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By Flavia De Souza August 31, 2021
By now I had settled into a more stable routine of piano practice and lessons. I didn’t find five hours as tedious as I had feared. In fact I now looked forward to going to that piano shop to pratise because something unexpected happened! One morning as soon as I arrived at the piano shop I was greeted by a very excited shop owner who was all smiles, quite a change from his usual sullen attitude. He took me to a more spacious room at the other side of his shop where, amongst upright pianos and their crates, he had cleared a space for me to practise at a grand piano! He was quite excited for me to try it out. It was a beautiful Blüthner semi-concert grand, an old piano with a completely refurbished interior with a new action comprising hammer heads and their dampers, new felts and even new strings! The keyboard too had new keys! Only its outer casing was in a sorry state with its black matt varnish scratched and shabby, but that was not important. The sounding board and its interior wood, including the bridge, were intact, which accounted for its wonderful mellowed golden tone – it was such a beautiful piano! I couldn’t believe that I was allowed to use it to practise on! I had never seen the shop owner as animated and chatty and beaming from ear to ear! He told me that he had observed me from the first day I arrived to practise at his shop, and was impressed that I had never complained about the old upright piano in that small room but five days a week, on time at 9 in the morning and honestly practised because he could hear me playing from outside the door! Compared to all the students who had been sent by CROUS to practise at his shop, he was really impressed with my determination and my unprotesting attitude, that he felt that I deserved to have a better piano and a better room to practise! I was speechless! He was really impressed and told Madame Fortin, at CROUS, that he was happy to arrange for my practice at his shop. He was astonished when she told him that I had come from Malaysia and was a student of Professor Pierre Sancan! I hadn’t told him all these details since I didn’t think they were necessary. Now that this Blüthner grand piano had been refurbished he wanted me to use it and he hoped that I would like it – well of course! I couldn’t have asked for more! He apologised that the room was crowded with upright pianos but he had cleared sufficent space around the grand and had put a small table and chair next to the piano for me to use. This room had large windows which let in more light so it was altogether more pleasant. I now looked forward to practise for four hours which ended too quickly! I really loved that old Blüthner grand and I regret that I couldn’t buy it to bring it back to Malaysia when I returned for good. I still remember its wonderful tone even after all these years. My piano technique started to show improvement as I was now practising more difficult piano pieces. Professor Sancan seemed pleased and I rarely got reprimanded but there was once when he meted out a punishment which I never forgot. As I had mentioned in an earlier chapter, Sancan had selected a program of piano pieces which I prepared for my weekly lessons apart from my daily regime of piano technical exercises and Chopin Etudes. Amongst the repertoire of Bach, Mozart, Beethoven and Chopin, I had to prepare a piece by Debussy called Reflets Dans L’Eau (Reflections in the Water). It was the first time I had ever learnt a piano piece by the French composer, Claude Debussy because I disliked the sound of the composer’s harmonies. For me Debussy’s music was tuneless and insipid, vague and undefined, a mishmass of notes drowned in a welter of sound simply because that was how I had heard Debussy’s piano music performed in Malaysia, amongst students and even at piano recitals by visiting artists. So my heart sank when Sancan included a piano piece by Debussy for me to learn! I tried to evade practising that piece, giving all kinds of excuses – but Sancan never forgot what he asked each of his students to prepare! Finally I ran out of excuses because Sancan insisted that I had to bring it for the following week’s lesson. I could see that he was annoyed and exasperated at my extreme reluctance but I was stubborn and only half-heartedly practised the Debussy. I was in for a rude shock when I went for my lesson the following week! I remember very clearly that my lesson was at 5pm. Sancan asked for the Debussy straight away, so I started to play it, stumbling as I went along. He stopped me playing and came over to check my Book. I hadn’t done my homework because in order to learn the Art of Fingering, I had to copy certain fingering examples from Sancan’s books and then go back and study them in order to continue writing the fingering for the rest of the piece that I was practising. I hadn’t done that for the Debussy. I could see that Sancan was quite angry but instead of scolding me he asked me to pack my things and follow him to another room. Opposite his main Studio Sancan had another Studio, a much smaller room and sparse with just an upright piano with its stool, a table and a chair. The room was bare and had only one tall window. He told me that since I hadn’t practised the Debussy piece and hadn’t done my fingering he would leave me here and return later to check my work. There were pencils and an eraser on the table. Then not saying anything more, he left me and worse, he locked the outer door of the Studio! I was mortified and felt very crestfallen! It was also quite cold in that room since the heater was off! So I kept my coat on and sat at that old upright piano and started to work on the fingering as well as practise. The hours went by and Sancan did not appear! I worked steadily and completed writing the fingering in my Book. I also practised everything carefully because I was quite ashamed of myself. Fortunately I didn’t notice the time because I became engrossed in my work. Suddenly I heard the doors open and in rushed Sancan! To my amazement he was most apologetic! He had actually completely