Michael Adkinson

Concerning American instructors Alexander Lambert takes high rank. Pertaining to over twenty-five years he has held aloft the common of sound musicianship in the art of training and playing. A quarter of a century of thorough, conscientious effort along these lines must have left its impress on the complete rising generation of learners together with educators in this country, and manufactured for the improvement and advancement of American art.

It infers considerably to have a native-born teacher of such high aims living and working among us; a professor whom no flattery or love of gain can influence nor render indifferent to the high aim ever in view. There is no escaping the sound and detailed study course of study for those who come under Mr. Lambert's supervision. Scales must be, voluntarily or unwillingly, the everyday bread of the player; the hand must be put in good shape, the finger joints rendered firm, the arms and body supple, before pieces are thought of. Technical study must continue along the complete course, hand in hand with piece playing; method for its own sake, outside the playing of compositions.

And why not? Is the technique of an art ever quite finished? Can it ever be laid away on the shelf and considered complete? Must it not constantly be placed within working order? "Have you not noticed many changes in the aims of pupils, and also in the conditions of piano instructing in New York, while in the years you have taught here?" I asked Mr. Lambert, in the course of a latest discussion.

"Some modifications, it is true, I have observed," he answered; "but I must additionally say in which the problems participating piano instructing in America are unusual. We have several excellent teachers here, lecturers which may hold their own anywhere, as well as are usually suitable of generating finished musicians. However allow a pupil goes to the greatest instructor in this region, and the chances tend to be that he or she will be still looking forward to 'finishing' with some European artist. These people are usually not necessarily satisfied till they possess guaranteed the foreign stamp of approval. Even though this is authentic of the advanced pianist, it is also more in proof within the average player. He, too, is fantasizing of the 'superior benefits', because he calls Then, of European study. He may have no basis to build upon may not necessarily actually be able to play a scale correctly, but nevertheless thinks he should move in another country!

"You ask if I believe learners can acquire just as good training here as in Europe? That is a little challenging to respond to off-hand. I totally believe we all possess some teachers within America as able as any on the additional part; within several techniques they are better. For one thing they are morally better I repeat, morally much better. With regard to another they are more comprehensive: these people take much more interest in their pupils and also will do more for them. Whenever such an instructor is found, he definitely justifies the heavy value and appreciation of the American pupil. But alas, he seldom experiences the appreciation. After he has done everything for the pupil fashioned him into a well-equipped artist, the student is apt to say: 'Now I will go abroad for lessons with this or that popular European master!' What is the result? He may never amount to anything may never be heard of afterward.

But unfortunately, he rarely encounters the appreciation. After he has done anything for the pupil fashioned him into a well-equipped artist, the student is apt to say: 'Now I will go abroad for lessons with this or that famous European master!' What is the outcome? He may never amount to anything may never be heard of afterward. On the other hand, I have students coming to me, which have already been years along with some of the greatest foreign experts, however who are full of problems of all kinds, problems which it requires me many years to correct. Some of them are provided with difficult touch, with tighten position and condition of arms and body, with defective pedaling, and with a lack of knowledge of several of the fundamental rules of piano playing.