The Physiology of Pianoforte Playing, with a Practical Application of a New Theory

Extract

Mr. Chairman, Ladies and Gentlemen,—I stand before you this afternoon mainly as the representative of someone else, rather than the author and demonstrator of a theory of my own connected with pianoforte playing. Mr. Macdonald Smith, whose investigations and views on the subject I shall endeavour to lay before you, resides at Oporto. He came to England a few months ago furnished with a letter of introduction to me, and requested that I would examine his theory. Briefly, this deals with the classification and working of the particular muscles we make use of in playing the pianoforte; and further, in the production of certain apparatuses by which these muscles can be prepared for their special work, and this with a considerable saving of time compared to that usually consumed in this operation. By my advice he brought his scheme to the notice of some of our well-known London pianists. These gentlemen appear to think favourably of his theory, and it is considered to be of sufficient importance to justify its presentation for the consideration of the Musical Association. I asked Mr. Smith to write down his remarks on the whole subject; these have been put into the customary form of our papers. I am also supplied with a set of the instruments he has invented for carrying out the design advocated—a novelty of these is that they give an audible signal when the precise work required to be done has been accomplished. I shall therefore have the honour of explaining and showing to you the action of these mechanical aids for developing and strengthening the muscles of the hand, and giving the fingers the necessary rapidity.