in some detail, there are others who at least should be touched on,
always bearing in mind, however, that one of the aims of this book is
to stimulate the pianolist to explore for himself. Bach, Händel, Haydn
and Mozart can be studied most profitably in connection with the
courses that are referred to in the chapter on Educational Factors
which follows. There too will be found reference to the thorough
courses on Wagner, one a general course on that composer, the other a
special course on his "Ring of the Nibelung."
A line of composers that may well interest the pianolist has come to
the front in Russia. Rubinstein, whose "Melody" in F and "Kammenoi,
Ostrow," No. 17, are among the popular selections in the pianolist's
repertory was a Russian, who, however, from a musical standpoint,
expressed himself in German. To a certain extent the same is true of
Tschaikowsky. His music is "universal" rather than national. It has,
nevertheless, the Russian tang to a greater degree than Rubinstein's,
and Tschaikowsky is classed correctly as the head of the Russian
school and one of the greatest of modern composers. His "Pathetic
Symphony," which has been metrostyled by Edouard Colonne, a
distinguished French orchestral conductor, is a noble work. Among
smaller pieces which the pianolist readily will appreciate, are the
"Song without Words," Op. 2, No. 2; an attractive "Valse à cinq
Temps," with its oddly extended rhythm; the very characteristic
"November, in the Troika," Op. 37, No. 11; an expressive "Barcarolle"
and the selections from his "Casse Noisette" (Nutcracker) ballet
suite.
Next to Tschaikowsky's "Song without Words" the most widely known
short piece for pianoforte by a Russian composer is Rachmaninoff's
"Prelude," Op. 3, No. 2, a broad and sonorous work with a splendid
climax. A little "Waltz," Op. 10, No. 2, is captivating; and a
"Serenade," Op. 3, No. 5, has an originality and charm quite its own.
A very beautiful "Moment Musical," Op. 16, No. 5, does not seem to
have been included as yet in the catalogue of music rolls, an honor to
which it clearly is entitled. Arensky, Balakirew, César Cui,
Glazounow, Karganoff, Liapounow, Rimsky-Korsakow, Sapellnikoff and
Taneiew are other interesting figures of the "New-Russian" school of
which so much is heard at present.
Dvorak who was a Bohemian wrote much music distinctly and
fascinatingly characteristic of his native land. He was, however,
broad enough in his tastes to recognize, during his sojourn of three
years in America, the beauty of the Negro plantation melodies and to
compose upon several of these as themes, his symphony "From the New
World," sometimes called more briefly the "American Symphony." This
symphony, two works of chamber music, also composed during his
residence in America, and his compositions in his native Bohemian
musical idiom usually are ranked higher than his more cosmopolitan
efforts. His "Humoreske," Op. 101, No. 5, the "Slavic Dances" and "On
the Holy Mount" are among his compositions unmistakably Bohemian in
origin.
While Saint-Saëns, having worked more successfully in the larger
orchestral forms, is ranked first among contemporary French composers,
and Chaminade leads as a composer of clever salon music, the
pianolist can add some attractive pieces to his repertory from the
compositions of Delibes and Godard. Delibes is the composer of the
opera "Lakmé," and the Airs de Ballet from this, as well as the
selections from his "Coppelia" and "Sylvia" ballets, will be found
spontaneous and original. In fact in all instances in which music
composed in dance forms has survived, this will be found due to a
decided strain of individuality and resulting originality in the
composer. The Valse Lente from the "Coppelia" ballet is among the
hundred most popular pieces in the pianolist's repertory; and well up
in the same list is Godard's graceful "Second Mazurka," Op. 54.
Among the most distinguished modern composers is the American, Edward
Alexander MacDowell. He is living, but his work is over; for,
unfortunately, his mind has given way. His "Scotch Poem" with its
graphic musical representation of the sea beating against a rockbound
coast and its lyric episode consisting of a trist Scotch ballad, is
highly dramatic, while his "Sea Pieces" are among the most poetic of
contemporary compositions for pianoforte. His "Witches' Dance" is
highly descriptive, and in whatever direction the pianolist may
familiarize himself with the music of MacDowell, he will be found a
highly original, eloquent and expressive composer, whose fame, already
established, is bound to grow with the lapse of time.
