Papers from LilliputPriestley, J. B. (John Boynton)
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Papers from Lilliput
Priestley, J. B. (John Boynton)
English essays -- 20th century
It remains now to say something of the third class of pianists, which,
if it were reduced to such straits, could count me among its members. To
write at some length of one’s own class after perfunctorily dismissing
others may seem to savour of egotism, but the truth is, we--I speak
fraternally--have been so much maligned and misunderstood up to now, we
have endured so many taunts in silence, that we have a right to be heard
before we are finally and irrevocably condemned.
It is only on the score of technique, the mere rule of thumb business,
that we stand below the serious amateurs; we belong to a higher order of
beings and have grander souls; in spirit we come nearer to the great
masters. The motives of the serious amateur are not above suspicion. In
his assiduous practice, his limited repertoire, his studied semi-public
style of performance, is there not a suggestion of vanity? Is his
conscious parade of skill, taken along with his fear of unknown works,
the mark of a selfless devotion to music, and music alone? I doubt it.
But our motives are certainly above suspicion. Music has no servants
more disinterested, for not only do we gather no garlands in her
service, but daily, for her sake, we risk making fools of ourselves,
than which there can be no greater test of pure devotion. We, too, are
the desperate venturers among pianists; every time that we seat
ourselves at the keyboard we are leading a forlorn hope; and, whether we
fall by the way or chance to come through unscathed, the only reward we
can hope for is a kindly glance from the goddess of harmony.
It is hardly necessary to dwell on the fact that our execution is
faulty, that we are humanly liable to make mistakes, seeing that our
weaknesses have been for years the butt of musical pedants and small
souls. In the dim past we received some sort of instruction, perhaps a
few years’ lessons, but being bright children with wills of our own we
saw no use in labouring at scales and arpeggios, at the tepid
compositions of Czerny, when there were balls to throw, stones to kick,
and penny dreadfuls to be devoured. An unlocked door or an open
window--and we escaped from the wretched drudgery, thus showing early
that eager zest of life which still marks our clan.
Public-domain text, read in full here on John Shaqi.
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