Gravity

This entry is part 3 of 17 in the series Guiding Hands

I was about ten when a family friend suggested to my parents for me to study with a new piano teacher. Prof. Xiao Èrhuà (蕭而化), dad’s old friend and the chair of Music Department at National Taiwan Normal University, recommended Prof. Wu Emane (吳漪曼, Wu Yi-man). Although she didn’t usually take young students, she agreed to meet with me.

Prof. Wu’s father Wu Bochao (吳伯超) was a renowned music educator. As Communist army continued to gain ground, Prof. Wu fled to Taiwan with her mother while her father left behind to prepare for the resettlement of National Music Conservatory from Nanjing to Taiwan. He boarded Taiping steamer (太平輪) on January 29, 1949, the day before Chinese New Year’s Eve. Shortly before midnight, with the lights off due to the curfew, the steamer collided with a cargo ship Chienyuan (建元輪). Wu Bochao was among the 1500+ victims.[1] Prof. Wu enrolled at NTNU for a short period of time and went on to pursued higher education and piano studies in the US and Spain. Later, she returned to Taiwan and devoted her energy to educating young musicians.

She lived with her mother on a quiet street between our house and NTNU. I went with mom to our first meeting full of apprehension. I wasn’t Ms. Lee’s best student but was content studying with her. I didn’t really understand why I needed a new teacher. Having to play for a total stranger, knowing that she would be evaluating me, did not make me a happy camper.

A petite lady answered the door. Her dark short hair and straight posture gave her a stern aura. Her clothing was plain but elegant. She invited us in. I can’t recall what I played for her on that day. Whatever it was, she was able to tell that I was a sloppy reader and had some bad technical habits. But I had a good musical sense. She told me and mom that some changes must be made before we could move on with new repertoire.

When I returned for my lesson, the first thing she asked me to do was to relax my arms. She lifted her arm and allowed it to drop naturally onto the keyboard. Then, she picked up my arm. As she let go of her hand, my arm froze in the air, stiff like twisted tree limbs. She let me feel the weight of her arm and asked me to just let go. Still, my arm remained locked in position.

Then, Prof. Wu demonstrated, by using fingers, wrists, arms and the entire body, the possibilities of creating different dynamics and colors were endless. She showed me how distance and speed would also affect the sounds. I was awestruck, but at the same time overwhelmed.

The transition was a rough one, mostly because of my left-brain approach of learning ANYTHING and EVERYTHING. There were also a few “detours,” when Prof. Wu, running out of ways to guide me, sent me to work with her colleagues. Eventually, after a few years, I figured out how my body worked and was able to follow her instructions. I remained in her studio for over a decade.

One afternoon, not long after I started studying with Prof. Wu, I showed up for my lesson. Her housekeeper told me that she had some important appointment and couldn’t get home in time to teach me. We soon found out that, with a civic ceremony, she married Prof. Robert Scholz, an Austrian pianist, twenty-eight year her senior.[2] They moved into a building in an alley on the opposite of the street from us. She worked downstairs; he, upstairs. Since there was also a big age difference between my parents, Prof. Wu felt close to my mom and, therefore, my family. Years after my move to the States, she would still drop by to visit my mom.

Not having children, Prof. Wu treated all her students like her own. She worried about our well-being, about our schoolwork and, most of all, our spirituality. A devout Catholic, she would invite theologians and scholars to give speeches at her home.

In the decades since my “graduation” from her studio, I have made plenty adjustments to my technique. However, the first thing I do with every new student is to pick up his/her arm and quickly release it. Gravity is the best friend of pianists. And, Prof. Wu was the person that introduced it to me.

Prof. Wu passed away on October 24, 2019.


[1]Historic Sea Tragedy
[2]Robert_Scholz_(pianist)_Wiki

Life and death— “Vissi d’arte”

I often point out grammatical errors that I heard on radio and/or TV shows to friends. One of them always responds: “Only people that had to study the language would notice these things.” It is very true that, being a non-native speaker, I try my best to use the language properly.

