A painter hangs his or her finished pictures on a wall, and everyone can
see it. A composer writes a work, but no one can hear it until it is
performed. Professional singers and players have great responsibilities,
for the composer is utterly dependent on them. A student of music needs
as long and as arduous a training to become a performer as a medical
student needs to become a doctor. Most training is concerned with
technique, for musicians have to have the muscular proficiency of an
athlete or a ballet dancer. Singers practice breathing every day, as
their vocal chords would be inadequate without controlled muscular
support. String players practice moving the fingers of the left hand up
and down, while drawing the bow to and fro with the right arm-two
entirely different movements.
Singers and instruments have to be able to get every note perfectly in
tune. Pianists are spared this particular anxiety, for the notes are
already there, waiting for them, and it is the piano tuner’s
responsibility to tune the instrument for them. But they have their own
difficulties; the hammers that hit the string have to be coaxed not to
sound like percussion, and each overlapping tone has to sound clear.
This problem of getting clear texture is one that confronts student
conductors: they have to learn to know every note of the music and how
it should sound, and they have to aim at controlling these sound with
fanatical but selfless authority.
Technique is of no use unless it is combined with musical knowledge and
understanding. Great artists are those who are so thoroughly at home in
the language of music that they can enjoy performing works written in
any century.
