Santa Ana, THE PIANIST AND THE ART OF MUSIC A TREATISE ON PIANO PLAYING FOR TEACHERS AND STUDENTS BY ADOLPH CARPE. LYON & HEALY, CHICAGO. UNIV. OF CALIF. LIBRARY. LOS ANGELES Copyright, 1893, By ADOLPH CARPE. Music Library Mr INTRODUCTION TECHNIC 7 FINGERING 26 EXPRESSION 41 CHARACTER 70 OUTLINE OF PIANO LITERATURE 89 INTRODUCTION. THE pian.'st's relation to the art of music is in our present age materially different from that of the earlier virtuosos, not so much on account of greater skill in the management of the improved instrument as in reference to the ends which the artist is ex- pected to accomplish. The piano-virtuoso, whose efforts were of an individual type altogether, follow- ing a long line of eminent players and composers (Scarlatti, Mozart, dementi, Dussek, Woelfl, Stei- belt, Gramer, Hummel, Field, Herz, Thalberg, etc.) has, in the natural process of development, made room to the pianists, whose strength rests in the reproduction of the works of other masters, such as Liszt, Mendelssohn, Clara Schumann, Reinecke, Hil- ler, Halle, Rubinstein, Buelow, Essipoff, D'Albert, Paderewski and others. The increasing beauty and artistic variety of the masterworks of piano litera- ture seem destined to gain a constantly increasing influence in this direction, so that an adequate read- ing of the gems of pianistic art will always be con- sidered superior to the ephemeral, though perhaps novel display of individual taste and talent. Franz Liszt, the most eminent and successful of 6 INTRODUCTION. the piano virtuosos, was one of the first to devote all the energy of his genial nature to the reproduction of the better works from the days of Scarlatti, Bach and Haendel to his time; all the notable great pianists have since taken special pride in introducing to the art-loving world the works of the great com- posers. Some have made a specialty of one particu- lar composer, notably Beethoven and Mozart; others have devoted their efforts successfully to several composers, and the possibility has been demon- strated more than once that works of widely differ- ent characteristic traits are accessible to the same artist, so that they receive fully adequate readings. Few programs are found nowadays where the names of our great composers and a host of others do not find place. In this undeniable and praiseworthy advance- ment the pianist's relation to the art of music has become more intimate; the mechanical skill in the use of the instrument is of a higher order; the in- tellectual and emotional qualifications of the per- former are made subservient to a versatile trustiness in reproduction which, through the details of musical tcclinic and expression, represents the character of a particular work according to the general style and manner of the composer. TECHNIC. THE opinion has been gaining ground among thinking teachers, that piano students waste too much time and energy with studies of all grades and kinds, from the prolific Carl Czerny down to the present day; the conviction seems to be fairly estab- lished that a careful selection among the whole host of exercises and study-books would condemn most of them as superfluous, if not useless. The whole system of exercises which to the present day pre- dominates in pianoforte instruction is certainly based upon the theory that piano playing is essen- tially a mechanical art. This inference to a limited extent is true, since piano playing to a period not far distant is almost solely mechanical, and progress in the early stages is made too often by only stick- ing at it. The greater part of all these exercises brings long strings of figures and rhythms in never varying com- binations and repetitions, which are supposed to give a lasting impression to the student's mind and fingers. Truly their success in impressing the aver- age student's mind can not be doubted; after wrangling and struggling in the ordinary way of " established methods," the student is so firmly imbued with the mechanical side of piano playing, 7 8 THE PIANIST'S ART. that his reproductions of the very gems of our piano literature, old or new, fail to reveal often the faintest trace of ideal meaning or feeling. Yet is it to be wondered at that such results are usually obtained? A child which has been drilled though to perfection almost only in the spelling book, whose highest attainment might prove the victory over words like " procrastination," would fail just as truly in an attempt at reading a small sentence with proper emphasis, as a result of thought; yet the child enters the school with the already formed power of speech. The careful gradation of exercises accomplishes the student's progress almost imperceptibly; they have been manufactured mostly for the purpose of furnishing an easy grade to the mediocre student. Musical thought and feeling receive little or no con- sideration; commonplace matter mostly is what they contain, at all times injurious to the intellectual and emotional qualifications the student originally brings to his task. Their object is to produce in the dili- gent worker a certain mechanical skill; and technic being the most coveted of all the prerequisites of a good pianist, the number of their admirers and wor- shipers is, indeed, legion. Technic! What is technic? It is the sum and substance of all that is required to produce or repro- duce a work of art, therefore the product of the student's work, and as such it will represent all that the student acquires by thorough systematic training. In pianoforte playing the term technic is gener- ally applied to the merely mechanical treatment of THE PIANIST S ART. 9 the instrument and the skill and rapidity in execu- tion. As a means of musical reproduction, which must be the student's final aim, there are several other things which fall under this head. Besides digital skill this includes tone-development in all its various grades and shades, a thorough and correct understanding and rendition of time and rhythm, and lastly an increased musical appreciation of the meaning, character and emotional tendency of a composition. A great amount of digital skill is required, and in the exclusive attention to this indeed most essential factor in piano playing, students and teachers too often forget that much theoretical advice may, and must, go hand in hand with finger training. Musical education should prepare also the intellectual appre- ciation of the student, and much can be accomplished by gi ym g the pupil, even at an early stage, an in- sight into the particular means required to bring a performance in close relationship with the character of the composition and so make it truly enjoyable. A modicum of intellect and feeling can be early de- veloped in the average piano student, which, when carefully fostered, will in course of time in a great measure overcome the mechanical tendency of piano playing, will lead to a more elevated enjoyment, to a better defined outline of character and to a healthy glow of artistic individuality. It should always be borne in mind that, as music is the language of emotion, the musical education must strive to arouse the dormant energy of feeling, io THE PIANIST'S ART. as well as to sharpen the intellectual faculties. This craves a greater attention in the. piano student, from the fact that the modus of acquiring skill in playing will always remain morj or less a mechanical pro- cess. Touch, time and correct motion are the ele- mentary prerequisites; musical notation and rhythm, according to grade, follow immediately, and the pupil's first step in musical parlance, little pieces, can be selected so as to appeal more or less strongly to his intelligence and feeling. When the student in the first stages of instruction has acquired a reposeful position of the forearm, the fingers may be more or less pliable, according to the physical development, but attention should be given most carefully to the mode and manner of touch. The finger must press only (not strike) with as little effort as possible, and complete restfulness must be obtained at the moment of touch. A merely mechanical process this, certainly! The student, however, should be made to feel that this touch implies an impressive treatment, and his mind must be impressed before you can get any expression. Awaken the ideas of different ways of touching; the allusion to ideas, natural or latent, in the