Master Artists of the Piano

New Zealand Graphic, Volume XL, Issue 19, 6 May 1908, Page 34

Master Artists of the Piano

By

JAMES HUNEKER

RTISTIC pianoforte playing is no longer rare. The once jealouslyguarded secrets of the masters / 1 have become the property of conU servatories. Self-playing instruments perform technical miracles, and arc valuable inasmuch as they interest a number of persons who would otherwise avoid music as an ineluctable mystery. Furthermore, the unerring ease with which these machines despatch the most appalling difficulties has turned the current toward what is significant in a musical performance: touch, phrasing, interpretation. While a child’s hand may set spinning the Don Juan tantai* sie of Liszt, no mechanical appliance yet contrived can play a Chopin Ballade or the Schumann Concerto as they should be played. . We mention purposely these cunning inventions because we do not think that they have harmed the public interest in pianoforte recitals; rather have they stimulated it. Never before has the standard of execution and interpretation been so high. The giant wave of virtuosity that broke over Europe in the middle of the nineteenth century has not yet receded. A new artist on the keyboard is eagerly heard and discussed. If he be a Paderewski or a Joseffy, he is n centre of a huge admiration. The days of Liszt were renewed when Paderewski made his tours in America. Therefore, it is not an exaggeration to say that not until now has good playing been so little of a rarity.

But a hundred years ago matters were different. It Was in 1839 that Franz Liszt gave the first genuine pianoforte recital? and possessing a striking profile, he boldly presented it to his audiences; before that pianists either faced or sat with their back to the public.. Without any intention of making an historic retl rospect. it is nevertheless impossible to speak of modern pianoforte playing without mentioning Liszt, who, born in 1811, dying in 1886, years hence may still be an authority, so profound, so far-reach-ing were his innovations and discoveries. No matter what avenue of music the

student travels, he will be sure to encounter the figure of Liszt. Yet neither Liszt nor Chopin was without artistic ancestors. That they stemmed from the great central tree of European music; that they at first were swept down the main current, later controlled it, are facts that to-day are the commonplaces of the schools; though a few decades ago those who could sec no salvation outside of German music-making, be it never so conventional, failed to recognise the real significance of either Liszt or Chopin. Both men gave Europe new forms, a new harmonic system, and in Ijiszt's case his originality was so marked that from Wagner to Tsehaikowsky and the Russians, from Cornelius to Richard Strauss and the still newer men. all helped themselves at his royal banquet; some like Wagner, a great

genius, taking away all they needed, others glad to catch the very crumbs that fell. Liszt was a prodigal genius. His whole life was an outpouring. He was one of the most charitable men that ever lived. iA hero of many cultures, he was not only the greatest pianist that has thus far appeared, but he invented the Symphonic Poem, a vital modification of the old symphony form, and left behind him a remarkable school of pianists who have, each in his own individual fashion, continued or expanded the Liszt’s traditions. Liszt was a pupil of Karl Czerny, whose finger exercises still resound in various homes and halls of learning. Czerny taught him finger mechanism. Muzio dementi, who has been called “the father of pianoforte-playing,” bequeathed a set of studies that showed Liszt the way; studies, the technical figures of which were appreciated by Beethoven to such an extent that -when you have mastered Clementi, you can at least finger any sonata of Beethoven. Liszt has also studied to advantage the school of his predecessor at Weimar, J. N. Hummel, whose style was an amplification of Mozart’s. Then he met Chopin, and that path-breaker in figuration. digitation. style, and interpretation, exerted, after Paganini, the most enduring influence on Liszt’s future. Paganini’s fantastic and extraordinary violin performances had fired musical and unmusical Europe: Liszt did not escape the general conflagration. A kindred temperament to Paganini’s, on certain sides, he sought for the secret of the Italian’s diabolic play. He discovered it. as by reason of h's almost universal sympathies he discovered the secrets of other virtuosi and composers. Liszt’s very power, muscular, compelling, set pianoforte manufacturers to experimenting. A new instrument was literally m;i<b for him. an instrument that could t'mnder like an orchestra, sing like .a voice, or whisper like a harp. Liszt could proudly boast, “le piano—e’est moi!” With it he needed no orchestra. no singers, no scenery. It was his stage, and upon its wires he told the stori.es of the operas, sang the beautiful, ami then novel, lieder of Schubert and Schumann, revealed the mastery of Beethoven. the poetry of Chopin, and Bach’s magical mathematics. He. too. sot Europe ablaze: even Paganini was forgotten, and the gentlemanly Thalberg with bis gentlemanly playing suddenly became insipid to true music lovers. Liszt was c died a charlatan, and doubtless partially deserved the appellation, in the sense that he very often plaved for effect’s sake, for ■ the sake of dazzling the groundlings. His tone was massive, his touch coloured by a thousand shades of feeling, bis Ircbniqw impeccable, his fire and fury bewildering: add to this a musicianship superior to any composer of the century, except Mend'lssolin—Beethoven is. naturally, not included —and a gift of divination that was without parallel. And if Liszt affected his contemporaries, he also trained his successors. Tausig. von Bulow, and Rillenstein —'the latter was never an actual pupil, though he profited by Liszt’s advice and regarded him as a model. Karl Tausig, the greatest virtuoso after Liszt and his equal at many points, died prematurely. Never had the world heard such controlled plastic. and objective interpretations. His iron will had drilled bis Slavic temperament so that his playing was. as Joseffy siivs. “a series of perfectly painted pictures.” His technique, according to those «hn heard him. was perfection. He was the one pianist sans peur et sans reproclie. All schools were at his call. Chopin was revived when he played: and be was the first to bail the rising star of Brahms not critically as did Schumann, but practically by putting his name on his eidetic programs. Mr. Albert Ross Parsons, the well known New York pianist. critic, and pedagogue, once told .the present writer that Tausig’s playing yoked the image of some magnificent, mountain. “And Joseffy?” was asked

