when
separated a hair's breadth from each other, take on a lighter, more
vibrant, radiant quality; they are really like strings of pearls. Then I
also use pressure touch, pressing and caressing the keys--feeling as it
were for the quality I want; I think it, I hear it mentally, and I can
make it.
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