forgotten about me but luckily for me, he had left his house keys at his Studio! Then when he saw the light in the smaller Studio he remembered me! It was now 11pm! He was really most concerned and hurried me out where he paid for a taxi to send me back to my place. He brushed aside my apologies as he was frantic to send me back! Told me that he had honestly completely forgotten about me and that he would see me two days later but, in case I wasn’t well, he asked me to call him at his Studio and he would reschedule my class. By the time I returned to the finishing school it was close to midnight! I was ushered inside by an extremely worried concierge who accompanied me to the main foyer where an anxious Mlle Chabaud awaited my arrival. She was about to call the police! Needless to say, she was extremely annoyed with Professor Sancan for locking me up in that small Studio. I was truthful as always, and told her why I had been punished! Still, she said, it wasn’t correct that he had locked me inside that room whether I deserved to be punished or not! Since I had Sancan’s telephone number at his Studio she took it and called him the next day to voice her thoughts and to ensure that this would never ever happen again! It was a good thing that I had told the receptionist that I had a piano lesson before I left earlier that afternoon and when I did not return in time for dinner, she informed Mlle Chabaud. I was then taken to the dining room where the cook had prepared a sandwich for me with a hot drink which was sent to my room. Two days later I had an early afternoon lesson with Professor Sancan. He was profusely apologetic and so was I, for my disobedience and stubborness, but that didn’t seem to matter as much because he had received a call from Mlle Chabaud, who had expressed her annoyance at the way I had been punished! He didn’t realise that I was staying at a finishing school and at 12 Rue Monsieur! Little did I know then the importance of that historic Residence! However, I recall that we had a very friendly conversation together that afternoon, which cleared the air between us both and thereafter, I enjoyed my lessons more with Professor Sancan who, in turn, treated me with a lot more deference. My French was also more fluent, so too my comprehension of colloquial French. I had a very good piano lesson too as I was well-prepared. I had done the fingering and had checked everything thoroughly in the interim. For me the punishment taught me to rid myself of my stubborn wilfulness. I had finally decided to learn the Art of Fingering, and I became rather good at fingering so much so that when I studied at the Conservatoire I sometimes helped my fellow students with their fingering problems! But best of all, I started to appreciate Debussy’s music because Sancan introduced me to Impressionism and then I became fascinated with Debussy’s music to the point that I always garnered the best points at my piano examinations for my interpretation of Debussy! Professor Sancan was a remarkable exponent of Impressionistic music, having himself studied with Debussy and Ravel, so through his interpretative lessons where he played while explaining Debussy’s piano music, he unveiled the mist from my eyes. I saw what he wanted me to see and to translate those images into the music that Debussy wrote. He sent me to visit the Impressionists’ Museum in Paris where I spent time in the afternoons looking at the paintings of Monet and all those artists who had dedicated their lives to create Impressionism. Since I was learning Debussy’s ‘Reflections in the Water’, Sancan told me to go to one of the bridges spanning the river Seine to observe reflections in the water. I did that one evening, when the weather became warmer towards late Spring, and stopped for quite a long time on the beautiful bridge called Pont Alexandre Trois at dusk. I slowly started to appreciate Impressionism and Debussy’s music. I also listened to Walter Giesking’s remarkable LP recordings of Debussy’s piano music following Sancan’s advice. This episode had certainly left a marked impression on me and never again was I scolded nor was I punished by Professor Sancan. To be continued...
By Flavia de Souza August 5, 2021
I’ve often been asked to write about my experiences, so after a good deal of hesitation I decided, why not? After all I have had quite a lot of interesting moments in my life which could serve as timely reminders of both my Impressions as well as my Recollections, hence the title of this page. I debated as to where to start, and then decided that it wasn’t necessary to “begin at the beginning” – and where would that be? I therefore decided to type according to how my thoughts translate themselves onto paper. My website gives an outline of what I’ve done and achieved in my lifetime and in leafing through all the accumulated photographs, pictures and documentation – not all of which could be posted on my website - I hope to describe as best I can, the impressions that created memorable moments. Let me start with Paris. I left for Paris in early October of 1967. I was a young teenager of 17, all fired up like most young people, eager to go abroad, yet sad in a way to leave behind the comforts and safety of home and my dear parents. I had been awarded a French government scholarship to study for a year, so I left with a group of people who were also similar scholarship recepients. We were booked on a flight on the then French airline UTA, Union de Transports Aériens, from Singapore. My parents accompanied me on the connecting flight from Kuala Lumpur, KL- Singapore, and then left me to board the flight to Paris where I was joined by the others in the group. Aircraft carrriers in those days were the Boeing or Douglas jets, and the flights one-way spanned almost twenty hours including just one stop-over at Aden most of the time, or sometimes at Muscat or at Bahrain in the Middle East. Since the flights left quite late at night from Singapore, it was a strange experience to be served dinner shortly after take-off at midnight! And then just as one had managed to settle into some kind of sleep position, to be awakened for