—for Joseffy was Tausig’s favourite pupil. "The lovely mist that enveloped the mountain at dusk,” was Mr. Parsons’ very happy answer. Since then Joseffy has condensed this mist into something more solid, though remaining quite as beautiful. Rubinstein I heard play his series of historical recitals, seven in all; better ski'll, 1 heard him perform the feat twice. I regret that it was not thrice. If ever there was a heaven-storming genius, it was Anton Rubinstein. Nicolas Rubinstein was a capital artist; but the fire that flickered and leaped in the playing of Anton was not in evidence in the work of his brother. You felt in listening to Anton that the piece he happened to be playing was heard by you for the first time—the creative element in his nature was so strong. It seemed no longer reproductive art. The same thing has been said of Liszt. Often arbitrary in li is very subjective readings, Rubinstein never failed to interest. He had an overpowering sort of magnetism that crossed the stage and enveloped his audience with a gripping power. His touch, to quote again Joseffy, was like that of a French horn. It sang with a melloiw thunder. An impressionist is the best sense of that misunderstood expression: he was the reverse of his rival and colleague. Hans von Bulow. The brother-in-law, a la main gauche, of that brother of dragons, Richard Wagner, von Bulow was hardly appreciated during his first visit to America in 1876-77. Rubinstein had preceded him by three seasons, and we were loath to believe that the rather dry, angular touch and clear-cut phrasing of the little, irritable Hans were revelations from on high. Nevertheless, von Bulow, the mighty scholar, opened new views for us by his Beethoven and Bach playing. The analyst in him ruled. Not a colorist, but a master of black and white, he exposed the minutest meanings of the composer that he presented. He was first to introduce Tschaikowsky’s brilliant and clangorous B-flat minor Concerto. Of his Chopin performances, J retain only the memory of the D-fl'at Nocturne. That was exquisite, and all the more surprising coming from a man of von Bulow’s pedantic nature. His second visit to this country, some 15 years ago. was better appreciated, but 1 found his playing almost insupportable. He had withered in tone and style, a mummy of his former alert self. The latter-day generation of virtuosi owe as much to Liszt as d'id the famous trinity, Tansig, Rubinstein, von Bulow. Many of them studied with the old wizard at Rome, Budapest, and Weimar; some with his pupils; all have absorbed his traditions. It would be as impossible to keep Liszt out of your playing — out of your fingers, forearms, biceps, and triceps—as it would be to return to the naive manner of an Emmanuel Bach or a Scarlatti. Modern pianoforteplaying spells Liszt.

