Poetry as an art form predates written text. The earliest poetry is believed to have been recited or sung. It was used as a way of remembering oral history, genealogy, and law. Poetry is often closely related to musical traditions. The earliest poetry exists in the form of hymns (such as the work of Sumerian priestess Enheduanna).
Poetic Import for a New Direction
Our subject today: So many styles and mannerisms currently floating. What direction will the arts take? Times and tendencies are cyclic. I believe we are heading for a more gentile, kinder and well-mannered age. Poetry can again lead the way. Consider the poetry of Heinrich Heine: Christian Johann Heinrich Heine (German: [ˈhaɪnʁɪç ˈhaɪnə]; 13 December 1797 – 17 February 1856). He was a Germanpoet, journalist, essayist, and literary critic. I found some comments on Heine in “Music” by Frederic V. Grunfield. It is part of the World of Culture Series.Publisher is Newsweek Books. Grunfield asserts that Heine is “the quintessential product of German musical romanticism.”
Robert Schumann explained how Heine’s poems inspired a whole new genre of music. “Thus arose a more artistic and profound style of song. Earlier composers could know nothing of this. It created a spirit in music that became the new Romantic era music.” Schumann wrote of musical currents in his magazine: Die Neue Zeitschrift für Musik.Robert Schumann co-founded it with his teacher and future father-in law Friedrich Wieck, and his close friend Ludwig Schuncke. The first issue appeared on 3 April 1834.
Perhaps my own books of poetic import, with those many upcoming poets, can lead us to a new Romantic Movement? Here is a short excerpt from my The Oquaga Spirit Speaks. It is entitled: Maple Tree Seeds:
Helicopter blade seeds
Spinning as they drop,
Blowing in the wind,
Care not where they’ll stop.
These maple navigators.
Sugar, silver and red,
Hope for only one thing;
And that’s that they’ll be bred.
The entire book is available as a product on DSOworks.com.
Johannes Brahms – His Life was Marked by Extremes. This is especially true with the ladies. He had a difficult time striking a happy medium. After Schubert, Brahms has become my favorite composer. His music has such a soul searching quality. I feel musically he was always searching for ideal love. Brahms was also charitable. To help out his family, he gave music lessons. He also played the piano in taverns, bordellos and local dance halls in his early teens. He never married. I quote The Classical Music Experience by Julius H. Jacobson. In his chapter about Brahms:”That (taverns) was my first impression of women…..And you expect me to honor them as you do?” The constant rough work with irregular hours affected his health. However, his attitude toward Robert and his wife, Clara Schumann, was totally different.
Brahms first visited the couple in Düsseldorf on 30 September 1853. Both welcomed him warmly. Robert was highly enthusiastic about the young man’s compositions. He went so far as to call the coming savior of German music!
However, Robert Schumann was becoming more and more unbalanced. He attempted suicide and was hospitalized. Brahms often visited Schumann in the hospital, . His friends, Joseph Joachim and Albert Dietrich, came with him. Brahms then lived with Clara and the children in the Schumann house. He became was helplessly in love with Clara. He wrote in frustration during 1855: “I can do nothing but think of you… What have you done to me?Can’t you remove the spell you have cast over me?” All accounts point to them as having had a strictly Platonic relationship.
How Johannes Brahms Paralleled Scott Joplin in America
Scott Joplin, like Brahms, played bordellos and taverns for income. He was also hailed by Europeans as the first great, original, legit, American composer. Kaiser Wilhelm of Austria is quoted as saying, at last someone has produced authentic, original American music. The King loved ragtime! Joplin officiated the American style of fun and syncopation. In this way he was not only a savior, but also, the father of American music. Enjoy my rendition of Scott Joplin’s Entertainer.
Conclusion: It’s fun to make comparisons. Who would ever think to compare Johannes Brahms with Scott Joplin? And yes, I have one or two openings for piano students in Sarasota.
Maximum stretch for the piano is essential. There seems to be very few ideally sized hands. Short fingers make wide stretches on the piano difficult. Playing closely with stubby fingers is difficult. Wide palms slow down tucking the thumb under for scales or arpeggios. My instructions through piano lessons has helped many of my students understand how to get the most out of their reach.
ROBERT SCHUMANN’S UNSUCCESSFUL SURGERY
There are ways to overcome inherent difficulties without going to extremes. An example of going to extremes involves Robert Schumann, the composer. He thought that surgery would correct an inherent difficulty: Fingers four and five work best together. It’s difficult to move 4th without the fifth finger. These two weaker fingers share a common tendon. Unfortunately, his surgery did not work.
ONE MAN TOOK A SMALLER PIANO WITH HIM
Another method to acquire maximum stretch for the piano is the piano itself. Josef Hoffman took his piano with him on concert tours. His piano was specially designed for small hands: The distance from key to key is shorter.
I, having a small to medium sized hand, invented a five finger stretch. In all my years of playing etudes, I’ve never encountered this idea. I feel this is an essential exercise for anyone who shares my hand limitation: Some composers, for example, Sergei Rachmaninoff; had hand huge hands. With small hands, that creates difficulties. I call my exercise, simply: The Five Finger Stretch. It stretches the webbing of the fingers by fifths and octaves.
HOW TO PLAY THE QUICK AND EFFECTIVE 5 FINGER STRETCH
Here is the finger sequence for the right hand by fifths and then by octaves. It ascends and then descends based on the solfeggio notes of the one octave C major scale. By fifths we have: 1-2-3-2; 1-2-3-2; etc. then 3-4-5-3, 3-4-5-3 etc; then 2-3-4-3; 2-3-4-3. The fingering up and down the scale are reversed for the left hand. Then I use the octave stretch with the following fingerings: 1-2-5-2, 1-2-5-2; and secondly, 1-3-5-3; 1-3-5-3. By note we have: c-c’-c”-c’; d-d’-d”-d’. This stretch encompasses two octaves.
The exercise is no guarantee that the small handed person will be able to play Rachmaninoff. However, it will stretch your hand to its maximum. Important: Should you experience fatigue or pain in your fingers, stop. Shake your hands and fingers out. Only play this exercise if you feel stretching without pain. How about the size of Rachmaninoff’s hand?