the stop-over landing at Aden! However, as I was to travel this route by air several times, to and from Paris, I developed an admiration for these sturdy aircraft, especially the DC-8, which gave one a fairly smooth and uneventful flight. On occasion I was fortunate to have a whole stretch of three seats all to myself, which allowed me to sleep quite comfortably after removing the separating armrests. Upon arrival at the Orly International Airport in Paris we were met by a representative from the Students Scholarship Centre who efficently sorted out our Immigration formalities. All I remember of my first arrival was that it was quite early in the morning, and that it was cold since it was the onset of Autumn - and then we were taken to our various destinations. Most of the group I travelled with had to reconnect on flights to other towns in France depending on their choice of studies. My parents had arranged for me to stay at a residence which had been recommended by my Aunt Alcina, who was my mother’s youngest brother’s wife. Aunt Alcina had joined a secular order of nuns in France when her husband, Uncle Alirio died tragically young. This French religious order allowed the nuns to wear their usual clothes with only a tiny cross pinned on the lapel of their collars or jackets to show that they were nuns. I remember thinking that this was a more ‘civilised’ way of dressing instead of the usual nun’s veil and habit. I was met by one of these ‘Sisters’ who introduced herself to me as Mademoiselle Royot - pronounced “Mun-moi-zelle Roi-yo” – a petite and sprightly person who was to be my guide for at least three months which was indeed helpful, although many times I couldn’t quite understand her thick accent since she hailed from the south of France. Having learnt French from a young age with a friend’s daughter who used to love to play with me, and much later at the Alliance Française in KL, I had some understanding of the language but spoken French differed from the well-articulated French that I had been taught, which wasn’t tossed off as fast with half the words swallowed up! Doubtless I must’ve tried poor Mlle Royot’s patience a good deal as she rattled off volleys of seemingly incomprehensible sentences! Gradually, as I became accustomed to my surroundings and this good nun’s accent, we managed to communicate reasonably well. My first residence in Paris was a stately house at 12 Rue Monsieur in the 7th arrondissement, and had been the Residence of the last Princess Bourbon Condé. It was therefore considered a historic building and on certain weekends when the weather became warmer in Spring, there were guided tours open to the public. My lasting impression has always been of the extremely heavy door at the entrance from the street (or ‘Rue’). This massive door had to be pushed hard after one rang the doorbell to alert the concierge, or doorkeeper, whose apartment was right beside this entrance door in the covered porch. A wide courtyard of cobbled stones led to the front door of the Residence built all round this square courtyard. I was told that cobbled stones were quite common everywhere as horses and horse-drawn carriages were used in times past. This impressive courtyard of cobbled stones, as well as the lofty ceilings and period furniture within that stately and imposing house made me feel as though I had stepped into History! I half imagined that a liveried footman would appear dressed in a powdered wig and frilled shirt and that I would meet ladies wearing hooped gowns of a past era, as I had seen in pictures of French history. I was snapped out of my reverie by the excited chatter of Mlle Royot as she introduced me to the receptionist, an elderly lady, who greeted us at the main foyer, or parlour, of the house, and I was caught midway between trying to remember to reply in French while my brains were still tuned in English! My room was on the first floor and overlooked the Rue Monsieur. It was small but well-heated and had a washstand near the window. This place was a finishing school for young girls from affluent families, not just French but from other Western countries, and on my floor there was quite an international mix – I had an Iranian opposite my room and a Norwegian at the far end of the corridor. I was only staying as a boarder while the others had courses during the day. I joined everyone for breakfast, and dinner in the evenings, and over the weekends these meals, especially dinner, could be quite formal. Not all the teachers were secular nuns and everyone including the Directress were present and dined at a separate table but we all had our turn to sit with the Directress, Mlle Chabaud, usually at breakfast over the weekends. Mlle Chabaud was a tall and very aristocratic lady of Basque descent. Her striking handsome features and simple dignified elegance could be somewhat intimidating at first. Gradually over time I came to know her better and had glimpses of her warmer inner self especially when her niece, a little girl of eight, came to stay from time to time during the longer summer holidays when most of the boarders had left. I was allowed to practise for an hour in the evening after dinner at the ancient grand piano in the adjacent salon while most of the girls and the staff had their recreation elsewhere so as not to disturb me. Occasionally I had a few listeners who sat quietly at the far end of the room, wanting to hear me play. Then by 9pm we all retired to our respective rooms for the night. In those early days of my arrival in Paris I had much to learn and get acquainted with besides the cold weather. Mlle Royot was a bundle of energy and she whisked me through the streets of Paris at a brisk walking pace, rapidly explaining everything which I couldn’t always understand! Thanks to her kind and patient guidance I learnt how to use the public transport, mainly by Metro, the network of trains which ran underground. In order to study the different routes and their stations, I bought a booklet which detailed all the maps in the diffferent arrondisments, or areas, in Paris, the Metro stations as well as the bus routes, and together with a reliable