After von Bulow a iiiuch more naturally gifted pianist visited the United States. Rafael Joseffy. It was in 1879 that old Chickering Hall witnessed his triumph, a triumph many times repeated later in Steinway Hall, Carnegie Hall, the Metropolitan Opera House, and throughout America. At first Joseffy was called the "Patti of the Pianoforte,” one of those facile, alliterative, meaningless titles lie never merited. He had the coloratura, if you will, of a Patti, but he had something besides —brains and a poetie temperament. “Poetic” is a vague term that usually covers a weakness in technique. There are different sorts of poetry. There is the rich poetry of Paderewski, the antic grace and delicious poetry of de Paehmann. The Joseilian poetry is something else. Its quality is more subtle, more recondite than the poetry of the Polish or the Russian pianist. Such miraculous finish, such crystalline tone had never before been heard until Joseffy appeared. At first his playing was the purest pantheism—a transfigured materialism, tone, and technique raised to heights undream ed of. Years later a new Joseffy was born. Stern self-discipline, as was the case with Tausig. bad won a victory over his temperament as well as his fingers. More restrained, less lush, bis play is now ruled liv the keenest of intellects, while the old silvery and sensuous charm has not vanished. Some refused to accept the change. They did hot realize that for nn artist to remain stationary is decadence. They longed for graceful trifling, for rose-coloured patterns, for swallow-

like flights across the keyboard, by a pair of the most beautiful piano hands since Tausig’s. In a word, these people did not care for Brahms, and they did care very much for the Chopin Valse in double notes. But the automatic piano has outpointed every virtuoso except Rosenthal in the matter of mere technique. So we enjoy our Brahms from Joseffy, and when he plays Liszt or Chopin, which he does in an ideal style, far removed from the tumultuous thumpings of the average virtuoso, we turn out in numbers to enjoy and applaud him. His music has that indefinable quality

which vibrates from a Stradivarius violin. His touch is like no other in the world, and his readings of the classics are marked by reverence and authority. In certain Chopin numbers, such as the Berceuse. the F minor Ballade, the Barcarolle. and the E minor Concerto, he has no peer. Equally lucid and lovely are his performances of the B-flat major Brahms Concerto and the A major Concerto of Liszt. Joseffy is unique. There was an interregnum in the pianoforte arena for a few years. Joseffy was reported as having been discovered in the wilds above Tarrytown playing two-voiced inventions of Bach, and writing a new piano school. Arthur Friedheim appeared and dazzled us with the B minor Sonata of Liszt. It was a wonder-breeding, thrilling performance. Alfred Grunfeld, of A 7 ienna, caracoled across the keys in an amiably dashing style. Rummel played earnestly. Ansorge also played earnestly. Edmund Neupert delivered Grieg’s Concerto as no one before or since has done. Pugno came from Baris, Rosenthal thundered; Sauer, Stavenhagen. Siloti, Slivinski. Mark Hambourg, Burmeister, llyllested. Faelten Sherwood, Godowsky, Gabrilowitseh. Vogrich, Sternberg. Jarvis, Millo. Richard Hoffmann. Boscovitz —to go back some years; Alexander Lambert, August Spanuth, Klahre Lamond. Dohnanyi. Busoni, Baerman, Saint. Saens, Stojowski, Lhevinne, Rudolph Ganz, Mac-Dowell, Otto Hegner. Josef Hofmann. Reisenauer —none of these artists ever aroused such excitement as Paderewski, though a more captivating and brilliant Liszt player than Alfred Reisenauer has been seldom seen and heard. It was about 1891 that I attended a rehearsal at Carnegie Hall in which participated Ignace Jan Paderewski. The C minor Concerto of Saint-Saens, an effective though musically empty work, was played. There is nothing in the composition that will test a good pianist; yet Paderewski made much of the music. His tone was noble, his technique adequate, his single-finger touch singing. Above all. there was a romantic temperament exposed; not morbid but robust. His strange appearance, the golden aureoled head, the shy attitude, were rather puzzling to public and critic at his debut. Not too much enthusiasm was exhibited during the concert or next morning in the newspapers. But the second performance settled the question. A great artist was revealed. His diffidence melted in the heat of frantic applause. He played the Schumann Concerto, the F minor Concerto of Chopin, many other concertos, all of Chopin’s music, much of Schumann. Beethoven, and Liszt. His recitals, first given in the concert hall of Madison Square. Garden, so expanded in

