As David Oistrakh said...
Practically seen, the
musical notation gives possibility to understand many aspects of written
music, but if superficially interpreted – musical scores actually could
misguide the pianists, causing truly wrong image of the musical action. I
mean, they present the SOUNDS as something internally motionless: they
display the sounds in form of immobile graphical signs, the notes.
The notes are truly quiet:
being placed on theirs places even hundreds years ago, they will stay in
the same order up to the end of the time. Theirs constancy might generate
at least the two inappropriate beliefs:
- in real existence of the
sole and one, REALLY ACCURATE interpretation of any musical piece, and
- in actual objectivity of
the musical sound.
I would like to stress again
- these both beliefs might cause vague interpretation of facts we actually
are speaking about. The note, as a symbol, has to be seen only as a humble,
motionless picture of the factually active reality. The written note
should be interpreted as a bit of information about the vivid sound, but NOT as the genuine
portrait of it. The real musical action must be generated in the pianist's
FANTASY as living image of the sound, and such living image must be
understood as the real base to any musical performance.
Unfortunately: the musical notation – by itself
– does not generate experiences of that kind. And, if professionally
oriented piano teaching would not be able to recover that fault, the piano
playing would very often be restrained to mentally (emotionally) passive
pressing on the keys, even if the pianists will strong want to strictly
realize all the composers' remarks found in the score. Stable notes produce
the stable images of the sounds. Consequently – artistically inert, emotionless
intellect causes instrumentally improper motions that are generating
artistically worthless piano sounds.
Magic Circle becomes closed!
(Let you compare the actually reading text with this file, thank you!)
How would be possible to
find out the accurate solution? The suitable one might be found quite easy:
one should start from the one sound – taking it up he ought to generate the
actually moving image of this sound in his fantasy. Connecting it with the
real sound one would get a chance to fulfill it with his mental energy within
entire duration of the sound...
Motives, phrases and at last
a whole form of the piece – have to be realized on the similar base. This
process, essentially, must be supported by our strong mind & body activity. Factually, one
has to simultaneously act at many levels at once: creatively imaging
sounds, purposefully hearing to real sounds, correcting the hands' action.
The strong will to open all
the closed doors in the way to mastery will help us to integrate our hands,
emotions and intellect.
As David Oistrakh said:
"If your heart lives and if your intellect works – your hands
will at last find the way to the proper instrumental technique;