This chapter may fittingly be concluded with a brief reference to two
great German composers, Schumann and Brahms. Although "popular" is not
a word ordinarily associated with Schumann, two of his shorter pieces,
"Träumerei" (Revery) and "Warum" (Why) are great favorites. Schumann
did much for the development of music that has a distinct meaning and
his works frequently bear titles that are suggestive of some mood or
scene, like "At Evening," "Soaring" (Aufschwung, sometimes translated
as Excelsior), "Carnaval," a series of twenty-one pieces descriptive
of carnival scenes; and the "Novelettes."
Brahms is far more of a melodist than his critics give him credit for,
but his clearness of expression is interfered with by the relentless
scientific accuracy with which he works out his ideas, to which method
he is apt to sacrifice only too often the innate beauty of his
thoughts. He seems, however, to be slowly gaining ground, but more
through his songs than through his instrumental works excepting those
of chamber music. Yet any one who will seriously study Brahms and
begin with the shorter pianoforte pieces, Op. 76 and Op. 116-119, will
find mines of purest musical gold, where, perhaps, he least expected
to discover them. Entirely different in style from Brahms' other works
are his "Hungarian Dances," in which he has taken dance themes of the
Hungarian Gypsies and skillfully worked them up into pieces that are
melodiously and rhythmically fascinating and unreservedly popular.
They are much played by pianolists.
Let me point out again, here, that, however unsystematic the
arrangement of this book may seem to the musical pedant, I have
followed a certain sequence--one of my own devising and which seemed
to me best adapted to give the pianolist a bowing acquaintance with
some of the great composers that would lead him to wish for a closer
intimacy with these and others. What I have kept in mind, and very
clearly, is the fact that I am dealing with a player for whom all
technical difficulties have been eliminated by the very instrument on
which he plays. The complete control it gives him of all technical
resources is what makes the old method of analyzing pieces according
to their historical sequence not only unnecessary but futile in a book
of this kind. Nevertheless, so perfectly does this instrument adapt
itself to all music, that any one who desires to trace up the
technical evolution of the art from Bach to the present day, will find
it the readiest means for accomplishing his purpose, especially if he
uses in conjunction with it the educational courses referred to in the
next chapter.
VII. EDUCATIONAL FACTORS.
It is not overstating the case to say that the pianola is the first
practical means ever devised in history through which people in
general, whether they have had previous instruction in music or not,
can become familiar with the world's best musical compositions. Not
only can they familiarize themselves with the past, they are able to
keep up with the present. For example, many of Richard Strauss's
works, including selections from "Salome," are to be found on the
rolls prepared for this modern instrument. In fact every new composer
whose work has any significance is represented in the catalogue of
music rolls. Supposing a pianolist is planning to attend an opera or a
concert. It would have to be a very peculiar opera or a very peculiar
concert program which he could not obtain and try over beforehand.
Needless to say that, by trying it over beforehand, his appreciation
of the performance would be increased a thousandfold.
Singers who cannot accompany themselves on the pianoforte, will find
this new instrument a boon. For there is a special list of
accompaniments in which the principal works in the vocalist's
repertory are represented. Lovers of chamber music in which the
pianoforte figures, will find pieces like sonatas for pianoforte and
violin or violoncello, trios for pianoforte, violin and violoncello,
pianoforte quartets, quintets and similar works, arranged so that the
pianolist can play the pianoforte part. "This is the first time I ever
have heard every note of the pianoforte part of the Schumann quintet,"
said the first violinist of a well known string quartet to Mr. E.R.
Hunter, a professional pianolist, after a performance of this famous
work with Mr. Hunter at the pianola.
The importance of the educational value of this new instrument is
recognized by many of the leading educators in music. Harvard, Yale,
Columbia, the University of California, the University of Michigan,
Vassar and many other institutions of learning use the instrument in
connection with their musical courses. At Harvard, in connection with
the lectures on music, the students are not only allowed but
encouraged to go in groups of six or eight to the hall in which the
instruments are installed, and play for themselves the symphonies of
Beethoven, the music dramas of Wagner and other music that has formed
the subjects of the lectures. "As a self-educator," writes Henry T.
Finck, "this instrument is worth more than all other instruments
combined, for the reason that any one can, without practice, play on
it any piece ever written."
