Memories of a Musical Life Part 16

[Ill.u.s.tration: Autograph of Edvard Grieg]

The question is, Should Chopin be played in accordance with the spirit of the time in which he lived, should his works be played in the tempo in which he played them, or, because electricity has brought about so many changes and has enabled us to do so many things much more rapidly than formerly, should Chopin's music be electrified, or, as it seems to me, electrocuted? I think there is a general tendency to play the rapid movements in Chopin, and, in fact, in all composers not of the extreme modern type, too fast. To play these movements rapidly and give the phrases with absolute clearness, one must have such breadth, command of rhythm, and repose in action that he can put the tones together like a string of pearls, so that each is rounded into shape, and the phrase is a complete and definite series of tones, and not like a lot of over-boiled peas, so soft that they all mash together. In too rapid playing the effect of speed is lost. The Chopin "Waltz in D Flat Major"

is often played much too fast. The theme is said to have been suggested to the composer by a lap-dog in his room suddenly beginning to chase his tail. Whether true or not, the story is suggestive. Destroy the contour of that waltz by playing it at too high a rate of speed, and the dog is no longer chasing his tail, but dashing aimlessly about the room.

Nor should the tempo be too slow. Slow movements are effective, but sufficient animation must prevail to impart life and fervency to the music. A stream may flow so sluggishly that the water loses its clearness. This is not repose, but stagnation. During the musical season of 1899-1900 in New York I heard modern pianists play some of Chopin's compositions so slowly that the effect produced upon me was like that of a music-box running down. One endures it for a while, but finally is wrought up to such a feeling of impatience as to induce the exclamation, "Either stop that thing altogether or wind it up."

TEMPO RUBATO

In modern times there is also a tendency to excessive use of tempo rubato.

I have recently heard the second part, of Chopin's "C Sharp Minor Scherzo"--the choral with arpeggio pa.s.sages--played by a celebrated pianist in such a way that, mathematically adjusted, about one measure was added to every section of four.

The player was afterward highly extolled on account of his wonderful rubato effects. The truth is that he was all the while simply playing mathematically out of time. Rubato ("robbed") is a slight modification of rhythmic flow in alternation with a corresponding compensation; it is like excitement in verbal narrative; it is alternately losing and making up, but within judicious bounds, so that in the end the balance is preserved. The nature of music is essentially "tune and time"--in other words, emotion and intelligence, or heart and head, in loving and well-balanced combination. These conditions are absolute and can never be violated without disaster. Hence a true rubato must be played in time, but accommodatingly.

UNUSUAL PUPILS--TRANSPOSING--POSITIVE AND RELATIVE PITCH

I once gave to an intelligent pupil the task of transposing one of Bach's inventions into various keys. My directions were that at her next lesson she should be prepared to play it successively in three or four different keys. As she came to my studio for her lesson but once a month, there was ample time for preparation, and she succeeded in accomplishing the feat with ease and without error. But, more than this, she continued her transposing until she had completed the round of all the twelve keys without a mistake--a rare and creditable performance, deserving the emulation of all young ladies and gentlemen engaged in the study of musical development and the cultivation of pianoforte technic.

Another case is that of a young lady pupil not remarkably musical, but who has an ear for positive pitch. By this is meant that she could immediately name the pitch of any tone on hearing it sung or played. All competent musicians possess the power of relative pitch. I mean by this that if a definite pitch is given to one who has a musical ear, the pitch of any other tone immediately following or sounding in connection will be instantly perceived, and the interval between the two tones--in other words, their pitch relationship--at once understood.

[Ill.u.s.tration: THE STUDIO IN THE STEINWAY BUILDING--WEST SIDE]

The power of positive pitch has been regarded by many as a very desirable gift, but judging from the experience of the pupil of whom I am writing, it would appear to be just the other way. This young lady, to whom I had also given the task of transposition into various keys, complained, on coming for her next lesson, that the effect upon her was very disagreeable, in fact, extremely painful. She explained that she was obliged to look at the music on the pianoforte-desk while transposing, and that on account of her quick perception of positive pitch she heard in companionship both the tones of the original key and those of the key to which she was transposing, thus producing a jargon and discord which was distressing. This at first seemed very strange to me, indeed almost incredible, but not having an ear for positive pitch myself, either by nature or through cultivation, I could not judge from personal experience, so, having confidence in her sincerity, simply gave her a.s.sertion credence.

Later on, however, her statement received confirmation through the authentic testimony of a German musician and conductor of high eminence.