student will greatly facilitate the teacher's effort. If you compare this pressure-touch to the loving caress of a dear friend, you will give the student a distinct idea, and in all likelihood he will establish a more intimate feeling with the mechanical motion. Such a touch, close and clinging, varied in intensity according to the nature of the student, will, in course THE PIANIST'S ART. n of time, shape itself into the most perfect means for tone production, will be delicate or powerful, singing or crisp as occasion requires, when the player's musical progress is sufficiently advanced to adapt the touch to the vital elements and characterization in music. Two-finger exercises are the most thriving means for the development of a good touch, digital fa- cility and correct time. Has the student's mind grasped the idea of an equal division of time, two- finger exercises in half, quarter and eighth notes will soon establish, these values as time measures, and some patience will see them correctly applied. Two-finger exercises should be practiced daily for their three-fold value in regard to touch, time and execution, first on white keys only, later alternating with black keys. Care should be taken, more especially where black keys are employed, that there be perfect equality in tone production, that there is no discrimination in the length of tone induce the student early to a little self-criticism; necessary also is a good position of the hand and a uniform finger movement. When the student first comes to the keyboard it is sometimes difficult to obtain a correct and repose- ful position. It is in this as well as in later stages of piano playing that the thumb plays an all-impor- tant part. The thumb moves from the first joint near the wrist and should touch the key with the side between the third joint and the tip. If this is strictly adhered to, so that the thumb is allowed to 12 THE PIANISTS ART. strike near the tip only in figures of a wider pattern, the wrist and forearm will fall into position natu- rally, provided the player sits neither too high nor too low. If this is considered inconvenient by students who desire a high seat, a short trial will generally be convincing to them. The development of touch, time and execution are at first closely connected, and, though in the next stages these factors still go hand in hand, each requires a more distinct and separate treatment. The touch w r ill continue to improve best in the two- finger exercises, and a more momentary rise and fall of the fingers without jerking should be cultivated with the utmost repose at the moment of touch, so as to obtain a genuine legato. The training of the student in notation meanwhile has progressed so that little pieces with easy rhythms can be taken into consideration. The easier the pieces the more should the student be left to find his way, as the teacher at this period is only responsible for a cor- rect reading, a good position of the hands, proper fingering and time. Variety in shading had best not be attempted too soon, but the striving for cor- rect time must include all; even the last notes must be given their full value, and rests should not give occasion for hurrying. Many otherwise good piano players indulge in liberties of this kind, where fault could not easily be found with a musician or one whose musical education has been of a high order. Everything at an early stage of progress should be done as thoroughly and correctly by the student as THE PIANISTS ART. 13 possible; but as every pupil differs from another, there will be occasionally a wide margin left. When the student begins to find more pleasure in any piece, take more pains with it, play it to give a simple shading and expression, and so arouse more interest in the pupil; let him memorize and finish with at least a noticeable change in piano and forte. Always insist on slow practice and playing, and con- stantly keep some of the pieces that have been memorized in view, for "repetitio est mater stiidiorum" To more properly advance the execution, scales and broken chords have soon to be employed along with the two-finger exercises. All material of this kind should be thoroughly studied, the rules for each pattern pointed out and made familiar and the fingering should be intrinsically a part of each new evolution. Let the student's mind be active in all mechanical work, make small use of books and the student will be better able to classify and systematize. It seems not amiss to state here that, when more varied rhythms are introduced in the pieces, the la- bor bestowed on a single rhythmical figure, which remains for a time obdurate, will for the future be a great gain musically; no pains should be spared to obtain at an early stage a rhythmical precision which will leave a lasting impression on the stu- dent's mind. The use of pieces exclusively at an early stage of the student's progress as an educational means to obtain a proper knowledge of musical characteristics, can not be too highly recommended, provided that 14 THE PIANIST S ART. they are selected in regard to their efficiency as a means of musical expression as well as to their pleasing effect on the student. Their use should be continued regularly along with the labor requisite for the mechanical mastery of the keyboard; as the latter progresses it will even be advisable to bring the pieces (and musical characteristics) more to the foreground. The mechanical resources will continue to grow after they have been thoroughly understood, and a comparatively small amount of attention will be sufficient to keep the student on the right road and to prevent bad habits or faults of any kind. The pieces should be selected with some care, mainly for their musical value and pleasing char- acter, and a certain gradation should be observed, in such a way that the student proceeds from some- thing familiar to what is new to him. The interest will thus be kept wide awake, so that, even if marked transitions occur in the mechanical skill necessary for a correct rendition, the labor required for these acquisitions will give small trouble. When wrist studies are introduced the wrist should be slightly lower than the knuckles, and the fingers strictly curved. The practice of octaves with hand extended, by simple movement of the first and fifth finger is sometimes advisable; the great tension required to reach the two points of the octave will make this mode of practice, with a quiet hand and wrist, particularly valuable for players with small hands. It can not be too strongly emphasized that much THE PIANISTS ART. 15 attention should be given to rouse in the student both the intellectual and emotional qualities, which will prove that the ideal purpose of a composition is sincerely appreciated. Vocal students experience much less difficulty in determining the poetical meaning of a composition. The living word gives them a more definite idea, and the tendency is gen- erally so plain that little comment is necessary. In instrumental music much is indefinite and, unaccom- panied by a text that familiarizes the meaning, this must necessarily be more or less clouded, and the difficultyto find the right shade of expression is naturally increased. Violinists and performers on all instruments, where the tone is produced directly by the player, have from the very nature of this process an advantage even in this over the pianist, whose tone is ready and produced by indirect means. A student of average ability will, however, hardly fail to discriminate at first between widely different characteristics of emotion, and he will soon learn to give a reading that is more than merely intellectual to such selections as carry the conviction of a very definite meaning on the face of them. Students should all be taught alike; whether they study for pleasure, to make home life enjoyable, or with an artistic purpose, their training ought to be the same, and the difference should only be found in the value of their individual performances. Artis- tic training is only a higher grade of general musical education, which is attainable to all, and it seems unwarranted to exclude a student from the advan- 16 THE PIANIST'S ART. tage of a better musical education, which may enable him to find the right field for his talent. Would it not be fully as unreasonable as to train every stu- dent to be an