French-English dictionary I learnt how to navigate around Paris on my own. With the help of Mlle Royot I got my shopping done for all the necessities from bed linen to towels and some warm clothing for winter. My parents were very kind and encouraging and wrote to me almost daily, so I looked forward to the post which we collected from the receptionist at the foyer downstairs. I too wrote back to them and since I always had a very comfortable relationship with both my parents, I could tell them everything. Handwritten letters which, if airmail delivery was prompt, one got a reply in two weeks! Or else, it took three weeks! Gradually my room looked less cold and uninviting, it felt a bit more like home at last and I felt less homesick although I must confess that one evening I had a good cry by myself alone in my room! There were no smartphones in those days, overseas calls were extremely expensive and via operator and had to be booked in advance because of the time difference between countries. How I marvel at the present-day technology of smartphones and the ease and convenience of long-distance calls via Apps that connect the ends of the globe in a snap! During my two years stay at this finishing school I made a number of friends who invited me to spend my vacations with them at their homes so I had the opportunity to visit London, Ireland, Holland and three different places in France. I will relate more about those happy holidays later. It was now time to meet my music professors! Although I had registered my arrival at the Students’ Scholarship Centre, known as CROUS, they merely left the students to enquire further into their choice of study venues. I was therefore fortunate to have had Mlle Chabaud, the Directress of the finishing school, who was kind enough to peruse the music curriculum of the renowned Paris Conservatoire. The first step was to get introduced to a piano professor and through Mlle Chabaud’s diligent enquiries, she selected Professor Pierre Sancan, then discussed everything with me before arranging for Mlle Royot to take me to meet him at the Conservatoire. There were about ten piano professors at that time and all of them were actively performing international artists with very tight schedules. Pierre Sancan was also a composer who had been awarded the coveted Prix de Rome, which was a very difficult Prize to get for music composition. He was extremely popular with students as his engaging approach to teaching was much loved by everyone who studied with him, therefore this meant that there was a slim chance of getting accepted into his piano class at the Conservatoire. His teaching schedule was always fully booked! I clearly remember my first impression of the Conservatoire which was located at No. 14 Rue de Madrid. It was an old building with thick walls and high ceilings. As we crossed the courtyard, this time more like a garden with trees, one could hear the sounds of pianos and violins drifting down faintly through the windows. Mlle Royot accompanied me up a wide staircase where the classrooms were located and then she left me to meet Pierre Sancan at his classroom, Salle Piernée. ierne Through the door I could hear someone playing the piano so I waited for a break in the music before knocking. I knocked a bit harder the second time and then, wondering what to do next, someone came to open the door. It was a student and he nodded for me to enter. It was a very large room with two grand pianos. Seated at one was a student and Sancan himself was standing up while he taught. Several students were listening intently so I joined them when I was offered a seat. I had only been accustomed to having individual piano lessons at home so all this was quite a novel way of attending a piano class. It gave me time observe how Professor Sancan taught. He certainly had plenty to say punctuated with hand and arm movements, and joked quite a lot judging from how all the students laughed – my French wasn’t as good as yet to catch all the hilarity. Besides, I was feeling really nervous as to how to introduce myself to such an emminent professor! Time passed by quickly as I found myself caught up in the lesson itself. But eventually, when everyone left, Sancan came over to talk to me. To my surprise I found the right words to say in French and I could understand what he said since he spoke to me at much slower pace. He was quite used to having foreign students in his class, many being Japanese students. However, never a Malaysian! His sense of world geography was vague beyond the countries in Europe - as was the case for nearly every French person I encountered! They had no idea of South-East Asia! Singapore and Hong Kong were at the same spot and that for them was somewhere near Japan! He asked me to try out one of the grand pianos and then I played for him the program of pieces I had prepared as I knew that he would want to audition me. By the time I finished playing it was already time to leave, so Sancan asked me to come back to see him on another day for my first lesson. I left feeling that perhaps this was an indication that Sancan had accepted me as his pupil. It was the first time that I faced travelling by myself without the kindly aid of Mlle Royot, and I experienced my first rush hour using the Metro! I had my trusted map of Paris with me and knew where to change trains in the Metro. I was back at No.12 Rue Monsieur just in time for dinner and after that was summoned to Mlle Chabaud’s drawing room where she was extremely pleased that Professor Sancan had asked to see me again. Mlle Royot was also present and was happy that at last I could fend for myself! The poor dear must have really been relieved of her having to chaperone me! To be continued NB) For photographs please refer to the page on ‘ My Studies Abroad ’ on my website. There are photographs of myself at some of my classes at the Paris Conservatoire and of some of my professors. For the other reference relevant to this Chapter, please click on the internet link below. The Residence at no.12 Rue Monsieur in the 7th arrondissement in Paris: https://en.wikipedia.org/wiki/H%C3%B4tel_de_Bourbon-Cond%C3%A9