At the time this gentleman came to our country, somewhat over fifteen years ago, the standard of concert pitch was slightly lower in Europe than with us. Since then it has been adjusted and is now uniform the world over. This discrepancy caused our German friend extreme annoyance, for having an acute and delicate perception of positive pitch, it pained and confused him to hear the familiar symphonies and other works of the great masters played in a higher pitch than that to which he had become accustomed. This is, therefore, the penalty for an ear for positive pitch.

Some of the greatest musicians have possessed this faculty, notably Mozart, but others of equal rank were without it. Of course a musical ear of the most delicate sensibility as to relative pitch is common to all of them, and this by the grace of G.o.d, as the Germans happily express it.

Another case is that of a lady having by nature an ear for positive pitch, who occasionally attends church with me. She is constantly disturbed by the difference of pitch between the tones of the organ and the pitch indicated by the notes of the tones in the hymn-book. She reasons that either the tones of the organ are above standard pitch or else the organist transposes the music. At any rate, the two vary by the interval of a semitone.

Theodore Thomas is not only able to detect the disagreement, but at the same time perceives whether it is by reason of transposition from the original key or on account of the tones of the organ differing from standard pitch.

APPLEDORE, ISLES OF SHOALS

MY first visit to Appledore was in August, 1863, two of my brothers having discovered the island, so to speak, the year before. We were enthusiastic fishermen, and during our summer vacation almost lived on the ocean. Furthermore, during almost the entire year I was engaged in teaching or in public appearances as a concert-player, so that in my vacation I detested the very sight or even thought of a pianoforte.

Appledore afforded an ideal retreat where retirement verging almost on oblivion was possible, and thus it happened that I had spent many summers there before my musical vocation was brought to light.

A few years later my friend Professor John K. Paine of Harvard University also discovered the Shoals, and from that time came year after year without intermission. After a year or two he had a piano sent down from Boston for the summer and placed in the reception-room in Celia Thaxter's cottage. I had the pleasure of Mrs. Thaxter's acquaintance, but up to that time simply in a formal way, and beyond a call on my arrival and one on taking leave, I had little a.s.sociation with her; Professor Paine, however, quickly formed a habit of playing Beethoven's sonatas to her, and she very shortly showed a delight in music, and especially in Beethoven's sonatas, with which she became quite familiar. In the year 1864 Isidor Eichberg accompanied my brothers and myself to the island, and that led, still later on, to Mr. Julius Eichberg's becoming an habitue of the island. He brought his violin with him, and with Mr. Paine frequently played compositions of Bach for piano and violin. Finally I was drawn into the current, and played, with Eichberg, Schumann's and other sonatas. As I grew older I gave less time to fishing. Moreover, whereas I had formerly spent only a couple of weeks or so at the island, I now began to go early in July and stay until September, so that in the nature of things I could not fish all the time, and gradually formed a habit of playing in Mrs. Thaxter's cottage every day from eleven o'clock in the morning until the arrival of the boat, about an hour and a half later.

Hers was an interesting and enthusiastic nature, which attracted to her many literary and artistic people. She held, in a most charming and informal way, what may really be called a salon. The walls of her parlor were covered with paintings and pictures of all kinds, many of them the work and gifts of personal friends. As she herself expressed it, "a beautiful thought was always suggested whenever and wherever she looked."

Her love of flowers amounted almost to a pa.s.sion, and no expenditure of time or strength given to garden work was grudged, even when the effort of very early rising was involved. And when did garden ever better repay the personal love and care of the gardener? Where were ever seen such radiant, waving poppies, such hundred-hued pansies, such stately and brilliant hollyhocks, and such fragrant sweet peas? And upon entering the parlor, it seemed as if one had hardly left the garden, so many and so beautiful were the ma.s.ses of flowers.

As I have said, Mrs. Thaxter was very fond of music, and every morning welcomed those of her friends who shared this taste to hear any artist who might be on the island.

It was my pleasure, being so much at Appledore, to play a great deal in these informal ways. The doors wide open to the sun and salt breezes, the people sitting in the room and grouped on the piazza, shaded by its lovely vines, the beautiful vistas of gaily colored flowers, sea and sky beyond, made a charming and ever-to-be-remembered scene.

Chopin and Schumann were the favorite composers, their compositions being constantly requested. After a while I enlarged the repertoire by introducing several of Edward MacDowell's smaller works. These found immediate favor. Some half-dozen years ago, having become acquainted with and thoroughly enthusiastic over the "Sonata Tragica" of this composer, I began to play it early in the summer on arriving at the Shoals. At first the audience was somewhat reserved in the expression of an opinion, but after a few hearings the composition found friends who really appreciated and enjoyed it. Being curious to ascertain what result a closer acquaintanceship with the work would bring about, and wishing to do some missionary work, I formed the resolution of playing it once a day during the season, and announced my intention to the audience. With but the exception of a few days, the scheme was carried out, and with gratifying success, for the "Sonata Tragica" became eventually the favorite of the majority, and it was constantly called for.