artist and composer? Music of a higher order should therefore be se- lected, such as will constantly appeal to every stu- dent's intellect and feeling. It is not at all necessary, or even desirable, to feed pupils on classical litera- ture only. Much has been written of a lighter char- acter, which is well worth the learning, and truly enjoyable. The greater the variety of composers and compositions that come within reach of the stu- dent's aim, the greater will be the benefit to his musical development, provided every composition is thoroughly studied and appreciated. The great object of the teacher must be to elevate the pupil's taste, to strengthen the intellectual faculties and arouse the feeling; to gain this object and at the same time the pupil's appreciation of his efforts, he must put himself on a level with the pupil, and if a good selection strikes at all a congenial spirit in the pupil, the interest in good music is bound to grow if the student's inclination to certain charac- teristics is not altogether disregarded. As the student's intellectual faculties increase and his ability to reproduce certain well defined characteristic qualities progresses, give ample illus- trations in the matter of phrasing and the different grades and qualities of touch. As a child can be taught to speak a piece of poetry with some natural grace and meaning, so the average music student THE PIANISTS ART. I/ can be led to distinctly articulate musical phrases and rhythms. Little may be accomplished at the outset, still the attention should be aroused and kept on the alert. A theoretical knowledge at this stage of the student's progress of the construction and symmetrical build of the composition will be of great advantage in determining the general outline for simple and rudimentary phrasing. As the rhyth- mic, melodic and harmonic motives begin to display more clearness, the student will attempt to give them more definite meaning and shading, and will perhaps develop a spark of artistic temperament. Phrasing, even artistic phrasing, is something that can be taught thoroughly; as long as the phrases are more congruent with the metrical and rhythmical constituents of a composition, as is generally the case in classic works, no serious difficulty will be encountered. In compositions of a romantic order, metrical and rhythmical construction is much inter- laced with musical phrases, characteristic accents are heaped together, sometimes seemingly foreign to the even flow of thought. Beethoven, in his later works, and Schubert open this new field for expression, and with Schumann it is one of the chief characteristics; for this reason, probably, the latter composer has spared no pains to make his phrasing as plain as musical notation would permit in his time. Phrasing in classic compositions, where greater perfection of form enhances the beauty, is more a matter of refined intelligence; inasmuch as in these works emotional qualities are certainly latent, but do 2 i8 THE PIANIST'S ART. not for expression appeal to any definite chord in the human soul. In compositions which appeal more directly to the imagination, as is the case with works of the romantic order, phrasing seems more an out- growth of a distinct feeling, and depends largely upon the temperament, the emotional qualifications and the discriminating abilities of the student. Touch, as a means of tone production, and the interpreter's most valuable medium for expression, requires much thought and study. To become a master of all the various grades and shades'of touch is a laborious task; for the strong to produce a tone that is replete with delicate refinement, to instill power and vigor into delicate hands, to bring repose to the restless and awaken energy in a lethargic tem- perament, is all important. Is the physical power at last brought under control and the long line of pianists that have succeeded in this should give en- couragement in untiring efforts the pianist's tem- perament and intellect are called upon for each shade of tone. Good examples, that furnish in musical characteristics solid food for the student's intellect- ual training, will in time give a versatility in touch, which is essential in an artistic reproduction. The pianist's last achievement is to put life into his touch ; in the sympathetic intercourse of his inner life with his hearers, he must strive to make convincing to them through his touch what is alive in his artistic conception. The touch in itself should always be spontaneous, that is, proceeding from natural feeling, tempera- THE PIANISTS ART. IQ ment or disposition, or from an internal tendency without either compulsion or constraint. Has the student acquired a proper insight into the intellect- ual and emotional qualities of the composer's work, the special mode of touch will be regulated by 'his natural feeling, guided by the artistic taste which has been developed. Touch, in a higher sense, is the natural consequence of the musical growth in feeling and intellect; an inexhaustible variety is at the player's command, and experience will by and by become a valuable and reliable guide. In all the varieties of touch there must be sev- eral uniform elements. Whether fingers or arm use a high elevation or touch almost resting on the keys, the movement itself should be quick as thought, sin- cere in purpose and full of repose. As in execution the least exertion insures the best effect, so in touch the concentration of the effort to a minimum will increase the beauty of tone. If the word "touch" signifies not only the attack, but includes throughout the connection of finger and key to the relieve, it should be borne in mind that the finger continues the pressure in complete repose and that the relieve- ment should be accomplished in a perfectly unaf- fected manner, that is, without changing to that end the position of either hand or wrist. Who is not aware that many of our amateur pianists in reliev- ing the key contrive to "gracefully" pull up the fingers by the wrist, a sort of conventional inclina- tion for saying " good-bye! " If the elementary parts of technic have been cor- 2O THE PIANISTS ART. rectly understood and thoroughly practiced, time, rhythm and execution will improve in good order if the teacher quickly notices what needs special care, and takes proper steps to correct what is wrong and to improve what is amiss. There will always be students more or less subject to weakness in one or another of the essential elements of technic, for the model student is still to be found, whose exceptional qualities would enable him to reach a high grade in every branch of the art without encountering greater or lesser obstacles in one or another direction. Ex- perience proves that to go to the root of the evil and remedy what is wanting, fundamentally, gives always the quickest and best cure, but it generally requires patience and perseverance of a higher order, both in the student and teacher. Where a fundamental cure is not admissible, recourse to other means must be had, and it is in such emergency that the studies, which have been written to assist the diligent student in his efforts to overcome special defects, must be employed to remedy the evil. The selection must be made with the particular object in view, and the practice continued until this result has been fairly well accomplished. Even where the fundamental cure is employed, such exercises may be used sparingly as a diet to prevent a relapse. Reading at sight is an accomplishment which is not always a natural gift, and little can be done at first to acquire it, since the defect is not alone one of the eye; the cause in most cases seems to be an unsatisfactory co-operation of eye, intellect and THE PIANIST'S ART. 21 fingers. After a fair amount of skill in the manage- ment of the keyboard has been acquired, some time daily should be devoted to reading, beginning with the simplest little pieces, the easiest arrangements of popular songs, such as are found to any number in our instruction books of later date for children; little by little some readiness will be gained in read- ing if every next trial brings something new. Easy sonatinas, and everything that presents little diffi- culty in rhythm, may thus be read until some satis- factory result is obtained; it is, however, essential that the reading matter should always be