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"The Slow Movement" by Sidne Taiz

Contrary to the usual notion, slow music is really quite more difficult than that which moves with more speed, when playing it well is taken into consideration. And very good reasons are back of this.

In spite of conditions just cited, the average student is full of impatience for the rapid piece; and, with this in mind, let us go a little deeper into the question. There is much to be said on both sides; and, the mere fact that for the present we are placing emphasis on the one in no way is to be taken as an effort to minimize the value of the other. But, back to our text.

In justice we will first admit some attractions of speedily moving music. First, it gives a pleasurable excitement to the nerves of both performer and listener. With this, of course, comes a certain amount of enthusiasm. But, does it display more musicianship?

The answer to this last question can be only in the negative. The rapid movement may carry the audience along by its spirit; but the slow piece with a soul is the one that touches the heart more deeply. And it is this last that tests the interpreter. While the digital difficulties are low, the whole success of the performance depends upon the ability of the performer to grasp and convey the mood of the piece to the audience. And here is, after all, the final court of judgment of the artist. Is he able merely to dazzle with notes, or can he move hearts to beat with his own to the soul of a piece of art music?

The executive musician who would succeed must be able to do this. This is the feature which calls upon every resource of the individual, and it is the cultivation of these interpretative faculties that is the final test of the student, be he beginner or artist. And it is the shortcomings along this line which the slow movement manifests mercifully.

It takes much more brains to play an Andante than a Presto. In the latter the jingle will sustain the interest. In the Andante the interest must be held by the soul quality infused into it.

About this article

This article, written by Sidne Taiz, was taken from the July 1923 issue of "Etude Musical Magazine."

Emily Sigers
emily@thepianopages.com