Maestro Isoir had an unusual way of concentrating his mind in preparation for a concert. No frantic keyboard practice for him! He would ask if there was a river or a stream nearby, and since he always kept rods and bait in his car, he would relax with a spot of fishing, contemplating his recital while gazing at the surface of the water. With his pupils, he would talk about the different ways of approaching a work. To furnish an example, he would play something – often very fast. Then, coming back to the same passage in a completely contrasted tempo, he would say: ‘You can also do it like that – it’s just as good.’ Then, having practised it conscientiously in the meantime, the student, would play the piece at the next lesson . . . and the teacher would exclaim: ‘No, no, that’s His Master’s Voice! You’ve got to form your own view of it, starting from what I suggested.’ 38 BACH ∙ THE ORGAN WORKS
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