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A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a 5e8xKL
work, but no one can hear it until it is performed. Professional singers and players have great u-:MVEm
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and [[X+P 0`r
as arduous a training to become a performer as a medical student needs to become a doctor. Most \C7q4p?8
training is concerned with technique, for musicians have to have the muscular proficiency of an R+uw/LG
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be )(]Envb?A0
inadequate without controlled muscular support. String players practice moving the fingers of the left #QS?s8IrW
hand up and down, while drawing the bow to and fro with the right arm—two entirely different _@K YF)
movements. r>O|L%xpv
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this kP?_kMOx
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s ]=Pu\eE
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that @k9Pz<ub
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound -K^41W71
clear. zofx+g\(W
This problem of getting clear texture is one that confronts student conductors: they have to learn to \%4|t,en
know every note of the music and how it should sound, and they have to aim at controlling these H?{ MRe
sound with fanatical but selfless authority. 4DM*^=9E
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists rs_h}+6"s
are those who are so thoroughly at home in the language of music that they can enjoy performing ,cD 1{T\
works written in any century. 32^#RlSu8
