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THE: MUSIC TRADE
REVIEW
THE PLAYER-PIANISTS' DEPARTMENT
[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 analyzes 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.
FRANZ LISZT'S PIANO MUSIC.
It will not be seriously denied that much of
Liszt's piano music is a sealed book to the ordi-
nary musician, to say nothing of the player-pianist.
The latter generally is familiar with the Second
and Twelfth Rhapsodies and sometimes with parts
of the two piano concertos. But there his knowl-
edge generally ends. All of which is a most la-
mentable thing. If those who read this article
are thereby persuaded to investigate Liszt's com-
positions for the piano more seriously, the object
sought will have been gained.
In the first place, let it be said that it is rather
absurd to select one or two of the nineteen rhap-
sodies for special attention and study while abso-
lutely ignoring all the rest. This is neither sensible
nor profitable. The Second Rhapsody will very
likely be always the most popular of all, simply be-
cause it is at once the simplest in its thematic con-
tent and the most markedly contrasted in its treat-
ment of the Laszan, the Frischka and the Czardas,
those three rhythmic divisions which we discussed
in the Liszt Centenary article in the last Player
Section. The Second Rhapsody is liked for the
very reason that its content and purpose may at
ence be grasped. And for very much the same
reason, the more elaborately written Twelfth
Rhapsody is also very popular. In this latter case,
too, we find marked contrasts, strikingly developed
themes, and all the brilliant garishness which ap-
peals to many unlearned music-lovers. At the
same time, however, it is not at all right that
player-pianists should confine their interest so
narrowly.
Take, for instance, the Sixth Rhapsody. Here
we have a most excellent and thoroughly attractive
work in this fascinating form. To the player-
pianist who might wish to study it, we suggest the
following "scenario," which may be useful as af-
fording a basis for intelligent appreciation.
Imagine a gypsy camp at night time. The
scene is a vast p'ain, flat and uninteresting to the
eye. To the side of the road, which winds across
the level land toward the village in the distance,
and under the scrubby trees that line the highway
at intervals, the nomads have made their temporary
halting place. Their wagons are pulled to one side,
a camp-fire blazes, and the women have prepared
the evening meal, which all have despatched with
appetite. Now the chief and his men gravely seat
themselves around the camp fire and compose their
minds to meditation. Soon one picks up his
violin and begins to improvise a thoughtful strain
of slow and dolorous rhythm. The murmur of
voices sings through it all as the Gypsies listen
carelessly and chat the meanwhile. The chief, his
memory stimulated by the gentle music, begins a
story of his youth: a story of passion, of valor and
of love. As he speaks, the fiddler, catching the
tone of the conversation, modifies his improvised
music, and unconsciously molds it to a more heroic
rhythm. At this, another fiddler joins in, and anon
the deep tones of the cembalo begin to make them-
selves heard in the harmony. The chief pauses in
his narration. The music soars on and on, higher
and higher in exaltation. A bright-eyed maid
meets the glance of her swarthy lover. In an in-
stant the two are dancing wildly across the road.
As the musicians catch sight of the pair, the strains
of a wild Czardas burst from their instruments.
Instantly the whole company lead madly into the
dance, whirling hither and thither, with faces
flushed and panting bosoms, faster and faster,
more and more passionately, till the forces of
nature can no longer bear the strain and the
couples sink exhausted to the earth.
We would strongly recommend player-pianists to
study the Sixth Rhapsody with just such a scenario
as this in their minds. They will find their inter-
pretation immensely improved and vitalized thereby,
to say nothing of the greater interest they will
have in the work itself.
merely immensely clever, but tinged as it is with
a deep, even morbid, religious feeling, the com-
bination of ideas in it presents very fascinating
problems to the mind. It is both a nature picture
and a study in mystic expression. One should
read the Legend first and play the music after-
ward.
The deservedly famous "Benediction of God in
the Solitude" is another of these remarkable
works, and one likewise musically most attractive.
It is purely subjective music; a picture of soul
states, not at all a description of things. To
analyze it would not be merely difficult but perhaps
impossible. Still one can suggest a sort of scenario
for it. The work seems to divide itself up some-
what as follows: (1) Struggle of the soul, in
sin and sorrow, for peace and salvation. (2)
Vision of salvation through the Church. (3) The
Church offers comfort and peace at its altars
(middle movement, andante). (4) Thanksgiving
of the soul, now comforted by its reception into
the bosom of the Church. (5) "The Benediction
of God in the Solitude." The theme which ap-
pears in the beginning (bass) winds itself through
a series of convolutions, plainly expressive of dif-
fering mental states. The middle section is a
beautiful andante, in which the sound of church
bells and the pealing of the organ are distinctly
suggested. Finally the original theme reappears,
softened and spiritualized, while at the last the
Benediction sounds forth sweetly and yet with
majestic though hidden power. This is a work
well worth study.
