REVERENCE FOR ART.

New Zealand Graphic, Volume XVI, Issue XV, 11 April 1896, Page 405

REVERENCE FOR ART.

A young pianist who went to a celebrated master for lessons was surprised at his first advice. ‘ Purify your mind and soul,’ said he. ‘ Think only of what is noble and true, and then you will begin to be worthy to interpret the great masters. Above all, guard against conceit and self-consciousness. Never think, “ 1 am playing brilliantly,” but only, “Am I obeying the composer’s will ?” ’ The true artist reverences his profession more than he craves applause. Madame Clara Schumann, the pianist, was such an artist. The Empress Augusta one dav met her at the house of an acquaintance, and begged her to play something. ‘The piano here is bad ; I cannot play upon it,’ was the answer.

The Empress graciously renewed her request, adding that under Madame Schumann’s fingers, no piano could sound hopelessly bad. ‘Only a really good instrument can sound well,’ returned Madame Schumann, holding to her point. ‘ A bad one like this never does.’

At another time, Natalie Janotha, the polish pianist, Madame Schumann’s pupil, played, for an encore, at a concert, a beautiful waltz by Chopin. Ending it with a brilliant passage, she raised her hands at the /inttle with a little flourish, which did not escape the observation of her teacher.

After the concert, Madame Schumann spoke coldly to her pupil on several matters, and then, unable to conceal her disapproval, cendemned that unhappy raising of the bands.

‘ You spoiled all iny pleasure by doing that,’ said she. ‘ You wanted to show the public that such passages are nothing to you, that they tumble out of your sleeves without an effort. A real artist never does that. When an artist comes on the platform, he does not belong to the public ; his personality is merged in that of the master who speaks through him.'