: Salaminin kuninkaat: Murhe-näytelmä viidessä näytöksessä by Runeberg Johan Ludvig Kiljander K Translator - Swedish drama Translations into Finnish

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A FOREWORD xv

THE PIANO AND ITS PLAYER 3

GENERAL RULES 19

CORRECT TOUCH AND TECHNIC 34

THE USE OF THE PEDAL 41

PLAYING "IN STYLE" 49

HOW RUBINSTEIN TAUGHT ME TO PLAY 57

INDISPENSABLES IN PIANISTIC SUCCESS 70

FACING PAGE

A FOREWORD

This little book purposes to present a general view of artistic piano-playing and to offer to young students the results of such observations as I have made in the years of my own studies, as well as of the experiences which my public activity has brought me.

When the material part, the technic, has been completely acquired by the piano student, he will see a limitless vista opening up before him, disclosing the vast field of artistic interpretation. In this field the work is largely of an analytical nature and requires that intelligence, spirit, and sentiment, supported by knowledge and aesthetic perception, form a felicitous union to produce results of value and dignity. It is in this field that the student must learn to perceive the invisible something which unifies the seemingly separate notes, groups, periods, sections, and parts into an organic whole. The spiritual eye for this invisible something is what musicians have in mind when they speak of "reading between the lines"--which is at once the most fascinating and most difficult task of the interpretative artist; for, it is just between the lines where, in literature as in music, the soul of a work of art lies hidden. To play its notes, even to play them correctly, is still very far from doing justice to the life and soul of an artistic composition.

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