Chapter Two

Flavia De Souza • August 15, 2021
I had my first piano lesson with Pierre Sancan at his private Studio at Salle Gaveau, which was actually a concert hall but had music Studios on the floors above in the same building. Sancan’s Studio was at the end of a corridor and there were a few chairs for students to sit while waiting outside the heavy double doors. These doors helped to soundproof the Studio to a certain extent. The piano could only be heard very faintly from outside.

I didn’t have long to wait. Professor Sancan ushered me into a fairly large square-shaped room with a grand piano near one of the two windows since this was a corner room. Bookcases lined the walls with piles of books stacked on their shelves which rose to the ceiling. There were a few tables also spilling over with books and more piles of books on the carpeted floor. The piano itself was covered with a thick protective material and had even more books on top! Beside the piano was a chair, presumably for Sancan, but he rarely sat down while he taught. 

This was the place where I had all my private lessons with Sancan and his repetitrice, his assistant teacher, since I wasn’t as yet a student at the Paris Conservatoire. However, whenever Sancan wanted me to attend one of his classes at the Conservatoire, they were held at the same Salle Pierné where I had auditioned for him. I think that it was a good idea to conduct lessons with small groups of students as listeners because this helped the performer to get used to playing before people. By listening to other students playing, one was exposed to a lot of different piano works by different composers and one could learn a great deal from watching those who performed.

I had a great deal to unlearn and to learn! My piano technique seriously needed a lot of correction, almost from scratch as it were, since I had been taught à l’anglaise as Sancan described it. I gradually noticed the difference between the French, or Continental style of piano technique, and the British style, not easy to describe here in words. Basically I had to learn how to press my fingers more evenly into the piano keys and to control this finger pressure accordingly, that is, more, in the louder passages – forte and fortissimo - and less when I had to play quietly – piano and pianissimo. Arm weight was also necessary and flexibility of both the arms and wrists. I had to do certain physical arm exercises while at the piano and also when I wasn’t practising. I had to coordinate the arm weight and the finger weight when I played. Initially my arms became extremely tight as this technique was something completely new to me so I stiffened! It was quite challenging and also confusing but I perservered! I had a stubborn streak in me which refused to accept defeat! If others can do it, so can I. Besides, I remember thinking, somewhat indignantly, how can Professor Sancan tell me that my piano technique is bad? when I had created a stir in my country upon obtaining the Licentiate Piano Performer’s Diploma, the LRSM from the British Board of music exams! Fired up with these thoughts, I was determined to show Sancan that he was wrong! I was never a student who would voice my feelings out to my professors even if I felt resentful or dismayed. I remained silent while all my emotions tumbled about inside me. I suppose this was the driving force which motivated me to work hard!