of a simple kind, in gradation very much below the general ability of the player, and that no attempt be made to soon increase the harmonic or rhythmical diffi- culties of the matter. Mention has been made repeatedly that in the early part of the student's training, material of sound musical quality should be substituted alto- gether for exercises, since the deteriorating tend- ency of the latter in all that constitutes musical characteristics can scarcely be denied in the abstract. No mechanical exercises, save what may be termed the elements of execution, should be employed; these, however, should be studied and matured, as a means to musical reproduction, until a high grade of perfection is attained. The multumin parvo should be the ruling principle, and a thoroughly correct application of all that pertains to piano technic must be considered as essential. Physical development and the intellectual capacity of the individual will 22 THE PIANIST S ART. largely determine the successful issue; yet more depends on thorough, systematic work. Every step prepares the way for the next, but firm foothold must be gained before the new step is attempted. After the elements of piano technic have been firmly established, the student will be able to successfully develop greater variety in execution, provided that in each new acquisition he adheres to the principle of the utmost exactness. The intellectual and moral development of the individual depends largely upon the associations which have influenced the early growth. The child which has had free access to all the innocent pleas- ures that brighten its tender existence while its education carefully guards it from all harmful and undesirable influences, will in the ordinary course not only develop a more evenly balanced mind and sense of duty, and find in the trials of life a strong support, but will cherish, in advancing age, the treas- ured recollections of a happy infancy. Individual development is generally much easier influenced by the mitigating recreations than by the unbending rule of study, and only by the judicious, unequivocal admixture of pleasure and duty that latent power in life character can be evolved. Parents have little difficulty in grading the read- ing matter of studious children. Nursery rhymes, fables, fairy stories, tales of fiction, which, while they amuse, do not exclude information, follow each other in well regulated rapid succession, excluding fabrications which have a tendency to mislead and THE PIANIST'S ART. 23 deceive in wild freaks of unnatural imagination. Im- perceptibly growing in strength the intellect will ac- quire the intuitive judgment, known as common sense. The piano teacher must combine study and recre- ation at every stage of the pupil's progress. Pro- vided that the selections are of a simple, unaffected kind in their make-up and tendency, less given to outward show than musical enjoyment, the recrea- tions will best improve the educational purpose. The touching strains of pathetic folk songs, the little pieces full of sweet tenderness or childish merriment, all the light matter whose unadorned beauty calls for some interesting association of ideas and sentiments, will lead the pupil to the better appreciation of the frank and sturdy sincerity of the great composers. In the whole range of piano literature few com- posers are found who have not written some easier music, which at one time or another can fill an im- portant place in the pupil's course of study; their character is so varied that something can always be found to please the average pupil. It is evident, since the style and manner of each composer can only be gathered from his own works, that a teacher who introduces his pupils early to the better class of composers, will not only furnish the student with excellent material and give him a higher enjoyment, but will largely improve his prospects for success in later efforts. Reinecke, Hiller, Gurlitt, Krause, Volkmann, Jensen, Scharwenka and a host of others, have 24 THE PIANIST'S AR?. written many easy and enjoyable pieces for children, which, with selections from the easier works of Mozart, Haydn, Haendel, Mendelssohn and the Album for the Young of Schumann's, offer a wealth and variety which is truly excellent. According to the ability and mettle of the pupil compositions of a light genre may be employed alongside of this better material, provided the empty, meaningless phrase and the altogether patternlike technic in composition is sufficiently shunned. Necessarily, what will insure the greatest versa- tility in execution, on the soundest musical princi- ples, will be the best means to the end; and the greatest exponent of music pure and simple, J. S. Bach furnishes the student with the greatest variety in technical figures. The student will find in him every assistance in his efforts for greater variety and superior neatness in execution, while the sound musical character of his works will greatly mature the healthy musical instincts. If it is conceded that musical qualification should be combined with technical efficiency, the student, whose selections of a more technical tendency are largely interspersed with Bach, from the little preludes to his "Well Tempered Clavecin," will find an endless variety of musical and technical material, which with proper application will not only greatly enlarge his execu- tive ability, but will give him intellectually the ordi- nary complements, the first principles, which estab- lish sound musical convictions, that will be a safe- guard for his musical conscience. THE PIANIST'S ART. 25 Piano music and piano technic have been devel- oped and broadened since Bach's time to an aston- ishing degree, and though Bach may justly claim the foremost consideration in the student's curriculum, there would be no gain in a totally one-sided devo- tion to his musical genius. It is no easy task for the student to gain a thorough knowledge of the mas- terworks of piano literature. Mozart, Haydn, Men- delssohn and Haendel will prepare the way for Schu- bert, Weber and Beethoven, while Chopin and Schu- mann require a more mature development. The works of the masters, each more or less perfect in its own peculiar manner, are varied in the composer's ideal vision of beauty, their creative power, their technic of composition and individual use of the in- strument so that an appreciation of their various characteristic qualities can only be attained by care- ful and persevering work. As life's intercourse develops character and brings out the qualities in man which distinguish one being from another, so musical characteristics can only be developed in constant interchange with the ideal characters in the great works of our art. The greater the variety of composers and compositions of sterling value that come within the range of the student's efforts, the more thoroughly each is studied and appreciated in its musical character, the more chance will the pianist have to acquire that subtle intelligence, that broadness of character, and inten- sity of feeling in musical reproduction, which is the chief charm of piano playing. FINGERING. FINGERING designates the manner or mode of using the fingers in piano playing, and a rational method of fingering applied to the mechanical man- agement of the keyboard for practical purposes is what constitutes the executive ability of the pianist. The more the fingers are freed from natural restraint the more will they be qualified for action, and execu- tion in its highest attainable state will depend for equality and rapidity upon the independence of the fin- gers but for accuracy and faultlcssncss upon a thor- oughly systematized fingering. So closely and inseparably connected save for the indispensable mechanical ability are systematic fingering and executive skill that in effect the one is a comple- ment to the other; even the mechanical independ- ence of the fingers can not be developed without some rudimentary system in fingering. The execution can be even without being swift, and correct without reaching that perfected state which almost excludes defect but it is self-evident that an even execution must rely to a great ex- tent on a correct system of fingering; and that a per- fect execution (which includes swiftness) is only the 20 THE PIANIST'S ART. 27 highest degree of equality and accuracy which can