STORIES OF MARK HAMBOURG.

New Zealand Mail, Issue 1715, 11 January 1905, Page 79 (Supplement)

STORIES OF MARK HAMBOURG.

How shall one "write of Mark Hambourg? asks “M.A.P!." A musical prodigy of the past—a well established afid. popular artiste of the present—a name to' be remembered in the future. Temperament is his first gift, his second and his third. It is the only word to describe him at the piano and away from it. He is excitable, nervous, keen, vivacious. Short and thin, but squarely built, with a shock of brown hair—neither fair nor dark, but between the two*—*that sweeps back from his forehead in thick waves; heavy eyelids drooping over rather small, dreamy eyes; a particularly sensitive mouth and finely modelled chin; a pleasant with a deep, almost gutteral, sound about it; quick of step, expressive in gesture; young, enthusiastic, strangely unEnglish, in spite of his complete mastery of the language, and the fact of being a naturalised Englishman —such is Mark Hambourg. pianist. Mr Hambourg is of Russian birth, and commenced his musical education, seriously, at the age of seven, making his debut in Moscow a year and a half later. His father was his first teacher, but he afterwards studied under Lescheiitzky, in Vienna, where lie won the Liszt scholarship, and wais encouraged by the praises of Rubinstein and Richter. Mr Hambourg has travelled in all parts of the world. On one of his journeys from Australia he met the ex-Queen of Honolulu, who asked him to* play on the fine piano that had been presented to her dusky Majesty by some of the very subjects'who openly rejoiced at her abdication ! n more conventional concert that Mr Hambourg specially enjoyed was given ai the White House, Washington. He recollects hearing the- President describe a composition in a way that is characteristic of “Teddy" Roosevelts businesslike mind. “AVhat is he playing?" a lady asked, as Mr Hambourg responded to an encore. “I don't know the name," answered the President. “It is a piece he ‘made' himself."

When this brilliant young pianist was touring “down under" he met with many amusing experiences. During one of his recitals in Dunedin a couple of ladies came in late, while l he was playing- from memory one of those masterpieces that take jears of study and practice to perfect. * “Oh, just look!" said one of the ladies, “he’s playing by ear." On another occasion the orchestral part of a concerto was being played on another piano, but the platform being rather dark the second instrument could hardly be seen. During a pause in the solo, while the other piano continued the accompaniment, a voice was heard to exclaim, “Marvellous man! He can play with his hands right off the keys!" “Oh, yes*, but you watch his feet!" came the answer. “He must be a wonder at the pedals!"

Here is a little story that will, specially appeal to musicians. At the end of' one of Mr Mark Hambourg’s concerts in Melbourne the people wildly demanded another encore. Many of the audience suggested the names of favourite pieces, the loudest voice coming from the back of the hall and persistently demanding Chopin’s “Be*-cause!" (Schumann's “Why" occurred to Ills mind, but that did not help him out of the difficulty. “Play us ‘Because’ ! " shouted his unknown admirer again and again. Suddenly the pianist was seized with am inspiration. He commenced to play the ‘Berceuse.’ and instant silence showed him that it was a correct guess.