attendance that he moved to Carnegie Hall. There, with only his piano, Paderewski repeated the Liszt miracle. And year after year. And this year, perhaps next. Never in America has a public proved so insatiable in its desire to hear a virtuoso. It is the same from New Orleans to Seattle. Everywhere crowded halls, immense enthusiasms. Now to set all this down to an exotic personality, to occult magnetism, to sensationalism, woidd be unfair to Paderewski and to the critical discrimination of his audiences. Many have gone to gaze upon him, but they remained to listen. His solid attainments as a musician, his clear, elevated style, his voluptuous, caressing touch, his sometimes exaggerated sentiment, his brilliancy, endurance, and dreamy poetry —these qualities are real, not imaginary. No more luscious touch has been heard since Rubinstein’s. Paderewski often lets his singing fingers linger on a phrase; but as few pianists alive, he can spin his tone, and so his yielding to the temptation is a natural one. He is intellectual and his readings of the classics are sober and sane. Of a poetic temperament, he is at his best in Chopin, not Beethoven. Eclectic is the best word to apply to his interpretations. He plays programmes from Bach to Liszt with commendable fidelity and versatility. He has the power of rousing his audience from a state of calm indifference to wildest frenzy. How does he accomplish this? He has not the technique of Rosenthal, nor that pianist’s brilliancy and power; he is not as subtle as Joseffy, nor yet so plastic in his play; the morbid witchery of de Pachmann is not his; yet no one since Rubinstein —in America at least —can create such climaxes of enthusiasm. Deny this or that quality to Paderewski; go and with your own ears and eyes hear and witness what we have all hoard and witnessed. I once wrote a story in which a pianist figured as a mesmerizer. He sat at his instrument in a crowded, silent hall and worked his magic upon the multitude. The scene modulates into madness. People are transported. And in all the rumour and storm, the master sits at the keyboard, but does not play. I assure you I have been at

Paderewski recitals where my judgments were in abeyance, where my individuality was merged in that of the mob, where I sat and wondered if I really heard; or was Paderewski only going through the motions and not actually touching the keys? His is a static as well as a dramatic art. The tone wells up from the instrument, is not struck. It floats languorously in the air, it seems to pause, transfixed in the air. The Sarmatian melancholy of Paderewski, his deep sensibility, are translated into the music. Then with a smashing chord he sets us, the prisoners of his tonal circle, free. Is this the art of ahypnotizer? No one has so mastered the trick, if trick it be.

But he is not all moonshine. Of late years he has taken up a method of piano attack 'that is positively murderous to the ears. The truth is Paderewski has a tone not so large, as mellow. His fortissimo chords have hitherto lacked the foundation power and splendour of d’Albert’s, Busoni’s, and Rosenthal’s. His transition from piano to forte is his best range, not the extremes at either end of

the rynamic scale. A healthy, sunny tone it is at its best, very warm in colour. In

certain things of Chopin he is unapproachable. He plays thte F minor Concerto and the E Hat minor Scherzo —from the second Sonata—beautifully, and so if he is not so convincing in the Beethoven sonatas, his interpretation of the E-llat Emperor Concerto is surprisingly free from mor-

bidezza; it is direct, manly, and musical. His technique has gained since his advent in New York. This he proved by the way he juggled with the Brahms —Paganini variations; though they are still the exclusive property of Moritz Rosenthal. To sum up—the Paderewski ease is a puzzle for musical psychologists. He is not the greatest pianist who ever visited America,

he is not the greatest living pianist. A half-dozen others excel him in specialties. But he is more interesting; he has more personal charm; there is the feeling when you hear him that he is a complete man, a harmonious artist, and this feeling is very compelling. Paderewski is a “phenomenon”—using the word in its popular acceptance.