be obtained. A systematic fingering includes all grammatical rules which govern digital skill according to sound principles and established usage; etymological rules will comprise the fingering of all elementary techni- cal forms and their changes and inflections, syntac- tic will be the application of the elementary rules to the musical sentences themselves, and in their nec- essary relations to each other in compositions. The elementary rules of fingering have been established so thoroughly in course of time by the constant attention of the masters, and the later phases of pianistic art have so perfected and ar- ranged the material, that a reliable basis for a theory of fingering seems to have been gained. The appli- cation of these rules, however, to connected musical sentences in composition is still, and probably al- ways will be, more or less arbitrary, since the practi- cal analysis is always to a great extent influenced by individual adaptability, which allows and often ne- cessitates modifications to all rules. The perfect practical mastery of fingering in the artist must be, so to say, individualized to obtain in conjunction with an adequate independence of the fingers a faultless execution. Our knowledge of any attempt to give rules for fingering reaches back to the sixteenth century, and sufficient evidence can be found in all the various epochs of piano music and piano playing to prove that the masters at all times considered a well- 28 THE PIANIST'S ART. matured method in fingering one of the most essen- tial requirements in the pianist's artistic make-up. The views expressed in the earliest days are of such primitive order and in the light of our ad- vanced attainments so insufficient and erroneous, that they have none but an historical interest nowa- days. The hands and elbows of the player were at first below the keyboard and permissible only was the use of the three middle fingers; when, somewhat later, the hands were raised to be in a line with the fingers, these were held stiff and straight so as to still exclude the use of the thumb and fifth finger. The keyboard in those days had only the lower keys and two B flats, the instrument itself was altogether inferior and offered small chance for musical combinations, so that the above mode of fingering was probably tantamount to all the re- quirements of execution. With the introduction of the chromatic half- tones, the division of each octave into seven lower and five upper keys, and the tempered tuning of the instrument, a decided change in composition must have caused a marked revolution in fingering and the treatment of the instrument. The first treatise on "musical temperature" by Andreas Werkmeister (1691) is very likely the result of many prior experi- ments; these radical changes themselves, however, can hardly be many years older. Francois Couperin highly esteemed for his originality and musical qualities in composition, and for his elegant and expressive performances on the THE PIANIST'S ART. 29 clavecin who made use of the even temperament, gives in his "/' art de toucher du clavecin' (1717) ex- amples of fingering, which, though extremely dar- ing, seem altogether capricious and void of method, a proof that the ideas on fingering for the new key- board were at that time, in France at least, still vague and unsettled. Couperin's novel use of the thumb and fifth finger, though apparently nowhere subject to any rule, forms the bridge to the rational system which was developed about that time. Scarlatti's mode of fingering must have been well systematized to judge the great performer by his compositions, though there seems to be no trace left of any method. Joh. Seb. Bach's system, which forms the basis for our modern fingering, was, no doubt, due to his very superior ability as a player and may have been developed in his earlier years it is, however, diffi- cult to say whether he originated this system inde- pendently, since Buxtehude (1635-1707), celebrated as organist before Bach's time, required as thorough a system of fingering for a good rendition of his complicated works, as Bach was probably well matured when he wrote the first part of his Well- Tempered Clavecin (about 1720), and the ideas were transmitted to posterity mainly through his son, Ph. Em. Bach. The salient feature of this new system was the employment of all the fingers and their curved po- sition so as to equalize the reach of the longer and shorter members; the use of the thumb and fifth 30 THE PIANISTS ART. finger must have been nearly equal to that of the other fingers, though their serviceableness for the upper keys was restricted by Bach to cases of necessity. Only with such a basis for fingering it is possible to reproduce the difficult and complicated works which Bach is said to have played with ease and where polyphone playing in either hand fre- quently necessitates the use of the thumb and fifth finger on the black keys. This theory has held good with all the great players and teachers after Bach who held connection with him in an almost unbroken line through his sons. Dussek, Clementi, Mozart, Hummel, Cramer, Czerny, Moscheles and many others have on this same basis specified rules for fingering according to their own individual requirements. Special rules were made for the various practical ends and ex- emplified in many a great piano method, but the fundamental principle of Bach's system remained unchanged. As, however, the predominant homo- phone style of piano music after Bach offered hardly any needful occasion to use the shorter fingers on the black keys, it became in course of time a strict rule not to use the thumb or fifth finger on the upper keys. As long as the figures in piano passages were of a narrower pattern, seldom reaching an octave and in very extraordinary cases only going beyond that interval, this positive interdiction of the short fingers on the black keys could not become a serious obsta- cle in execution. When, however, in the last, most THE PIANISTS ART. 3! brilliant and versatile epoch of pianistic art the pas- sages were made up more frequently of the very widest patterns; when everything that nature and training could bring within reach of the artist was not only considered practicable but made use of on all occasions ; when all the parts of the arm, wrist and hand joined in the most complete physical develop- ment, it became a matter of necessity to often employ the shorter fingers on the upper keys. The modern school recognizes the necessity of putting the shorter fingers as much as possible on an even basis with the longer fingers; reckoning with perfect freedom of the hand in complete repose, and with thoroughly independent fingers, it relieves the latter from all restrictions, so that henceforth the artistic purpose in musical performance and the convenience of the player are the only considerations which govern the choice of fingers for any end whatever. It is an erroneous idea to suppose that the me- thodical and convenient way of playing, what might be termed the elements of execution which has been rationally developed and is upheld by the approval of all, even the latest masters has been or ever will be radically changed by any new theory. As long as the mechanism of the instrument remains the same the use of the thumb or fifth finger on black keys in the scales or other elementary combinations is neither obligatory nor desirable without urgent cause, though perfectly permissible under circum- stances. The established way of playing has not 32 THE PIANIST S ART. been changed, although in many instances it has been considerably improved in a rational manner. The fundamental principles for a systematic fin- gering, whether applied to elementary formations or adjusted to practical purposes in playing by student or artist, may be summed up as follows: That the natural succession of the fingers is the most desir- able, that the simplest fingering is the best and most methodical, and that according to the natural posi- tion of the fingers within compass of a fifth, octave or tenth, the fingering must be constructed on these principles. Based on these ideas, the rules for a rational system of fingering have been developed for the elements of execution, and while such rules as would be fitting for the various possibilities in musi- cal practice can not possibly be framed, since