There is no such a thing as “verb tenses” in Chinese language. (On the other hand, there are many words and phrases that can reflect the timing of events and actions.) When I first started studying English, it annoyed me a great deal to have to learn the conjugation of strong verbs and to understand tenses. Italian is a language twice remote from my linguistic roots and, like any Romance language, it has a complicated system of verb tenses.

In Act II of Puccini’s Tosca, Scarpia, chief of the secret police, pressures the protagonist to give into his sexual advances, in exchange for the life and freedom of Cavaradossi, her lover and a supporter of revolutionary movement. At the moment of extremity, Tosca sings “Vissi d’arte.”[1]

Vissi d’arte; vissi d’amore
I used to live for arts; I used to live for love.

Non feci mai
male all’anima viva
I never did evil thing to any living soul.

Con man furtiva,
Quante miserie conobbi aiutai
With furtive hand,
I helped many people in misery as I knew.

Sempre con fè sincera
Always with sincere faith,

la mia preghiera
ai santi tabernacoli salì.
rose my prayer to the holy tabernacles.

Sempre con fè sincera
Always with sincere faith,

diedi fiori agl’altar.
I gave flowers to the altars.

Nell’ora del dolore
In the hour of sorrow

perchè, perchè, Signore,
perchè me ne rimuneri così?
Why, o why, Lord,
Why do you remunerate me so?

Diedi gioielli
della Madonna al manto,
I gave jewelries for the mantle of Madonna,

e diedi il canto
agli astri, al ciel,
che ne ridean più belli.
I also sent my singing to the stars, to the sky,
So, because with it, they would shine more beautifully.

Nell’ora del dolor
In the hour of sorrow,

perchè, perchè, Signor,
Ah, perchè me ne rimuneri così?
Why, why, Lord,
Ah, why do you remunerate me so?

When I first studied the aria, I noticed that almost all the verbs were in passato remoto (remote past).[2] It is a tense often associated with historical writing or storytelling, describing things that happened in the past and will not recur. The very first word “vissi” is first person/singular/passato remoto of “vivere” (to live). It is rarely used as it actually says, “Once upon a time, I lived.”

Tosca could have said, heroically, “Vivo d’arte; vivo d’amore” (“I live for art; I live for love”). She could even have said, “Sono vissuta. . .”[3] (“I have lived. . .”), giving a sense of how life had been and how it might continue. Clearly, she was distancing herself from the past, saying “I used to live for art; I used to live for love. . .”. Unfortunately, the desperation of cutting off one’s present realities from the past does not come through in English translation. Most singers are either ignorant of the complexity or simply setting it aside.

In all these years, I searched for the reason that the librettists[4] chose such strong tense. I addressed the questions to every soprano that passed through my door. I asked many reputable professionals. No answers.

Early last week, while working with a wonderful playwright/actress/singer on Tosca, I brought up the subject again. Her reaction was immediately different than most people. She asked a key question: “Did Tosca sing the aria before or after she caved in to Scarpia’s demands?” AFTER. Suddenly, it was clear to both of us that the moment of her surrender was a point of departure: A life of art, love, devotion and sincerity was no more. Tosca was eulogizing her own life and begging for a reason from the Lord.

I am a firm believer of the dramatic power of words, especially when combined with music. Since every language has its characteristics, in order to release such power, the interpreters must truly appreciate the choices of words as well as the construct of the text. Linguistic study could be a challenging task. Nonetheless, it is paramount for serious musicians.


[1]Vissi d’arte: Maria Callas
[2]The verb “rimuneri” (you remunerate) is in present tense.
[3]In conjugation of the verb “vivere,” auxiliaries “avere” (to have) and “essere” (to be) are both used. When associate with location, i.e. “Ho vissuto in Italia per un anno” (I have lived in Italy for a year), the auxiliary “avere” is used. When indicating being alive, “essere” should be used.
[4] Giuseppe Giacosa and Luigi Illica collaborated on the libretto of Tosca. They also cowrote the libretti of La Bohème.