Arthur Rubinstein’s youthful practice habits

Interviewer: So many children hate to take music lessons. Can you understand this?

Rubinstein: Oh, yes, I was one of them. You see, music lessons mean always this horrible dictatorial attitude of the professors. They slap four fingers and aarh; they shout at you: “Can’t you learn that? You must practice scales!” I mean, it is the same kind of thing children dislike from parents. They are all the time pushed around: “You must do this. Sit straight. You must go now. Brush your teeth again, and now again brush your teeth.” I hated to be pushed and ordered to my piano. I’ll tell you my story about how I studied with closed doors, with cherries and chocolates.

Interviewer: Please do.

Rubinstein: Well, it was when I was living with a private family in Berlin, They were not musical. I had my orders to do two hours practicing. I closed my doors with a key — not to be disturbed. I would put a novel of Zola, or some other writer I was not allowed to read, on the music stand in front of me. Then I had some chocolates to my right and cherries to my left, and I played with my left hand, doodle, doodle, doodle; then I did diddle, diddle, diddle, and chocolates, yum, yum. And, I was reading my book. Then they would say, “Today you really studied with one hand all the time.” Oh, yes. (With mock gravity).

“Rubinstein talks about life, love, music and miracles with Louis Biancolli and Selma Robinson.” Souvenir program (ed. Martin Feinstein). New York: Hurok Publications. https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=cad=rja&uact=8&ved=2ahUKEwjrgeyDvOjrAhUGeisKHdpKBFoQFjAAegQIAxAB&url=http%3A%2F%2Fwww.cervantesvirtual.com%2FdescargaPdf%2Fmccalls–a-talk-with-artur-arthur-rubinstein%2F&usg=AOvVaw1BTnzmD6UaJDWXelctUkYk, accessed 14 September 2020.


Posted

in

by


Featured Content

Ravel’s compositional process
Robert de Fragny recalled a conversation with Ravel about his compositional process: The G major Concerto took two years of work, you know.  The opening theme came to me on a train between Oxford and London. But the initial idea is nothing.  The work of chiseling then begun.  We’ve gone past the days when the […]
Brahms’ ladies choir
Brahms formed a Ladies Choir of about fifty singers: “Fix oder Nix” was the motto he coined for them – “Bang up or nothing”; and he promised to write all the music they could sing if they would meet regularly, and always on time.  He even drew up a set of humorous rules.  “Avertimento” it […]
A man’s money
“Every man’s work, whether it be literature or music or pictures or architecture or anything is always a portrait of himself and the more he tries to conceal himself the more clearly will his character appear in spite of him.” Samuel Butler, The Way of the Flesh  (1903). Forgotten books, p. 60. Cited at Google […]
Quiet minds
“Quiet minds cannot be perplexed or frightened, but go on in fortune or misfortune at their own private pace, like a clock during a thunderstorm.” Robert Louis Stevenson, author  
Ganymed (Schubert)
Title: Ganymed (Op. 19, No. 3)Composer: Franz SchubertArranger: Greg SmithInstrumentation: Cello and pianoProduct medium: PDF score and part Sample:
Rustic Dance
Title: Rustic Dance Composer: Greg Smith Instrumentation: Piano Product medium: PDF score SAMPLE:
O Danny Boy
Long before the tune Danny Boy even had words the tune existed as an Irish folk melody.  A study in 1979 revealed that Londonderry Air was related to Aislean an Oigfear (The Young Man’s Dream), which had been collected in 1792 from harpist Denis O’Hampsey  He was over ninety at the time and had played […]
Personality
“Personality is to a man what perfume is to a flower.” – Charles M. Schwab, The Ten Commandments of Success
Practising at every opportunity
The conductor Stokowski was co-conductor of the San Francisco Symphony Orchestra.  He was rehearsing his own orchestration of Mussorgsky’s Pictures at an Exhibition.  The orchestra, however, was used to playing Ravel’s exuberant orchestration. Charles O’Connell recalled: “In the midst of the rehearsal, one of the second violinists busied himself practising the Mendelssohn Violin Concerto, which […]
Brahm’s first meeting with Schumann
He [Brahms] sat down and began the sonata which had so impressed Joachim [a violinist].  As he played, a swift change transformed [Robert] Schumann’s impassive features.  The Master listened with growing interest, then suddenly sprang to his feet. “Please”, he cried.  “Will you wait just a moment? Clara -” He hurried to the door and […]