The first month of lessons was spent in re-structuring my piano technique so I had to pratise a whole book of scales and arpeggios and another book of boring repetitive finger exercises! I was instructed to practise five hours a day! Five!! I had never done more than two at home so I wondered how I could survive five! Since I couldn’t practise at the finishing school except for an hour after dinner, and on Saturday afternoons and sometimes on Sundays provided my practicing wasn’t too disturbing, I had to find a studio, or a piano shop where I could practise during the week. I went to CROUS, the Scholarship Students’ Centre, where I spoke to the officer in charge of my portfolio. Madame Fortin wasn’t exactly a pleasant nor an easy person to approach, but I did, and by myself. I rehearsed in my head what I wished to tell her in French so I was able to face that female dragon! She never seemd to have any patience with foreign students, probably because many couldn’t speak French, so she was extremely curt and oftentimes, rude and abrupt! However, I stood my ground and explained my need for a studio to practise the piano inspite of all her objections and obvious ill-humour. Finally, Madame Fortin gave me list of piano shops which liaised with CROUS and once I had found a place, I was to let her know so that she could arrange for the payments. Naturally I consulted Mlle Chabaud for her advice and her assistance to make those phone calls.

For the next two years I went to a piano shop where I practised for four hours, from 9am to 1pm from Mondays to Fridays. I had to leave by 8am because there were two train changes in the Metro to reach the piano shop by 9. I had my breakfast alone in the dining room and used to take a large yellow banana with me from the kitchen for my snack, and a bottle of mineral water besides my bag of music books which gradually became heavier as I progressed from tedious finger exercises to more interesting piano pieces. The owner of the piano shop was a short and stocky middle-aged Frenchman who seemed very cold and distant at first. The tiny practice room was dismal and as the windows couldn’t be opened, it was like being imprisoned for four hours five days a week! I hated going there! The old upright piano sounded dreadful, its keys were yellowed and wobbled and its tone was harsh and jarring and very loud, but there was no other alternatives since students were not allowed to practise in the shops’s piano showroom. I had no choice but to sit at that piano and practise! Whenever I felt like giving up I thought of my parents, that they would feel very disappointed if I quit. Besides, I was fuming with indignation that Professor Sancan thought that my English-style piano technique was bad! This is what spurred me on, that and the single yellow banana which the cook gave me each morning!

My lessons with Sancan were once a week at Salle Gaveau. I always made sure that I practised everything however much I detested that boring regime of finger exercises and scales. There was obviously progress because Sancan commended me on my diligence and started to discuss with me about choosing a repertory of piano pieces to learn. He also became more friendly and as I became more fluent in speaking French he asked me a lot about my background and about Malaysia. I noticed that most students addressed their professors as Maître (Master) or Madame when it was a lady. Sancan, on the other hand used to call me ma petite Flavia because I was indeed quite small and thin. I knew that he liked me because my lessons were always quite long, gradually increasing from an hour to sometimes two-and-a-half hours! Sancan sometimes played for me as well after my lesson and I felt priviledged to sit in his chair by the piano and listen. He was a remarkable pianist like all the other professors I was fortunate to study with. 

I was relieved when I was finally allowed to learn piano pieces once I had settled into a routine practice of piano technical exercises and scales which I had to religiously adhere to. I was given a program of several pieces starting with a Prelude and Fugue by Bach and an Etude by Chopin. The Chopin Etudes were also meant to be technical ‘exercises’ since Chopin had written them for his students, but they were melodious though challenging compositions. These 24 Etudes were the sworn Bible at the Conservatoire. All piano students had to study them! 

