Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/120

RV 110 (BUDDENBROOKS) knees, his mouth, as usual, a little twisted as his tongue felt out the hole in a back tooth. He watched his mother and Herr Pfühl with large quiet eyes; and thus, so early, he became aware of music as an extraordinarily serious, important, and profound thing in life. He understood only now and then what they were saying, and the music itself was mostly far above his childish understanding. Yet he came again, and sat absorbed for hours—a feat which surely faith, love, and reverence alone enabled him to perform.

When only seven, he began to repeat with one hand on the piano certain combinations of sound that made an impression on him. His mother watched him smiling, improved his chords, and showed him how certain tones would be necessary to carry one chord over into another. And his ear confirmed what she told him.

After Gerda Buddenbrook had watched her son a little, she decided that he must have piano lessons.

“I hardly think,” she told Herr Pfühl, “that he is suited for solo work; and on the whole I am glad, for it has its bad side apart from the dependence of the soloist upon his accompanist, which can be very serious too;—if I did not have you, for instance!—there is always the danger of yielding to more or less complete virtuosity. You see, I know whereof I speak. I tell you frankly that, for the soloist, a high degree of ability is only the first step. The concentration on the tone and phrasing of the treble, which reduces the whole polyphony to something vague and indefinite in the consciousness, must surely spoil the feeling for harmony—unless the person is more than usually gifted—and the memory as well, which is most difficult to correct later on. I love my violin, and I have accomplished a good deal with it; but to tell the truth, I place the piano higher. What I mean is this: familiarity with the piano, as a means of summarizing the richest and most varied structures, as an incomparable instrument for musical reproduction, means for me a clearer, more intimate and comprehensive intercourse with music.

RV 110 (110)