the various combinations in composition can as little be brought into connection with general precepts in fingering, as the individual qualifications of the student or artist can be disregarded, a general synop- sis of some particular features in the application of fingering to practical purposes can be given. Five fingers, slightly curved and resting on five lower keys in an unbroken row, will represent the most natural position; this position may either be contracted by omission of one or more fingers, or expanded. All groups of notes ranging from the interval of the second to that of the sixth will be within easy reach in this position; an extension of the hand to the octave will include the seventh and easily cover the ninth, and the further extension to THE PIANIST S ART. 33 the tenth will include the interval of the eleventh for all such as are sufficiently favored by nature to be able to reach it with a quiet hand. Any one of these positions of the fifth, octave or tenth may be transposed and interchanged by cross- ing the fingers over the thumb or by gliding the lat- ter under the fingers; or it may be slightly shifted by slipping the fifth finger below the longer fingers or the latter over the little finger. The elements of execution trills, diatonic and chromatic scales in all their various combinations, the broken chords and arpeggios in all their posi- tions, variations and transpositions, the repeating notes, the diatonic and chromatic scales in thirds, sixths and octaves, the broken chords and arpeg- gios in double notes have a stereotyped fingering which can be traced in any of the modern hand- books. (Plaidy's Technical Studies.) A thorough knowledge of harmony will further elucidate the fingering of these typical tone combinations and will enable the student to locate the different patterns and figures derived from scales and chords correctly as to their position and so find their normal finger- ing. A combination of different positions or trans- position will change nothing in the system of finger- ing, as the change, once effected, restores the same quiet position of the hand. Carl Tausig's daily studies offer a much larger variety of technical fig- ures which, inasmuch as they are developed system- atically from trills, scales and chords, and cleverly transposed through the whole harmonious system, 3 34 THE PIANISTS ART. are likely to broaden and mature in a careful student the ideas for a good method in fingering. The correct fingering of these elementary com- binations, if properly and thoroughly mastered by the student, will give his fingers in course of time a sort of instinctive tendency to perform certain movements, and some deliberation will enable him to apply his proficiency to advantage in composition. The later standard editions, as Peters, Litolff, etc., are, in their carefully revised fingering, an invaluable aid to student and teacher, if the same imperative necessity compels the use of the right fingers, that calls for the right notes. Though a natural succession of the fingers is usu- ally preferable, trills often gain in power and brill- iancy by employing fingers out of their natural order, 1.3 or 3.5 fingers instead of 1.2 2.3 3.4 4.5; a change, however, of 1,3,2,4, for trills require a very even touch and great facility to be effective. The use of one and the same fingering for all the scales beginning with the thumb and ending with the fifth finger would simplify the fingering for the scales in flats, would work, perhaps, to perfection theoretically, but could not fail to be awkward and clumsy if carried out persistently even by an excel- lent player. Musical construction makes it desirable sometimes to use the thumb or fifth finger on the upper keys, even in scale passages, mostly, however, toward the end of such passages for the purpose of getting a more desirable position of the hand for the next phrase. THE PIANIST S ART. 35 For short chromatic passages the use of the fourth ringer on upper keys and the fifth on the lower keys insures a very effective mezzo voce; for rapid play- ing of the chromatic scale, a fingering (a) has great advantages and is practicable, as the change from fifth to thumb is by no means difficult to overcome. A certain amount of proficiency in changing after the fifth finger should be developed, as it may fre- quently be found useful; it is one of the prominent features in modern fingering. Scale passages, or their derivations, will gain in swiftness the fewer the changes of position; there is no fingering that wdl give the scale in C the supreme dash that two changes of five fingers each (b) for two octaves will impart to it. Passages or figures developed from or made up of scales can easily be fingered systematically; pas- sages composed of a succession of similar figures should be fingered uniformly; if they are made up in close position after the manner of the classic school, it is desirable to avoid the use of the thumb on upper keys as much as convenient; in the ex- tended figures of the modern writers a change to a higher or lower octave will often make the use of the two short fingers on the black keys necessary. 36 THE PIANIST'S ART. Even in common arpeggios, according to their posi- tion and extent, a change to the thumb after the fifth finger may be advisable in reference to the ensuing position of the hand, which will always decide the choice of fingers. Repeating notes may be played with various orders of fingers (i, 2, 3, 4 or 4, 3, 2, I or i, 4, 3, 2, etc.), but a regular change in the succession should be adhered to and the grouping should be such that the accents are rendered with the stronger fingers. In all the later standard editions of classic and mod- ern piano works a change of fingers for a renewed attack of the same key, where and whenever it occurs, is carried out with characteristic conse- quence, a usage which highly recommends itself, as it insures an almost unfailing repetition in the mechanism of the instrument. This practice, how- ever, appears less urgent in polyphone playing in the same hand, more especially when one part is of strong, melodious import, while the other is second- ary; the methodical change in such cases seems to increase frequently the difficulty in the more neces- sary qualifications of the touch, and is even more often liable to interfere with rhythmical precision. For diatonic scales in thirds, a fingering analo- gous to that of the simple scale, with one change of position(- (diminuendo). The point can now be argued that the piano does not offer the means for the reproduction in the original sense, and in the abstract this can not be denied. If, however, in playing this syncopic passage the pedal is employed in the following man- ner () a result will be obtained, which, though faintly representing the ideal, will be more adequate .(2. (2 5 Element. anc j me l o dy, an element which was destined to be- come a prominent feature in the further develop- ment of instrumental music. Sarabande, allcmande, gavotte, gigue and other dances, utilized in early days in the suite, w r ere in name and movement of national origin, being respectively Spanish, German, French and English dance measures. Idealized in the suites they became to an extent individualized THE PIANISTS ART. I4Q by the various composers as the valses and laendler were, in virtue of greater expre:sive quality in melody and rhythm, elevated by Schubert to an ar- tistic standard and endowed with his own youthful individuality. Under different climatic influences, unequal conditions of existence and unequal fortunes, the various nations assumed a different tenor of thought and feeling strongly pronounced in their domestic habits and social customs, which developed marked characteristic traits in their folk songs and dances. The melodies of the southern people, living under a serene sky, with scanty care of existence, show the marked enjoyment of a sensuous beauty of sound; the northern nations, surrounded by darker prospects, toiling from day to day, always hopeful, yet scarcely sure of the morrow, sing in grave and somber strains, sadly longing and touching evert their har- monious essence shows an instinctive drifting into the more plaintive minor mode. Whatever strongly moves the heart bursts forth in song spontaneously, with no other rule and order than what natural instinct suggests; and folk songs are the almost unintentional outgrowth of human feelings which seek expression where language begins to fail. As the nations by commercial and political inter- course acquire some degree of culture and improve- ment, their instincts become more refined and by a certain discipline in mental training even artistic; and their songs, though still developed instinctively, reflect their improved taste. 