The Liszt Etudes.
The so-called Paganini etudes were composed by
Liszt after hearing the wonderful feats of Paganini
in violin playing. Litszt, then a young virtuoso
in the full flush of his powers, determined to try
his hand at reproducing Paganini's violinistic mar-
vels upon the piano, and also at composing some
studies for pianists which might have the effect of
giving them the same command over the instrument
that the Italian master had over his. It need
hardly be said that the results of Liszt's activities
on these lines were, and are, veritable monuments
of technical difficulty. But at the same time they
were, and remain, attractive in the extreme from
the purely musical point of view. The player-
pianist, who need not worry in the least about the
technical difficulties, can therefore find a great
deal of very interesting matter in these Paganini
Some Other Works.
Studies.
But here is another side to Liszt—the worldly,
The other series of studies are also very at-
Mephistophelean side. Take the so-called "Me-
tractive. To pick out a few ^ at random, one
phisto" Waltzes. Here we have not only the great-
gleans these from the "Studies in Transcendent
est brilliancy and the most thrilling development
Technic' ("Etudes trancendentes d'execution") ;
of the thematic ideas, but a veritably Satanic
"Vision,"
"Feux-Follets,"
"Waldesrauschen,"
spirit, which interpenetrates the whole and lends
"Gnomen-Reigen," and "Harmonies du Soir."
to it a fascination hardly describable in words.
Now each of these studies, as will be observed, is
It is the very devil himself at the keyboard. And
provided with a descriptive name, and the interest
not only a merry, but sometimes a grim, a sar-
of this is that in each case the name is quite jus-
donic, a contemptuous devil at that. Satan him-
tified, while remembrance of it constantly is the
self is in this music. If you don't believe it, play
only means toward a true interpretation. Take
it and see.
the "Harmonies du Soir," for instance. There
But this is not all. There are the delightful
we have it plainly: "Strains of Night," "Nature's
Song at Eventide," or something like that. Think "Annees de Pelerinage," which we might render
of that title, follow up the train of thought it "A Wanderer's Tales"; musical sketches of the
suggests, and at once the music becomes crystal places which Liszt visited and loved during his
clear in its meaning. Or, again, take the "Vision." years of wandering over the face of Europe.
Some of these are pictures of Switzerland, some
What could be more mysterious, more ominous,
of
Italy. "At the Spring" ("Au bord d'une
more thrilling than this? And yet one must be
very careful to think out in advance the meaning source"), "The Drops of Water at the Este Villa"
("Les jeux d'eau a la villa d'Este"), "The Lake of
and significance of the music. For nothing is
easier than utterly to spoil the effect of this study Wallenstadt," and many others, all deserve care-
ful study and will repay any trouble taken with
by treating it carelessly.
them.
Again and again one must reiterate the warning
Then we must not forget the wonderful tran-
that the player-piano is a dangerous instrument
scription of Schubert's, Schumann's and Franz's
of music in the hands of the careless and the
songs. Who can ever forget the marvelous way
ignorant. Those who will not take the trouble to
in which Liszt wrote the meaning of the "Erl
learn something about the art works they essay to
King" into his arrangement of that song for
interpret should leave such things alone.
piano? Or what is more lovely than the ex-
The "Poetic and Religious Harmonies."
quisite transcription of "Du bist die ruhe" ("Thou
These compositions, of which there are several, Art Repose"), or the charming "Hark, Hark, the
Lark"? Or, again, how fine are the three noc-
are the product of those astonishing periods of
religious emotion through which Liszt passed from turnes known as the "Liebestraume," with the
time to time during his very extraordinary career, titles "Exalted Love," "Dream of Love" and
and which culminated in his ordination at'Rome "Blissful Death." Let us not forget, either, the
in I860. It is very difficult to judge them with very wonderful arrangement of Schubert's "Vien-
equanimity. One does not know just what to nes" Waltzes, or the thrilling "Loreley," in which
latter song Liszt rises to the greatest heights as
say about them. In one sense they are just Liszt;
a thinker of poetical musical thoughts.
in another they are the outpourings of a burdened
There is so much fine music to be found in the
soul which is finding rest and peace in the bosom
of the Mother Church. The "Legends" are espe- many compositions of Franz Liszt that one is
tempted to go back again and again to* them.
cially interesting, and when properly understood
Enough has been said, however, to put the player-
and appreciated, most fascinating. We should
especially recommend the "Legend of St. Francis pianist on the track of much good music, much
in which he will delight, much that will linger in
d'Assisi Preaching to the Birds." This is not