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THE MUSIC TRADE
8
REVIEW
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THE PLAYER-PIANISTS' DEPARTMENT
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[It is in every way eminently desirable that a publication
which undertakes to give so much space and so authoritative
a treatment to the great player industry, as does The Re-
view, should not neglect what is after all the real excuse
for the player's existence: namely the music that is evoked
from it. Recognizing the extraordinary importance of do-
ing everything possible to spread more widely appreciation
and love for music among player-pianists, The Review's
Player Section for the present month contains below, and
will in future regularly contain, a department devoted to
the musical interests of player-pianists and of the player-
piano. Each month one musical article of general interest
will appear, together with useful hints, notes and comments.
This is in addition to the regular sub-section of the Player
Section which treats of the monthly issues of music rolls.
Professional demonstrators, salesmen and player-pianists* of
every degree will find each month on the "Player-Pianist's"
page of the Player Section much valuable information. And
the Editor of the Player Section will at all times be glad
to answer inquiries on any and all musical player matters.
as being unable to keep from his mind a passion-
ate desire for affection, while at the same time he
was continually pouring out, whenever he felt
happy and care-free, the most delightful and en-
gaging expressions of his own love-sickness.
Thus the Pathetic Sonata naturally divides itself
into three emotional divisions, corresponding to the
three movements in which it is written. The first
is a stormy and passionate Allegro, the second a
charming but melancholy love song, and the third
a delightful and engaging little Rondo in which
all the happy spirit of a summer day in the country
seems to be imprisoned. Let us take these three
movements in their order.
The opening of the first movement is in the na-
ture of a slow introduction, marked on the score
—EDITOR PLAYER SECTION.]
"Grave." It consists of a majestic series of chords
which must be sounded fully and pompously and
BEETHOVEN'S "PATHETIC SONATA"—A made to sing with the sustaining lever. These
chords fix indubitably the significance of the title
STUDY IN PLAYER-PIANO INTERPRE-
"pathetic," for they are indeed just what that term
TATION
implies, and form, as it were, a preface to the
sonata, explaining its meaning and the ideas which
Beethoven's Sonata, Op. 13, has always been high- were in Beethoven's mind when he wrote it. They
ly esteemed by musicians on account of the re- should be played "pathetically" as far as possible,
markable flow of its melodic invention, the in- with a distinct feeling for the cry, as of pain, that
genuity of its treatment, and its ingratiating quali- goes up from them. To play these first chords
ties. The title "Pathetic" was applied to it by the rapidly and carelessly is utterly to destroy the whole
composer himself, and although it is an early work significance of the movement.
it shows nevertheless much of the freedom of
The introduction is developed for a few more
thought and expression so characteristic of Beeth- measures, in which this main theme is repeated in
oven. It is always difficult to discover the under- a slightly different rhythmic form, ending on a
lying conditions which prompt the composition of high tone from which the music suddenly sweeps
serious music, and in Beethoven's case we have downward in a rapidly descending scale into the
only faint indications from time to time, as shown Allegro itself. Here all becomes passion and
by the circumstances of his life, to guide us in energy. The music must be played with fire and
attempting to extract from his works their ultimate sweep, with rapidity and brilliancy. The main sub-
raison d'etre.
ject with which the Allegro begins is an ascending
This much, however, we know. Beethoven, dur- figure of great and passionate intensity which
ing this period of his life; was on several occasions sweeps upward, then pauses, and sweeps downward
deeply smitten with the charms of several beautiful again. It is succeeded by an episode, which will be
women whom he met in the salons of Prince Von noticed because of the grace notes or embellish-
Lichnowsky, among whom may be mentioned Bet- ments with which the melody in the treble is em-
tina Brentano, Giu'ietta Guicciardi, and Eleanora broidered. This episode is less tempestuous, but is
Von Breuning, the latter daughter of a woman succeeded immediately by another ascending pas-
who was one of his most devoted friends. These sage in octaves which ends with a great crash of
various affections were in the highest degree pure, chords. A pause ensues. For a moment there is
lofty and platonic. Of all musicians Beethoven silence. Then just where one would expect the
v\as perhaps the most perfect example of chastity second subject, in contrasting mood, there reap-
in thought and life. He expressed his love rather pears the theme of the Grave introduction, bring-
in his music than in any lip-service. And his pas- ing, as it were, stillness and calm. It must be
sions were of such a nature as to make it exceed- played softly and gently, like a pathetic reminder
ingly difficult for the object of his affection to un- of the mood in which the composition began. In
derstand or appreciate him. He was within an ace this manner the first movement is worked up, the
of marrying Giulietta Guicciardi, but it was prob- first and second subjects being repeated and
ably a great deal better for everyone concerned, as brought to a close with a stormy and crashing
well as for the art of music, that he did not suc- coda.
ceed in obtaining the object of his desire.