150 THE PIANIST'S ART. The free reproduction of an ideal beauty in music as an art is accomplished according to strict artistic rules, and requires a certain degree of symmetry and perfection in the work which fashions, forms and co-ordinates the material. The material may reflect a certain character, may represent to the imagination the various phases and aspects of life as it left its impress on the different people, and as it appears in their national songs and dances. These more or less natural and inartistic melodies, with their quaint rhythm and distinctive harmonies, in themselves, in musical art somewhat heteroge- neous elements, must be refined and purified to be- come proper constituents and components in a work of art, and the more this material, in the process of preparation, loses the outer peculiarities and the more it reflects the inner character of the national idiom, the more valuable will it become in musical art. Chopin in his polonaises and mazurkas reflects all the noble pride and elegant grace of his people and shrouds the poetic essence of all his works in a touching, dreamy sadness which seems to be born in the sad fate of the heroic but ill-starred Polish nation. So Schumann in his burly humor, his depth of sentiment, his dreamy reverie and the force and logic of his ideas is as thoroughly German, as Chopin is Polish. The heart-broken lament, the wildly joy- ous shouts of the melodies of the Puszta, the strik- ing rhythmic peculiarities give Liszt's Hungarian rhapsodies a distinctly national coloring (which THE PIANISTS ART. 15! can not be traced in his other works) and the brill- iant make-up of the loosely jointed melodies and the dash and force suitable for forensic display make them dear alike to pianists and public. The French composers show a genial audacity in rhythmic refinement which frequently verges on the extravagant and loses itself in brilliant common- place phrases lacking alike feeling or sentiments; the works of the later French composers for this reason often make the impression of an ostentatious finery without character, and the composers them- selves are, as a rule, hardly above mediocrity. The piano works of N. H. Reber, C. Stamati, George Mathias, Chas. H. Alkan the last a composer of high aspirations, whose works are very difficult, but have a tawdry character even to eccentricity are but little known. Saint-Saens, the most prominent of the French piano composers, has a very thorough knowledge of and deep admiration for Bach, to which commendable inclination much of the higher musical quality in his works may be attributable; three concertos, several ensemble works, solos and transcriptions from Bach are well known, besides a number of larger works for orchestra, chorus, and several operas. The Scandinavian folk songs and dances became known to the musical world in the early part of this century. The Norwegian national airs seem to reflect the grandeur and gloom of rugged mountain scenery with a mysterious depth of sentiment and a strong and vigorous fantasie as befits people who believe in 152 THE PIANIST'S ART. manly courage and valiant deeds. Tender emotions are rarer, and in the melodies that speak of longing desire and heartsore affliction there is no affectation of any kind; their strains give vent to a wealth of suffering in a sonorousness which is always veiled in darkness, and requires a pathetic and declamatory rendition. The spring dances have a capricious, fantastic character full of freshly gushing power of life; their rhythms often move with a quick impulse and suddenly arrested motion. The Swedish and Danish melodies are of a softer tone and romantic character; their form often shows great artistic re- finement. This powerful new element has been introduced in musical art and can be traced in the compositions of N. W. Gade, L. Norman, E. Hartman, Ed. Neu- pert, Halfdan Kjerulf ( 1818-1870) and Edvard Grieg (1843-). The compositions of the last two have a very pronounced Norse character; Grieg's piano works more widely known, are a concerto, sonata, ensemble and smaller works. A neo-Russian school of composers, much influ- enced by the German models, has taken up the spirit of the Slavonic folk-songs and dances and has thus given a powerful impetus to instrumental music. The Russian national airs are exceedingly numerous and very varied in character. The slower airs, in the minor mode, have sometimes remarkable har- monious beauty, are of a somber, melancholy char- acter, very pathetic and of an indescribably touch- ing sentiment which seldom takes on a lighter tinge; THE PIANISTS ART. 153 those in a major key are generally lively, as though intended for dances, and of a sweet, winning charm. The harmonious melodies of more pronounced mu- sical tendency often end their phrases with character- istic long cadences, show marked dissonances and a shortening of the first and lengthening of the second beat, which causes a sort of halting and dragging in the rhythmical construction. These characteristics have more or less success- fully been reproduced in a number of works operas, oratorios, symphonies, etc. This element can also largely be traced in the piano compositions of M. Glinka (1803-1857; small character pieces), Rimsky- Korsakoff (1844 I chamber music and shorter works), Cesar Cui (suite and smaller works), Ana- tole Liadoff (etudes, etc.), Mili Balakirew, (scherzo, fantasie, etc.), Anton Rubinstein (in some of his works) and Peter I. Tschaikowsky (1840 ), who is the most prominent Russian composer of the day, remarkable through his fire, depth of feeling and spontaneity, which is evident in his concertos, so- natas, ensemble works and character pieces. The Bohemians (another branch of the Slavonic race which for ages has bsen well reputed for its musical inclinations), have come into prominence more recently. The strains which were sung by the Hussites in their grim wars are of a most vigorous characteristic rhythm, a darkly determined express- ion glowing with ardent zeal, full of manly energy and martial spirit. Their strict morals and deep re- ligious feeling have left their impress on their hymns 154 THE PIANISTS ART. which have an inspired expression and great beauty of form; others of their national airs are of infinite tenderness, quaint humor even to joviality. Hans Seeling ( 1828-1862), Fried. Smetana, (1824-1884), Ed. Napravnick, (1839-) are among their better known composers, but Antonin Dvorak (1842-), seems to have brought to life again the indomitable spirit of the old Hussites, so inspired, so full of intensity of feeling and romantic grace are the compositions which reflect largely the old national character even in the piano works the Slavonic dances, ensemble music and concertos. German instrumental music has in its early course been largely influenced by France and Italy, but its growth has been a steady and healthy one in its purely artistic tendency up to the present time. With the great hosts of eminent composers the na- tional element never rose to supreme importance in musical art though intheir individuality they manifest a more or less pronounced German spirit, as is evi- dent in the works of Bach, Haendel, Haydn, Mo- zart, Beethoven, Weber, Schubert, Mendelssohn and Schumann. To the fact that the beauty of an ideal life in its complete expression was their ultimate object in their works of art is due the high artistic perfection that German instrumental music has ac- quired, a perfection which in the well balanced pro- portions of form, thought and feeling give it a true cosmopolitan character. Joachim Raff (1822-1882) is one of the promi- nent composers of the romantic school, and has THE PIANIST'S ART. 155 written, besides a number of other important works, compositions for piano, solo and ensemble. His suites and characteristic pieces are brilliant and markedly original; his style is reflective and strong, full of happy harmonious innovations and