Before I could start learning any piece of music, I had to get the right publication, one that my professors approved of, and, more importantly, I had to learn about fingering, something which I had no idea about! The Art of Fingering is actually very important because it’s how one uses one’s ten fingers to master the technical aspects of every piece of music, something akin to choreography in ballet. In the beginning I didn’t quite grasp the importance of using correct fingering and I had to copy out certain fingering from Sancan’s books which had to be strictly adhered to! If I was careless and didn’t practise using that fingering I was severely admonished! Mastering the Art of Fingering proved initally difficult to understand and get accustomed to, but gradually over time, I realised that once you grasped the correct intricacies of fingering, it helped you to practise the technical difficulties of any piece of music with greater ease.

Since I had never been told about the importance of using correct fingering and found it difficult to assimilate, Sancan decided that it was time for me to meet his repetitrice or, assistant teacher, Madame Marie-Madeleine Petit. The word repetitrice says it all - literally translated it means someone who repeats, and that’s exactly what they did, they drilled the students in the basics of how to practise and ensured that the students corrected, or tried to correct, all their mistakes and wrong habits before they took a lesson with the Professor. Hence when I went for my next piano lesson, I was introduced by Professor Sancan to Madame Petit at his Studio, a petite and fiery character who wore her hair piled into a very tall pagoda-style bun atop her head which glinted with hairpins and she strutted about on extremely high stiletto-heeled shoes! She had a thin shrill voice and had a very thick accent, spoke rapid French and had an impatient disposition. I took an instant dislike to her and I guess this was mutual because my first lesson with her was completely disastrous! 

Unfortunately Sancan had to leave. Scarcely had he left when Madame Petit found fault with everything I had practised, from the scales and the finger exercises to the Bach Prelude and Fugue! Thank goodness I wasn’t expected to play the Chopin Etude! The woman screeched and screamed and paced the room in maddening circles, waving her arms in the air and patting her pagoda bun which quivered and shook atop her head! I couldn’t understand a word she spoke because of her thick accent and her rapid way of talking. Although I knew that she was angry, I wanted to know why but couldn’t ask because each time I stopped playing, it made her even more angry! Worse, when she came closer to the piano keyboard she found my arms stiff so she pulled my upper arms outwards – like a bird flapping its wings - in an attempt to loosen me up! Naturally I hard to stop playing when she did that. While I watched her twirling about, I tried my best to understand what she was saying! Finally when there was a lull in her whirlwind circling, she asked if I understood French! Now whenever I couldn’t understand anything I always said, “Encore une fois, s’il vous plaît”? = Please (repeat)one more time! This obviously infuriated her even more!

As for the Bach Prelude and Fugue, I was left even more puzzled about the fingering bit! The woman had no patience trying to explain anything although by now I guess she must’ve felt tired at having to vent her temper on such a dumb student as myself. Her raucous sceeching stopped and she snapped exasperated comments while she marked my book with large untidy pencil markings, much to my dismay, but to have objected to her pencil marks would have only made things worse. I meandered dismally through the Bach piece in order to end the lesson as soon as possible! As I had expected, she launched into another angry tirade when I finished playing, which stopped short when the doors suddenly flung open when Professor Sancan returned! 

While he removed his coat he exchanged words with an irate Madame Petit who lost no time in getting her things to leave. I waited, expecting to face another scolding from Sancan. He merely came and sat down in his chair beside the piano. He just looked at me. I guess that the look on my face sufficed as an answer and that I was also tired. He took a look at all the angry pencil markings on my book, then sat down at the piano and played the same Bach Prelude and Fugue while I stood and listened. It was beautiful and eloquent. It was like a blessing of peace, an apology of sorts for what I had faced with his repetitrice. I felt much better by the time he finished playing. It was time to leave so Sancan gave me my coat and after patting me on my shoulder as he always did, he told me to come the following week for my lesson. I remember asking if it was with him or with his fiery repetitrice. Sancan nodded and I knew that he understood how I felt about Madame Petit.

Most of my piano lessons were with Professor Sancan but from time to time when he was occupied elsewhere or had to leave Paris, I had to face his repetitrice. By then I had improved in my piano technique and I’m sure that Sancan must have spoken with Madame Petit, because her lessons with me were less explosive. 


To be continued...




NB) For photographs please refer to the page on ‘My Studies Abroad’ on my website. 
There are photographs of myself at some of my classes at the Paris Conservatoire and of some of my professors. 

For the other reference relevant to this Chapter, please click on the internet link below.

Salle Gaveau.


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