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A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a a?bSMt}
work, but no one can hear it until it is performed. Professional singers and players have great Tbl ~6P
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and pi) 7R:i
as arduous a training to become a performer as a medical student needs to become a doctor. Most lP *_dt 9
training is concerned with technique, for musicians have to have the muscular proficiency of an M>+FIb(
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be x8i;u H\8
inadequate without controlled muscular support. String players practice moving the fingers of the left E/mp.f2!
hand up and down, while drawing the bow to and fro with the right arm—two entirely different /t=R~BJu
movements. uK6`3lCD
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this p=m) lR9
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s J;|r00M
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that J-t5kU;L{
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound /QDlm>FM4
clear. R7: >'*F
This problem of getting clear texture is one that confronts student conductors: they have to learn to [)V&$~xW
know every note of the music and how it should sound, and they have to aim at controlling these M>hHTa?W
sound with fanatical but selfless authority. ?4%'6R
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists %[(DFutJY+
are those who are so thoroughly at home in the language of music that they can enjoy performing i$HA@S
works written in any century. ~|+! xh
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