melodious inflections. He is much given to polyphone writing which not infrequently appears as the outgrowth of a peculiar fancy for scientific combinations and so impresses more readily by its eccentricity than its true poetical essence. Carl Reinecke (1824-) shows a genial and sympathetic spirit in his con- certos and the various solo pieces. His cadenzas to Mozart and Beethoven's concertos give evidence to what extent he has entered into the spirit of the mas- ters; the compositions for children are full of rom- ance and refinement. Robert Volkmann (1815-1883) has valuable ensemble music and smaller works. Theodor Kirchner (1824-) and Woldemar Bargiel (1828-1891) are largely influenced by Schumann's spirit, and while the first shows more musical quality in his smaller works, those of the latter are more pleasing. Refined original sketches writes Alex- ander Winterberger (1834-); Carl Goldmark (1832-) ensemble music. Adolf Jensen (1837-1879) appears musing and tender with a romantic coloring, while Josef Rheinberger (1839-) is eminently a scholarly writer in his chamber music and piano solos. Of later day and brilliant promise are Jean L. Nicode and Moritz Moszkowsky. Among the great pianists Anton Rubinstein Rubinstein (1829-) easily ranks first in the general excellence of 156 THE PIANIST'S ART a characteristic conception and genial rendition of the master works of piano literature. A superior musical intelligence, an unselfish devotion to the intentions of the composer, great physical power and endurance, a touch that responds to the most sensitive refinement, and an intensity of feeling that acts with the magnetic force of plenary inspiration, give his readings serene repose or dithyrambic im- petus, tender abandon or heroic energy. As a com- poser Rubinstein unquestionably ranks very high, but is more admirable in the smaller forms, where the spontaneity of invention is not hampered by the drudgery of labor. Even in the best of his larger works brilliant but barren reveries are encountered where the fire of inspiration goes begging for lack of mental restriction. His concerto in D minor is the best of his larger compositions for the piano, which include five concertos, sonatas, ensemble works, (some of them very valuable), etudes and smaller pieces; a number of the latter must certainly be counted among the gems of piano literature. Hans G. von Biilow (1830-), a musician of great mental astuteness, pianist of great technical and intellectual faculties and prodigious memory, is one of the first conductors of the day. His compositions show that critical analysis in him is superior to imagination. Jan. Ig. Paderewski and Eugen d' Albert, pianists of exceptional prominence, are composers of great promise; the compositions of the first are more of the pleasing, popular kind, while those of the latter show markedly the scholarly musician. THE PIANIST'S ART. 157 In point of uniform excellence, in the originality of invention, the unadorned simplicity and ingenuous- ness of his ideas, the clear, logical development and the evident repose in the consciousness of his men- tal power, in the conciseness of ideal beauty and perfection of form, an emotional life which in its expression is free from excess and always artistic, in his harmonic and rhythmical construction, even in the novelty of his technical treatment of the piano Joh. Brahms (1833-) stands unrivaled among con- temporary composers. In his early works three sonatas, a trio, varia- tions, scherzo and ballads Brahms manifests a pro- lific power and romantic exuberance of fantasie in the genial and poetic essence and the novel and original development of his ideas. The pregnancy and beauty of the melodies, the tender abandon, the burly humor, the feeling in all its intensity, the well planned though often daring construction and the playful mastery of piano technic give the im- pression of a remarkable artistic potentiality. There is nothing trivial or commonplace; even where his melodies take on a more popular color, the inven- tion is altogether of an individual character; ideal beauty is his aim everywhere, but the beauty of sound does not always seem to claim primary con- sideration. The variations (op. 21, 24, 35, and 23 for four hands) show a daring flight of the ideas, a power of combination in the melodic, rhythmic and harmonic reconstructions of the themes and a mastery in coun- 158 THK I'lAMST's ART terpoint which has no equal since Beethoven. The variations on a Hamdel theme (op. 24) belong to the best productions of modern piano music; in those entitled "Studies for the Piano," on a theme of Paganini's (op. 35), it is a trying question to say which is more admirable: the fantastic and withal extremely melodious new formations which the simple theme engenders in the composer's imag- ination or the novelty and the even after Lizst, Chopin and Schumann stupendous technical diffi- culties which carry the aerial flight of capricious ideas. In the valses for four hands there is a wealth of melody and a variety of expression of the most win- ning charm, and it is safe to say that whosoever fails to see the wonderful beauty in these little sketches has no ear for music. The Hungarian dances, arranged from Hungarian melodies, speak for them- selves in their well earned popularity, and the later pieces (op. 76, 79) are continually gaining ground with the sincere lovers of good piano music. If in his larger works for chorus or orchestra, and his beautiful, characteristic songs, Brahms claims consideration with the great masters, he asserts his powers no less in his ensemble works with piano and the second concerto; in a quintette (op. 34), three quartettes (op. 25, 26, 60), five trios (op. 8, 40, 87, 101 and 109), four sonatas (op. 38, 78, IOO and 108) he develops a melodious beauty, a thematic work, a variety in harmonic and rhythmic construc- tion and a well defined character in each composi- THE PIANISTS ART. 159 tion which secure him a place among the first com- posers of chamber and concerted pieces. The mel- odies have rhythmic clearness and distinctness, gen- erally a simple (tonal) harmonic structure, and fre- quently a markedly popular character. In his work Brahms manifests the most complete artistic devel- opment and perfect mastery over the material in the strictest forms. In the "Durchfuehrung" he con- trasts the motives by every artful device of counter- point. His interchange of the major and minor modes is very striking, his modulations into removed keys are effected with ease and appear perfectly natural; the peculiar effects he often produces by harmonic changes for greater intensity of feeling or marked coloring show his masterful use of the har- monic apparatus. The rhythm is most varied; com- binations of different rhythmical figures are a fre- quent occurrence, and striking are the effects pro- duced by latent rhythms in the parts of the differ- ent instruments. When individual sentiment in art frequently takes precedence of musical quality; when the ideal beauty and inspiring spontaneity of invention too often lack the sustaining power of artistic for- mation noticeable in the number of indifferent works of better composers and in many brilliant but unprolific episodes in their larger works it is an evidence of remarkable artistic strength in Brahms that his compositions are of an even merit through- out, that they have no inartistic weakness, and, though they may fail to find ready appreciation, 160 THE PIANIST'S ART. they are of great persuasive power where their sim- ple beauty fails to convince at once. Brahm's way of thinking and feeling, his mode of expressing what he feels, and his whole artistic personality fail in that sympathetic essence which directly appeals to sentimentality; he never tries to win by mere outer charm, makes no concession to a popular taste, and gives expression in his own unceremonious way to what moves him, but in the unassuming sim- plicity of his great art, in the power of his reasoning, in his high aims and his severe earnestness, he is a composer who compels the admiration of all that take cognizance of his works. University of California SOUTHERN REGIONAL LIBRARY FACILITY 405 Hilgard Avenue, Los Angeles, CA 90024-1388 Return this material to the library from which it was borrowed. QUARTER LOAM JAN 2 3 1998 " QUARTER JAN 1 1> 2001 WAR APR 1 2001