Victor Seroff

[Elisha Tseng <elisha-jt@juno.com>]

Dear f-minoreans,
This summer I've gotten a job working at my school's music library, so
since I work there 5 days a week, I get to do a LOT of reading.  I 've
found a book written by a rather well-known biographer by the name of
Victor Seroff (I've read his biographies on Rachmaninoff and Prokofiev)
regarding--of all things from a biographer--"Common Sense in Piano
Study".  No kidding.  There are passages inside the book that I found
justifies most of what Gould did during his lifetime, and it is
surprising that it came from this book which was first published in 1970,
during a period of Gould's retirement and when his point of view on
concerts was considered radical.

Passage from p. 20
Next, the pianist must watch that his throat and face are completely
relaxed, for as soon as he begins to force his physical skill, it is his
throat that tightens up.  Groaning, snorting, facial twitchings and
grimacing, or opening the mouth wide mean only one thing: the performer
is in difficulty; he is not secure or relaxed.  This should not be
confused with the so-called groans and snorts of some concert pianists.
This, as they will readily admit, comes from singing the music they are
playing, a practice some have found very beneficial.    Indeed, it is
very helpful to those who are usually tense during the performance.  The
slightest distraction could mar their playing, obstruct their memory;
this, however, could be prevented by their singing the notes they are
playing, for it forces them to concentrate on every note.  It is
advisable (from a purely esthetic point of view) to keep such singing as
inaudible as possible.  Humming should be sufficient.

<personal comments> judging from this excerpt, it might be possible that
humming was really no big issue at the time and that it was only
heightened by the common media as Gould rose to stardom.  It makes a lot
of sense, though, because often everyday ppl hum to themselves.  it
induces a calming effect.  Why shouldn't a concert pianist?  Also in this
passage:

Passage from p. 43
Although pianists are constantly playing "melodies" and "songs," it is
surprising how little they know about the human voice, its capacities,
its limitations, and its difficulties.  It is not unusual to hear a
student, in playing a melody, hold on the same pedal two or more
intervals together (because they are harmonically in the same chord), or
hold two notes together with his fingers--in either case doing what the
voice cannot do, that is, produce two notes at the same time, or say two
words simultaneously.

Passage from p. 44
Students of the piano as well as concert-pianists visit the opera
remarkably seldom and almost never go to vocal recitals.  For some reason
they have an abhorrence for any vocal performance, and yet their own
literature requires a most thorough knowledge of that field.

<personal comment> I remember Gould being somewhat of an opera-buff in
some respect.  Knowing how a voice works when it sings, and being able to
appreciate that, is what also made other pianists more well-known than
others who are more 'technically (using the term loosely)' perfect but
lacking in understanding how a phrase should be shaped.  From this,
singing while playing can possibly help a pianist tell how to mould a
phrase...even though most won't be exactly an operatic virtuoso, which is
why it must be emphasized that pianists in particular should at least
learn some appreciation of the voice.

And the final clinch:

Passage from p. 54
Although certain mannerisms can be ascribed to this "stage-fright," they
are actually products of conscious, perhaps even well-planned behaviors.
Obviously, the pianist must never forget that a public performance is in
a way a theatrical preface.  It has a specific aura that affects the
audience: it is an "event," and the performer is "watched" as much as he
is "listened to."  Every aspect of his physical  appearance and behaviors
are scrutinized by the audience, and its reaction to his performance is
affected thereby, consciously or unconsciously.  The performers's
mannerisms can either endear him to his listeners or repel them.  In
either case they intrude upon his listeners' concentration on his
interpretation, or their enjoyment of it.

If he should feel that his mannerism are indispensable to his
performance, and that he is incapable of controlling or reducing them to
a minimum, then he should play only on those occasions when he is
invisible--performing on the radio or making records.

<personal comments> I think Seroff is mentioning Gould...specifically.

It might be possible that Seroff had already heard of Gould and in some
ways supported--or at least respected Gould's action in leaving the
concert scene.  Again, the things in this book may not be anything new,
and I'm sure there are hundreds or even thousands of books already
written on a similar subject.   It is still neat to know that  being
Gould's contemporary, Seroff mentioned the above passages with
objectivity.

All comments welcome, as usual. :-)

Regards, Elisha

Strong conviction is necessary against prejudice.  The proof: Glenn
Gould. --Nathan Perleman

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