One or two ladies who found it tedious at the outset became thorough converts, and finally experienced genuine musical enjoyment from it. On the publication of the "Sonata Eroica" a few years later a similar result was reached, but not in the same degree as in the case of the "Tragica."

This incident is related to ill.u.s.trate the remarkable effect of musical surroundings and the great advantage of living in a musical atmosphere.

Here were people of intelligence and culture who, under adverse circ.u.mstances, would not have appreciated the beauty of these intellectual works, but who after closer a.s.sociation were led to perceive their beauty and who learned to love them.

Sundays were celebrated by the playing of Beethoven's sonatas. Every one seemed to look forward to and enjoy these pleasant mornings. Mrs.

Thaxter was a delightful hostess, and possessed the rare quality of bringing out the best in those about her.

During the summer of 1894 Mrs. Thaxter seemed as well and active as usual, still working in her garden, still the lively center of her group of friends and admirers. One day she did not appear, nor the next, and then we heard she had peacefully pa.s.sed away.

None who were at Appledore then will easily forget that 26th of August, nor the day she was buried on her island home.

The funeral service was held in the well-known sitting-room; the address was made by her old friend the Rev. Dr. James De Normandie, and, by request of her sons, I played Schumann's "Romance in F Sharp," and Dvo[^r]ak's "Holy Mount,"

The tides of Music's golden sea Setting toward Eternity.

When the simple service was over the coffin was followed by her old and faithful friends and the island fishermen to the grave by that of her father and mother. The long procession of people, through the gray mist, winding in and out along the rocky way, the leaden sky and sea, the hushed voices of the children, usually ringing out so merrily from rocks and hotel piazzas, accentuated the sense of our loss.

At the grave, all lined with bayberry and flowers, the coffin was lowered, and each of those present came forward and laid upon it a few of the flowers she loved so dearly.

MUSIC IN AMERICA TO-DAY

A year or two ago a young lady came to my studio and asked for a single lesson. She told me that she had been studying in Germany for some years, and named the city, which is one of the well-known musical centers. She was then going to the West on her way home, and stopped a day over in New York expressly for a lesson from me. I heard her play several pieces, and was surprised and pleased with her manner and style.

She phrased with intelligence and gave due attention to rhythmic requirements. Her tone was large, full, and musically resonant, and could not have been produced otherwise than through the agency of the upper-arm muscles, which were constantly in active use. The flexibility and elasticity of hands and wrists were also apparent, and finally the evident repose in action of all of these qualities capped the climax. I said to her: "My dear young lady, I cannot add to your playing, for it is already finished and artistic. I might possibly suggest a different rendering in certain parts, but, after all, this would amount only to a matter of taste. If you had studied exclusively under my guidance for a course of years, and I had succeeded in doing my best, aided by your own intelligence and careful practice, I should have sought to bring about just the result which you have reached. I think your teacher must be a young man." "He is," she replied; "but why?" "Because," I answered, "his method is free from the stiffness and rigidity of the old German school.

Has he, perhaps, a method of his own?" Her immediate reply was, "He uses your method." She also told me her teacher's name, which I have now unfortunately forgotten. I think this teacher deserves to have more pupils!

But the time has gone by when it was necessary for students of the piano to go abroad to complete a musical education. There are now teachers of the piano of the first rank in all of our princ.i.p.al cities, who secure better results with American pupils than foreign teachers do, because they have a better understanding of our national character and temperament. Such men among my own former pupils are E. M. Bowman in New York, S. S. Sanford in New Haven, W. S. B. Matthews and William H.

Sherwood in Chicago, and many others who are distinguished in their profession as teachers, and who have done and are doing much in furtherance of sound musical education and in the cultivation of a refined, musical taste in America. Our country has also produced composers of the first rank, and the names MacDowell, Parker, Kelley, Whiting, Paine, Buck, Sh.e.l.ley, Chadwick, Brockway, and Foote occur at once to the mind. Enormous progress in the art and science of music has been made in America since I began my studies in Germany in the year 1849. Our teachers meet in great numbers in convention during the summer months and in summer schools and cla.s.ses, and it is difficult to overestimate the beneficent results which flow from these a.s.semblies.

They create a musical atmosphere, in which teachers and pupils live and move and have their being. They afford opportunities for the intelligent discussion of mooted questions and for the interchange of ideas, and lead to a wider dissemination of the best educational methods.

[Ill.u.s.tration: Autograph of Kneisel Quartet]