So far all has been passion. With the opening of
At the time when this sonata was composed, the second movement another mood takes posses-
namely, in the closing years of the 18th century, sion of Beethoven. The second division is a
young Beethoven was enjoying a brief but exceed- charming song of love. It opens with a theme
ingly happy series of friendships. The Von Bruen- which is sounded on the highest tones of a series
ings, the Lichnowskys and many other distinguished of broken chords, which therefore must be very
persons besieged him with their invitations and carefully accented so as to prevent it sounding
their attentions. Much of his time was spent at monotonous or unintelligible. The repetition of
one or another friend's city or country home, and this theme presents a slightly different treatment,
during this time this sonata, as well as numerous although the same mood prevails, and the move-
other works, was composed.
ment ends calmly and quietly.
We may see in the Pathetic Sonata, then, some
The finale, as was remarked above, is a de-
stormy passion, but to a greater extent may we lightful Rondo, which should be played lightly and
discern a gentle melancholy, and the realization of
trippingly without any pounding of the arpeggios
a profound sympathy for nature and for mankind. in the bass. The middle section must not be taken
In trying to interpret this sonata we should think too fast, especially in that passage where right and
of Beethoven, still quite young but naturally gloomy left-hand parts repeat each other as if they were
and reserved in disposition, yet showing under his holding a conversation. As the player-pianist will
rough exterior a pure and loving heart and a truly note, the ending of the Rondo must be played very
sympathetic attitude toward his fellow-men. We quietly and very slowly in the part which mimics
must think of him realizing that his natural lack the opening, until the music reaches the last down-
of polite graces was a serious mar to the attain- v/ard sweep. This must be taken with a grand
ment of that mutual love for which his spirit rush, and the last two chords played sharply and
longed. At the same time we must consider him with marked detachment between each. The player-
pianist must take great care not to overdo the use
of the sustaining lever and must endeavor every-
where to keep in mind what we have said about
the ideas which were in Beethoven's mind when he
v. rote this very beautiful work.
A HEART TO HEART TALK
THE PLAYER-PIANO AND PLAYER-PIANIST
It begins to look as if the player-piano were en-
tering upon a new phase of its career. Old ideas,
old prejudices, old methods are being discarded by
those who make and sell these instruments, while
the public attitude toward them, with which we are
particularly concerned, appears likewise to be
undergoing a parallel transformation. The whole
state of affairs is interesting, since it is going to
lead into what we believe will be an entirely new
public conception of the player-piano, its functions
and its use. The evolution thus progressing has,
we believe, been hastened at least by such Con-
structive effort as this publication has continuously
made. And for that reason, among others, we
find ourselves moved to say a few words on ; the
subject, with especial reference to the attitude which
player-pianists everywhere are beginning to assume
with regard to their instruments. For it is to this
public awakening that we must look for the reali-
zation of the many desirable reforms which sin-
cere music-lovers expect to see in the future con-
duct of player-pianism.
SOME FUNDAMENTAL FACTS.
Considering that less than fifteen years have
elapsed since the public was first made acquainted
with the cabinet piano player, and the further fact
that the more convenient player-piano has been in
commercial existence for less than ten years, it is
not surprising that original ideas, original preju-
dices, original mistakes, have been preserved in
large degree even unto the present time. The first
player mechanisms were devised by men whose
training had been gained in organ making, and
who were almost entirely unacquainted with the
technical features of piano tone, touch and technic.
Their explicit object was to make a device which
would "operate" the piano; that is to say, which
would sound selected keys at the right time. To
them tlu- refinements of touch, of phrasing, of
tone-color, which together go to make up what we
call "piano playing," were at the best only vaguely
familiar, and in most cases were quite unknown.
In short, the piano-playing mechanism was devel-
oped by men who were neither pianists nor even
musical amateurs. This is an important fact and
one that is worth our remembering.
For it will be seen that this fact supplies the key
for an almost complete understanding of the pecu-
liarities which distinguish the construction of
player-pianos, and which, in fact, are just so many
obstacles to its more general adoption by musi-
cians and serious music-lovers. The obstacles of
which the present writer lias always been most
painfully aware may be grouped under two heads.
However we may term them, it is plain enough that
everybody who has undertaken the player-piano as
a serious proposition must have recognized and de-
plored their existence. They are as follows: (1)
The unscientific, unmusical and inconvenient con-
struction and arrangement of the control levers and
buttons; (2) a general failure to adapt the playing
mechanism to the requirements of piano "touch."
PLAYER-CONTROL AS IT IS.
Take the standard form of control lay-out. You
have a tempo lever for governing speed. This is
entrusted to your right hand. Then your left hand
is compelled to manipulate four distinct and sepa-
rate contrivances, in four distinct ways, and