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A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a UB@ >i3
work, but no one can hear it until it is performed. Professional singers and players have great %L+/GtxK
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and #\"8sY,j
as arduous a training to become a performer as a medical student needs to become a doctor. Most aSi:(w
training is concerned with technique, for musicians have to have the muscular proficiency of an yL^1s\<ddW
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be 0I* ^VGZ
inadequate without controlled muscular support. String players practice moving the fingers of the left KOv
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hand up and down, while drawing the bow to and fro with the right arm—two entirely different Fl>v9 %A
movements. j 9XY%4.
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this "Nj(0&
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s p+@Wh3
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that ?|Fu^eR%X
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound d i]z
clear. )5_G Jm&R9
This problem of getting clear texture is one that confronts student conductors: they have to learn to .!RBh LH_g
know every note of the music and how it should sound, and they have to aim at controlling these
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sound with fanatical but selfless authority. z[b, :G
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists fu}NH \{
are those who are so thoroughly at home in the language of music that they can enjoy performing .*:SZ3v
works written in any century. 1*S It5?4
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