Piano mastery, second series; talks with master pianists and teachers. . gram with safety. I shall addthe Sonata Op. 110 of Beethoven to my listvery soon. X IX ERNEST HUTCHESON TECHNIC AND INTERPRETATION In Ernest Hutcheson are united the abili-ties of the concert artist and the artist is not easy to take high rank in both the artof playing and the art of teaching, but here isan Australian musician who has been able todo both. In this double capacity he has be-come noted on both sides of the ocean. Mr. Hutcheson rightly feels that experienceshould loom large when estimating the valu
Piano mastery, second series; talks with master pianists and teachers. . gram with safety. I shall addthe Sonata Op. 110 of Beethoven to my listvery soon. X IX ERNEST HUTCHESON TECHNIC AND INTERPRETATION In Ernest Hutcheson are united the abili-ties of the concert artist and the artist is not easy to take high rank in both the artof playing and the art of teaching, but here isan Australian musician who has been able todo both. In this double capacity he has be-come noted on both sides of the ocean. Mr. Hutcheson rightly feels that experienceshould loom large when estimating the valueand usefulness of the teacher. He can oftendetermine at once whether a prospective pupilcan work with him to advantage or be betteroff with some other teacher. I would sometimes rather take a beginner,he says, than one who has played a great dealand is very set in his ways. Various studentscome to me asking to be coached on the inter-pretation or pedaling, of different may not be in any condition, technic-ally, to play those pieces, or to profit by my 100. /Kwi^A ,/**—•*-} tin Ernest Hutcheson 101 ideas on the subject, for they have not takenthe necessary steps to climb the heights re-quired in such compositions. —It is surprising how little many people com-prehend where they stand in their musicalstudies. Where they think they are, andwhere they really stand, may be wide apart!A teacher needs large experience and acumento help him decide quickly just what regimenis best for the pupil, both technically and mu-sically. Some pupils can play a Mozart so-nata respectably who would have little idea ofthe modern tonal coloring required to rendereven MacDowells little Wild Rose. Or theymight play the Reinhold Impromptu withbrilliancy, yet would quite fail to give the rightatmosphere to the Water Lily. Some pieceswhich seem simple, so far as the notes go, pre-sent difficulties of another sort. How is itpossible to attempt a Liszt Rhapsodic, whenone cannot compass the
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