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Among American tutors Alexander Lambert takes high rank. Regarding over 23 years he has held aloft the normal of sound musicianship in the art of teaching and playing. A quarter of a century of thorough, conscientious effort along these lines must have left its impress on the entire rising generation of students and lecturers in this country, and fabricated for the progress and advancement of American art.
It means a lot to have a native-born educator of such high aims living and working between us; an instructor whom no flattery or love of gain can influence nor render indifferent to the high aim ever in view. There is no avoiding a sound and comprehensive study course of study for those who come under Mr. Lambert's supervision. Scales must be, willingly or unwillingly, the daily bread of the player; the hands must be put in good shape, the finger joints rendered firm, the arms and body supple, before pieces are thought of. Technical learn must carry on along the whole course, hand in hand with piece playing; method for its own sake, outside the playing of compositions.
And why not? Is the method of an art ever quite finished? Can it ever be put away on the shelf and considered complete? Must it not continuously be maintained within operating order? "Have you not seen numerous changes within the aims of students, and within the conditions of piano instructing in New York, while in the many years you have taught here?" I asked Mr. Lambert, during the latest conversation.
"Several changes, it is true, I have observed," he responded; "yet I must also say that the conditions attending piano instructing in America are unusual. We have a few excellent educators here, lecturers which could maintain their own place, and also are generally effective of producing completed performers. Nevertheless allow a pupil goes to the ideal educator in this nation, as well as the chances are usually which he or she is still seeking forward to 'finishing' with several European artist. These people tend to be not necessarily happy till they have guaranteed the foreign stamp of approval. Although this is accurate of the superior pianist, it is actually much more within proof within the mediocre player. He, too, is fantasizing of the 'superior advantages,' since he calls Then, of European study. He may have no foundation to construct on may not actually be able to perform a scale properly, however still thinks he must proceed overseas!
"An individual question if I believe students can obtain just as great teaching here as in Europe? That is a little difficult to answer off-hand. I totally believe all of us have got a few instructors in America as able as almost any on the other side; within several methods they are better. Regarding one thing they are morally better I repeat, morally much better. Regarding another they are usually a lot more comprehensive: they get much more attention in their pupils as well as will do more for them. Whenever such a teacher is observed, he certainly deserves the deep value and gratitude of the American pupil. But alas, he seldom experiences 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 in another country 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. On the other hand, I have students coming to me, which have been years along with a few of the ideal overseas experts, however who are full of faults of all kinds, faults that it takes me many years to correct. Some of them come with hard touch, with tense position and condition of arms and body, with defective pedaling, and with an absence of understanding of several of the fundamental concepts of piano playing.
It means a lot to have a native-born educator of such high aims living and working between us; an instructor whom no flattery or love of gain can influence nor render indifferent to the high aim ever in view. There is no avoiding a sound and comprehensive study course of study for those who come under Mr. Lambert's supervision. Scales must be, willingly or unwillingly, the daily bread of the player; the hands must be put in good shape, the finger joints rendered firm, the arms and body supple, before pieces are thought of. Technical learn must carry on along the whole course, hand in hand with piece playing; method for its own sake, outside the playing of compositions.
And why not? Is the method of an art ever quite finished? Can it ever be put away on the shelf and considered complete? Must it not continuously be maintained within operating order? "Have you not seen numerous changes within the aims of students, and within the conditions of piano instructing in New York, while in the many years you have taught here?" I asked Mr. Lambert, during the latest conversation.
"Several changes, it is true, I have observed," he responded; "yet I must also say that the conditions attending piano instructing in America are unusual. We have a few excellent educators here, lecturers which could maintain their own place, and also are generally effective of producing completed performers. Nevertheless allow a pupil goes to the ideal educator in this nation, as well as the chances are usually which he or she is still seeking forward to 'finishing' with several European artist. These people tend to be not necessarily happy till they have guaranteed the foreign stamp of approval. Although this is accurate of the superior pianist, it is actually much more within proof within the mediocre player. He, too, is fantasizing of the 'superior advantages,' since he calls Then, of European study. He may have no foundation to construct on may not actually be able to perform a scale properly, however still thinks he must proceed overseas!
"An individual question if I believe students can obtain just as great teaching here as in Europe? That is a little difficult to answer off-hand. I totally believe all of us have got a few instructors in America as able as almost any on the other side; within several methods they are better. Regarding one thing they are morally better I repeat, morally much better. Regarding another they are usually a lot more comprehensive: they get much more attention in their pupils as well as will do more for them. Whenever such a teacher is observed, he certainly deserves the deep value and gratitude of the American pupil. But alas, he seldom experiences 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 in another country 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. On the other hand, I have students coming to me, which have been years along with a few of the ideal overseas experts, however who are full of faults of all kinds, faults that it takes me many years to correct. Some of them come with hard touch, with tense position and condition of arms and body, with defective pedaling, and with an absence of understanding of several of the fundamental concepts of piano playing.
About the Author:
Piano Enthusiast and Musician Ricardo Dominguez explicates the method of free piano lessonsand the safety tips and guidelines for a best piano lessons.
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