The tricky elf that rocked the cradle of Vladimir de Pachmann —a Russian virtuoso, born in Odessa (1848), of a Jewish father and a Turkish mother (he said to me once, “My father is a Cantor, my mother a Turkey”)— must have enjoyed—-not without a certain malicious peep at the future —the idea of how much worriment and sorrow it would cause the plump little black-haired baby when he grew up and played the pianoforte like the imp of genius he is. It is nearly seventeen years since he paid his first visit to us. His success, as in London, was achieved after one recital. Such an exquisite touch, subtlety of phrasing, and a technique that failed only in broad, dynamic effects, had never before been noted. Yet de Pachmann is in reality the product of an oldfashioned school. He belongs to the Hummel-Cramer group, which developed a pure finger technique and a charming euphony, but neglected the dramatic side of delivery. Tone for tone’s sake; absolute finesse in every figure; scales that are as hot pearls on velvet; a perfect trill; a cantilena like the voice; these, and repose of style, are the shibboleth of

a tradition that was best embodied in Ihalberg —plus more loual power in lhalberg's ease. Subjectivity enters largely in this combination, for de Pachmann is “modern,” neurotic. His presentation of some Chopin is positively morbid. He is, despite his marked restrictions of physique and mentality, a Chopin player par excellence. His lingers strike the keys like tiny sweet mallets. His scale passages are liquid, his octave playing marvellous, but eu miniature—like everything he attempts. To hear him in a Chopin Polonaise is to realise his limitations. But in the Larghetto of the F minor Concerto, in the Nocturnes and Preludes —not of course the big one in D minor—Etudes, Vaises, ah! there is then but one de Pachmann. He can be poetic and capricious and elfish in the Mazurkas; indeed, it has been conceded that he is the master-interpreter of these souldances. The volume of the tone that he draws from his instrument is not large, but it is of a distinguished quality and very musical. He has paws of velvet, and no matter what the difficulty, he overcomes it without an effort. He has been called “the pianissimist” because of his special gift for tiling tones to a whisper. His pianissimo begins where other pianists end theirs. Enchanting is the effect when he murmurs in such studies as the F minor of Chopin and the Concert Study of Lisat of the same tonality; or in mounting unisons as he breathlessly weaves the wind through the last, movement of Chopin's B-flat minor Sonata. Less edifying are de Pachmann’s mannerisms. They are only tolerated because of his exotic, disquieting, and lovely music. Of a different and gigantic mold is the playing of Moritz Rosenthal. He is a native of Lemberg, in Galician Poland, a city that has given us, among other artists, Marcella Sembrich and Fannie Bloomtield-Zeisler—herself a cousin of Rosenthal. \\ hen a mere child, twelve years or so, Moritz walked from Lemberg to V ienna to study with Joseffy. Even at that age he had the iron will of a great man. He played for Joseffy the E minor Concerto of Chopin, the same work with which the youthful Joseffy years before had won the heart of Tausig. Setting

aside Tausig—and this is only by hearsay — tlie world of “pianism” has never matched Rosenthal for speed, power, endurance; nor is this all. He is both musical and intellectual. He is a doctor of philosophy, a bachelor of arts. He has read everything, is a linguist, has travelled the globe over, and in conversation his unerring memory and brilliant wit set him as a man apart. To top all these gift, he plays his instrument magnificently, overwhelmingly. He is the Napoleon, the conqueror among virtuosi. His tone is very sonorous, his touch singing; commands the entire range of nuance

from the rippling fioritura of the Chopin Barcarolle to the cannon-like thunderings of the A-flat Polonaise. His octaves and chords bailie all critical experience and appraisement. As others play presto in single notes, so he dashes ott double notes, thirds, sixths, and octaves. His Don Juan Fantaisie, part Liszt, part Mozart. is entirely Rosenthalian in performance. He has‘composed at his polyphonic forge a Humoreske. Its inter-weaving of voices, their independence, the caprice an 1 audacity of it all are astounding. Tausig had such a technique; yet surely Tausig had not the brazen, thunderous ehmaxer of this broad-shouldered, small-sized voung man! He is the epitome of the orchestra and in a tonal duel with the orchestra he has never been worsted. His interpretations of the classics, of the romantics are of a superior order. Be plays the last sonatas of Beethoven or the Schumann Carneval with equal discrimination. His touch is crystalline in its dearness, therefore his tone lacks the sensuousness of Paderewski and do Pachniann. But it is a mistake to set him down as a mere unemotional mechanician. He is in reality the Superman among

