Grainger the Performer
by Amelia Peachment
When Grainger died in 1961 he left behind an extensive legacy; as a pioneer in electronic music, a sexual liberationist, a folk song collector, and the first Australian composer to promote Asian influences within Australian compositions (to name but a few of his accolades). These other activities have at times overshadowed the talents of this pianistic giant. Percy Grainger's fame began with his extraordinary gift as a virtuoso pianist.
Grainger's mother, Rose, began teaching Percy the piano when he was seven years old. She believed in a strict practice regime and a strong work ethic - a philosophy that he adhered to throughout his adult life. During the years he lived in Melbourne (1882 - 1895) he had a number of capable teachers, including Louis Pabst, a former student of Anton Rubinstein. In 1903 he went to Berlin to study with Ferrucio Busoni, (a respected German-Italian teacher and composer) who offered him lessons free of charge. This period served as groundwork for his professional career.
Grainger's concert programs were not especially adventurous. He had very specific taste in classical music, remaining loyal to Bach and the piano concertos of Grieg and Tchaikovsky. Indeed, Grainger strategically avoided playing the repertoire of 'the great masters', such as Mozart, Haydn and Beethoven. He made no secret of the fact that he believed their music to be constrained by musical convention and harmonically dull. As a result he became known as an exponent of Bach's music, and continued to perform the warhorse concertos of Tchaikovsky and Grieg well into his sixties.
It was often observed that Grainger had a very vigorous approach to playing the piano. His athleticism and stiff-wristed technique created a powerful and muscular impression. Humorous stories of the way in which he used every spare moment to be active, even during orchestral moments when his own part was silent, have contributed to the colouring of this eccentric character. Coupled with exceptionally good looks and an amicable personality, Grainger charmed his international audiences.
Grainger's professional reputation was significantly elevated by the respect he drew from other prominent musicians. His extensive tours with the Australian contralto Ada Crossley in 1903 and 1908 and his connections with Dame Nellie Melba are examples of the recognition he gained as an exceptional musician. In 1906 he met with Edvard Grieg, who commented that Grainger's playing and understanding of his music was better than his fellow countrymen.
Grainger's contribution to the piano goes further than his performances. In 1915 he wrote an essay titled 'Modernism in Pianoforte Study,' where he examined the possibilities of the piano as a 'double percussion instrument' as well as his use of 'half-pedalling' (an effect that allowed for successful melting from forte to pianissimo).
For all of his obvious talents as a pianist, Grainger had a difficult relationship with the piano. He often likened his experiences performing at the English aristocratic 'at home' parties to being a 'performing monkey.' In later life, he would accept requests to play for a small fee if he could include his own compositions. Despite these inner tensions, Grainger remains one of the most remembered performing musicians of the twentieth century.