Foreword

We are now leaving the realm of logically demonstrable facts and entering something else entirely—the inner life of the human being, which cannot be addressed solely through rational reasoning and intellectual considerations, but must also speak to feeling, sensitivity, and taste.^[1]

Can one imagine a more difficult task for the artist than demanding that he express in words what feeling and temperament, with the help of imagination, bring to sound in his performance on the instrument? Is not the beautiful as inexpressible as the divine? In the mechanics of instrumental playing, every detail of the playing process can be demonstrated and clarified down to the last degree with the help of physiological analyses. Instructions for students must indeed be based on a full understanding of physical facts and physiological necessities; one thing must be logically derived from another. Woe to the musician who adopts an emotional attitude when judging mechanical-technical matters! Can we expect complete freedom in artistic expression from such a person? Will he not, rather, be continually hindered in his ascent to the heights of art by remaining technical obstacles and certain idiosyncrasies?

Can one speak of interpretation when, for example, one still needs to consider the bow? It should come to pass that there are no longer divided opinions regarding the mechanics of an instrument, but only enlightenment or the elimination of errors.

But in aesthetics, in the realm of the fine arts, it is different. Here, interpretations emerge; here, the influence of personality expresses itself; temperament and feeling decide. And what occurs in the moment of inspiration cannot be naturally expressed in words at all. Even the most vivid contemporary description of Paganini could hardly convey to future generations the actual sound and emotional expression of this artist.

The age of film and recordings has fulfilled humanity’s eternal dream of preserving movement and sound from being forgotten or lost forever. We have developed better methods that allow anyone to reach into the archive and bring the art of those no longer living back to life. Already today, many students of singing learn from Caruso^[2] records—but this technically marvelous tool comes with some dangers. These lie in the mechanization of art, in the temptation to imitate on a superficial level. As a result, technical levels may rise, but  without corresponding improvements in musical intelligence and culture. Today, we can already see technical peak performances everywhere—they are the results of incredibly diligent work that can hardly be surpassed. Yet the educated musical public is no longer captivated solely by technical feats; instead, it longs for the magic and guidance of those who are inwardly rich, imaginative, and have something meaningful to express!

Faced with these facts, one cannot deny the necessity of protecting young musicians from one-sidedness and must once again assign greater importance to efforts aimed at harmonious development in musical and general cultural matters, perfecting both mind and physical ability. Liszt said: “The artist’s calling must once again become more of an ideal mission.” The contribution of music to the three great cultural domains (religion, art and science) should be made clear to the disciples of art. These should always be pursued as equally important goals in the educational plan of teachers and educational institutions.^[3]

Only in this way can we elevate both the level of artistic execution and the professional and social standing of artists. For the musical culture of a country is measured not only by the appearance of prominent soloists (who indeed can greatly influence the education and taste of following generations) but also by the multitude of musicians in chamber music associations and orchestras. Even the amateur has a wonderful opportunity to make an educational and experiential impact, both alone and in their small circle, by striving to transcend the limits of “dilettantism.” Unlike the professional musician, the amateur often cannot achieve technical perfection due to lack of time. Nevertheless, they too should become aware of their musical responsibility, avoid routine performances, and place the highest value on developing rhythmic sensitivity; in short, they should master the aesthetic fundamentals as well!

Naturally, the exhaustive understanding of a musical piece necessitates musical knowledge, a conscious sense of taste, and mastery over all technical means. We assume these qualities in the following discussion, as we are primarily addressing professional musicians.

We begin our task by stating that every performance, even the freest, is subject to certain laws whose knowledge and mastery are necessary a priori. These laws are usually instinctive and unconscious in the intuitive artist. This is the danger for those less endowed with natural talent: it is not fitting for them to rely on their “feelings” as does the talented person who, without intention, draws on the source of musical intuition, usually hits the right note. In order to reach such enviable heights, the less talented person must acquire through work those qualities which the gifted person already possesses by virtue of good fortune. Although the same moral obligation exists for both to develop their talent completely, the less gifted person who wastes their modest abilities faces harsher judgment than a highly gifted musician who wastes some of their abundant talent. Musical cultivation can only be acquired through conscientious study. This applies to everyone! As Voltaire said, “Genius is diligence.”

The following sections aim to clarify the most important musical means of expression and provide interpretative attempts for various significant works.