pianists, Liszt called Eugen d’Albert, of whom lie was very fond, the ‘‘second Tausig.” The Weimar master declared that the little Eugen looked like, played like, his former favourite, Karl Tausig. In his youth d’Albert was as impetuous as a thunderbolt; now he is mon? reflective than fiery, and he is often careless in his technical work. Another pianist who has followed the lure of composition; but a great virtuoso, a great interpreter of the classics. His music suggests a dos? study of Brahms, and in his piano concertos he is both Brahmsian and Lisztian. The first time 1 heard Saint-Saens was in Paris, the year 1878. He played at. the Troeadero palace—it was the Exposition vear —his clever variations on a Beethoven theme for two pianos. Madame Montigny-Remaury being bis colleague. In 189(1'1 attended the fiftieth anniversary of his first public appearance. The affair took place at a piano hall in Paris. And last year 1 heard the veteran, full of years and honours, in New \ork. He had changed but little. The same supple style, rather siceant touch, and technical mastery were present. Not so polished as Plante, so 11,-ry—or so noisy—as Pugno. Saint-Saens is n greater musician than either at the keyboard. His playing is Gallic —which means that it is never sultry —emotional, and seldom poetic. I'hi» French pianists make for dearness, delicacy, symmetry; France never produced u Rubinstein, nor does it admire cordially such volcanic artists.

Ossip Gabrilowitsch has been for me always a sympathetic pianist. He has improved measurably since his previous visit here. The poet and the student still preponderate in his work; he is more reflective than dramatic, though the flerg Slav in him often peeps out. and if he

does not “drive the horses of Rubinstein,” as Oscar Bie once wrote, he is a virtuoso of high rank. The Bie phrase could be better applied to Mark Hambourg, who sometimes is like a fullblooded runaway horse with the bit between its teeth. Hambourg has Slavic blood in his veins and it courses hotly. He is an attractive player, a younger Tausig—before Tausig taught himself the value of repose and restraint. Recklessly Hambourg attacks the instrument in a sort of Rubinsteinian fury. Ot late he has it is said, learned the lesson of self-control. His polyphony is clearer, his tone, always big, is more sonorous and individual. It was the veteran Dr William Mason who predicted Hambourg’s great future. Exuberance and excess of power may be diverted into musical channels—and these Mark Hambouro has. it is not so easy to reverse the process and build up a temperament where little naturally exists. Josef Hofmann, from a wonder child who influenced two continents, has developed into an artisit who has attained perfection—a somewhat chilly perfection, it must be admitted. But what a wellbalanced touch, what a broad, euphonious tone, what care in building climaxes o? shading his tone to mellifluous whisper> Musically, he is impregnable. His reaainos are free from extravagances, his bearing dignified, and if we miss the dramatic element in his play we are consoled by the easy sweep, the intellectual grasp, and the positively pleasure-giving quality of his touch. Eclectic in style, Hofmann is the “young-old" master of the pianoforte. Harold Bauer is a great favourite in America as well as in Faris. He has a quiet magnetism, a mastery of technical resources backed by sound musicianship. He was a violinist before he became a pianist; this fact may account for his rich tone-quality—Bauer could even make an oldffaslnoned “ square ” pianoforte discourse eloquently. He, too, is an eclectic; all schools appeal to him and his range is from Bach to Caesar Franck, both of whom he interprets with reverence ami authority. Bauer played Liszt s Dance of Death” in this country, creating thereby a reputation for brilliant “pianoisni. The new men, Lhevinne, Ganz, Scriabine, Stojowski, are forging ahead, especially the' first two, who are virtuoso artists; the last two are primarily composerpianists. Joseph Lhevinne is one of the most brilliant men who has played here for years. His ease in performing prodigious technical feats recalls that of Siloti; but he has more personality than Siloti, also more fire. Lhevinne is young, gifted, ambitious—the gods have been to him, his future is bright. The young Swiss. Ganz, is a very attractive artist, apart from his technical attainments. He is musical, and that is two-thirds of the battle. Two men who once resided in America, Ferrucio Busoni and Leopold Godowsky, went abroad and conquered Europe. Busoni is called the master-in-terpreter of Bach and Liszt; the masterminiaturist is the title bestowed upon the miracle-working Godowsky, whose velvety touch and sensitive style have been better appreciated in Germany than America.

