Music Notes

New Zealand Times, Volume XXXIII, Issue 7871, 5 August 1911, Page 18

Music Notes

Tolstoy loved music. Ho played the piano and affected the classical masters. Often before settling down to work he would turn to the piano. Probably be found inspiration iu the music. He always accompanied his elder sister, whoso voice bo liked to hear. 1 havo noticed (writes M. Komain Holland in the “Kcvue do Paris",) that tho sensations which music called forth in him were accompanied by a slight pallor of the face and an imperceptible grimace, which seemed to express fright. "Lohengrin" was commenced in 1545, when the author and composer was thir-ty-two years old. It was not completed, I however, until 1847, and a first perl'ormI anco was not reached until 1830. when | Wagner’s munificent friend, Franz Liszt, 1 secured a performance at the Court Theatre, in Weimar, Owing to Wagner's I exile, ho did not hear tho opera until I 1861. Time and again he took out the score and despaired of ever bearing "the 1 notes sound from off tho death pale pai per." ills publisher, Moser, refused to 1 bring out tlio work in print, owing to I Ibo failure of two previous works of Wagner which be bad issued. Finally, after several years, the publication rights were secured by a more enterprising firm, which was richly rewarded by the subsequent, success of tho opera. Wagner was raid to have secured the plot for “Lohengrin” while iu Paris. Ho had, however, already become familiar with tho legend of "Parsifal ’ (Parzoval) through the poem of tho Minnesinger poof. Wolfram von Escbcnbach. Parsifal, a knight or the Holy Grail, that sacred order of mystic knights who, the ( legend tolls. us, took upon themselves j tho duty of guarding the last cup from j which Christ drank, was tho father oi [ Lohengrin. The character of "Lohengrin'’ as an opera is distinctly lyric when compared with Wagner's other works. The music is one continuous stream of entrancing melody, in which tho motives typifying character ana mood give tho composer an endless opportunity for portraying human emotions.

'Whatever effect Coronations may have on other artists, they do not interferewith M. Paderewski, who had as large an audionco at Queen’s Hall, Loudon, as ever (says an o.xchange). The atmosphere in the ball was as electric as usual, and in another sense "aiiuosphero” was produced by blocking out the garish light of day. All these things arc, however, but. secondary to M. Paderewski’s playing, which is still a thing to be wondered at and to rejoice over. Ho was not at his best—or, to put it moro accurately, tho moments when lie was were fewer than usual. He had a larger number of violent and seemingly motiveless outbursts Ilian usual; but when he restrained himself tho perfection of bis art was ns superb as ever. For instance, tho playing of the A flat Etude of Chopin was a perfect joy, though bis reading is different from that usually adopted, arid there was one prominent wrong note. On the other hand, as one of his encores, ho played ono of the most familiar Etudes, and its first bars were greeted with a loud sigh of content from the audience. Ho began exquisitely, but in tho middle ho grew very fierce. The A major Polonaise was played as if ho had a distinct grievance against the piece, or the piano. The F major Ballade has some marvellous moments, notably, the middle section. Schumann’s F sharp major Sonata did not find him in a happy mood, and he played it with a dazzling brilliancy, but somewhat hardly. All tho music he played was familiar, and at tho end we bad tho usual scene of crowds round tho platform, encores, and waving of handkerchiefs, and M. Paderewski, even paler and moro impressive than is his wont, dominating tuo excited crowd. A violin player’s fingers may be quite dry ordinarily, but when nervous or excited, will perspire freely. Others are troubled constantly and others not at all. There are several patent preparations on tho market to obviate tho difficulty, the active principal of which is some volatile substance like alcohol, which evaporates rapidly, thus drying cho hand. Keep a bottle of alcohol in your case, and wet the hand with it when necessary. ■ This will dry the hand temporarily if the trouble is very bad. Use silk E strings, and rub the strings with oil of sweet almonds, except the portion where the bow touches the strings.

Is it possible to learn to play the piano without tho, aid of a teacher? This question is one which is doubtless being asked, by a large number of, students who are unable to . secure the services of a teacher. As a matter of fact, it is possible, but. it is very, very hard. There are many pianists who, are self-taught, and are yet. able to perform creditably, but these people have usually bad the advantage of being able: to go to piano recitals, or to come in contact with skilled performers, and to gather much from their own observation. Nevertheless, as Bach remarked, playing the piano’ is , largely a. question of. putting one’s fingers in the right place at tho right timo. Much can be done with the aid of books, diagrams, ‘ musical magazines and a rigid adherence to a well-planned course of action. Here are a few rules which may bo of nso to students who are engaged in self-study; Follow out a settled scheme of study, and never leave ono exercise or piece until it is thoroughly mastered. Close your eyes occasionally, and listen to your own playing. Don’t let your wrists and arms tighten unconsciously. Don’t attempt to play faster than you can. Speed comes gradually. If you stumble over a note repeat the whole passage in which it occurs. .Use a metronome in order to train tho rhythmic sense. Avoid keeping the sustaining, or “loud" pedal down all the time. Cultivate the broadest kind of musicianship, and never neglect an opportunity to hear other performers.

Mr Charles Frohmau, the famous theatrical manager, once stopped an orchestra when they were rehearsing a new musical play. "That’s too loud!” he exclaimed. "I cau’t help it, sir!” replied the conductor. "The score says forte.” (Pronounced forty.) "Never mind the score,” replied Mr Frohman; "make it thirty-five."

One of the difficulties encounted in high voltage transmission of electric currents, says an American contemporary, is from large birds which perch on the steel towers and stretch their wings until thev come in contact with ono of tho live conductors. “The not results,’’ it adds, "are a vapourised bird—no trace of the bird can bo found after such an experience—a severe shako up of the plant, and a bnrned-off wire." To commemorate tho three hundredth, anniversary of the landing of Sir George Somers and his companions in Bermuda in July, 1609, a monument has recently been unveiled in the public gardens in St. Georges. The memorial, which is in the form of an obelisk, bears a bronze relief of the head of Sir George Somers and a tablet depicting the wreck of his ship. Sea Venture, on the coast of the island near St. Georges.