The fair unfair sex has not lacked in representative, piano artists. Apart from the million girls busily engaged in manipulating pedais, slaying music, and sleep at one fell moment, there is a band of keyboard devotees that has earned fame and fortune, or, at least, an honourable place in the Walhalla of pianoforte-play-ing. The modern female pianist does not greatly vary from her male rival except in muscular power, and even in that Sophie Menter and Teresa Carreno have vied with their ruder brethren. Pianists in petticoats go liaek as far as Nanette Streicher and come down to Paula Szalit, a girl who, it is said, improvises fugues. Marie Pleyel, Madame de Szymanowska —Goethe’s friend at Marienbadi, in 1822 —Clara Schumann, Arabella Goddard, Sophie Menter, Annette Essipoff —once Paderewski’s adviser, and a former wife of Leschetitz.ky; Marie Krebs, Ingeborg Bronsart, Alim- Hundt, Fannie Davies, Madeline Schiller, Julia Rive-King, Helen 1 lopekirk, Nathalie Janotha, Adele Margulies, the Douste Sisters, Amy Fay, Dory Petersen. Cecilia Gaul, Madame Paur, Madame Lhevinne, Antoinette Szu mowska, Adele Aus der Ohe, Cecile Chamina ile. Ma dame .Montigny-Remaury. Mdine. Roger-Mielos, Marie Torhilon-Buell, Augusta Cottlow, Mrs. Arthur Friedheim, Laura Danzinger-Roseliault, Glga Samaroff, Fannie Bloondieldi-Zeisler—these are

a few well-known names before the pub lie during the past and in the present.

It may be assumed that the sex which can boast among its members such names as Jaue Austen,

George Eliot, George Sand, novelists; Vigee, Lebrun, Mary Cassatt, and Berthe Morisot, painters; Sonia Kovalevsky, mathematician; Madame Curie, science; Elizabeth Barrett Browning and Christina Rosetti, poetry, would not fail in the reproductive art of pianoforte playing. Clara Schumann was an unexcelled interpreter of her husband’s music; Sophie Menter the most masculine of Liszt’s feminine choir; Essipoff unparalleled as a Chopin player; Carreno has a man’s head, man’s fingers, and woman’s heart; Fannie Bloomfield-Zeisler is an artist of singular intensity and personality—these women have admirably contributed to the

history of their art and need not fear comparisons on the score of sex. How far will the pursuit of technique go, and what will be the effect upon the mechanical future of the instrument? It is both a thankless and a dangerous task to prophesy; but it seems that technique qua technique has ventured as far as it dare. Witness the astounding arrangements made by the ingenious Godowsky, the grafting of two Chopin studies, both hands autonomous, racing at full speed! The thing is monstrous —yet effective. But that way musical madness lies. The Janko keyboard, a sort of ivory tobog-gan-slide, "permitted the performance of incredible difficulties; glissandos in chromatic tenths! But who, in the name of Apollo, cares to hear chromatic tenths sliding pell-mell downhill! Music is music, and a man or woman must make it, not an instrument alone. The tendency now is toward the fabrication of a more sensitive, vibrating soundingboard. Quality, not brutal quantity, is the desideratum. This, with the more responsive and elastic keyboard action of the day, which permits all manner of finger nuance, will tell upon the future of the pianoforte. Machine music hail usurped our virtuosity. But it can never reign in the stead of the human artist, And therefore we now demand more of the spiritual and less of the technical from our pianists. Music is the gainer thereby, and the old-time cacophonous concerto for pianoforte and orchestra will, we hope, be relegated to the limbo of things inutile. The pianoforte was originally an intimate instrument, and it will surely go back, though glorified by experience, to its first, dignified estate.

I have written more fully of the pianists that I have had the good fortune to hear with my own ears. This is what is called impressionistic criticism. Academic criticism may be loosely defined as the expression of another’s opinion. It has decided historic interest. In a word, the former tells how’ much you enjoyed a work of art, whether creative or interpretive; the latter what some other fellow liked. So, accept these sketches as a mingling of the two methods, with perhaps a disproportionate stress laid upon the personal element—the most important factor, after all, in criticism.