Under the editorship of Carroll Brent Chilton, assisted by a staff of
musicians and writers on music, among them Paul Morgan and Edward
Ziegler, thorough educational courses for pianolists have been
devised. The courses collectively are known as "The New Musical
Education," and are conducted in connection with the Music-Lovers
Library of music rolls. These courses are admirably arranged. There is
a "Popular Course on the Great Composers" with a supplementary one on
the "Modern Great Composers." The former is divided into five lessons:
Bach and Händel; Haydn and Mozart; Beethoven and Schubert; Schumann
and Mendelssohn; and Chopin and Wagner. The course on the modern great
composers also is divided into five lessons: Liszt and Wagner; Chopin
and Brahms; Tschaikowsky, Dvorak and Paderewski; Saint-Saëns,
Moskowszki and Chaminade; and Grieg and MacDowell, the last named the
most distinguished among American composers.
Care has been taken in arranging these two courses not to aim above
the head of the musical novice. For example, in dealing with Bach and
Händel, two of their lighter pieces are taken up and analyzed.
Biographical data are given and, in addition to the pieces that are
analyzed, supplementary rolls of seven compositions by Bach and five
compositions by Händel are given, together with lists of reference
books. The other lessons in these two courses are planned in the same
popular style. They give the pianolist a bird's-eye-view of music and
its development from Bach to Wagner.
The "New Musical Education" also takes up the great composers
separately and gives most thorough-going courses on them. The
Beethoven course, for example, is arranged in twelve lessons. The
course furnishes the student with the Beethoven biography by Crowest;
with twelve "lesson pamphlets," each pamphlet relating to a division
of the course and written by Thomas Whitney Surette; with twelve
scores, orchestral and pianoforte; and sixty-two "educational" music
rolls. The scores correspond with the twelve works discussed in the
twelve lessons, each lesson being devoted to the analysis of one
composition. The rolls include not only those which give the works
complete, but also special rolls with music quotations illustrating
the points made in the lesson pamphlets. The various musical forms
employed by Beethoven are explained and analyzed, and in the complete
rolls the different sections characteristic of each form are clearly
indicated in print, so that the student, having read the analysis, can
follow it intelligently on the roll. There are many other practical
details of this kind in all the courses and which go to enhance their
value to the pianolist-student.
There are two splendid Wagner courses to which I direct special
attention because of the frequent performances of his works in opera
and concert, and because a comprehensive knowledge of the development
of his theories adds so greatly to the enjoyment of his music. The
first course begins with his early opera "Rienzi" and ends with
"Parsifal." All his works for the stage are embraced in this course
which consists of ten lessons, each lesson having, in addition to the
ordinary rolls, a "quotation roll," illustrating the points in the
lesson pamphlets, and in the case of the music-dramas, giving the
"leading motives," so that the student can familiarize himself with
these, and with their significance in the drama, and readily recognize
them when he hears them, while playing the complete rolls or at a
performance.
The second Wagner course relates to the "Ring of the Nibelung." It
takes up consecutively the four great divisions of the work,
"Rhinegold," "The Valkyr," "Siegfried" and "Dusk of the Gods,"
devoting a lesson to each. Each lesson contains a quotation roll of
leading motives and the following examples from the scores:--Lesson
I., "Rhinegold." Prelude and scene of the Rhine-Maidens, Loge's
Narrative, and the finale of the work. Lesson II., "The Valkyr."
Siegmund's Love Song, Ride of the Valkyries, and the Magic Fire Spell.
Lesson III., "Siegfried." Forge Song, Siegfried and the Forest Bird,
Siegfried and Brünnhilde. Lesson IV., "Dusk of the Gods." Siegfried's
Rhine Journey, Song of the Rhine-Maidens, Siegfried's Funeral March. I
know from the experience of one of my pianolist friends, how admirable
this course is. He took it before hearing the "Ring" for the first
time, with the result that he knew the music and the names of all the
leading motives, recognized them whenever they occurred in the score,
and in consequence, enjoyed the performance as much as if he had
become familiar with it through repeated hearings. I may add that the
catalogue of music rolls contains a complete collection of Wagner's
works, making the music of this composer accessible to the pianolist
whether he wishes to play it for study or enjoyment.
The pianolist holds in his hand the future of the development of music
in this country. The instrument on which he plays is the only
practical means as yet devised of making the great masterpieces of
music penetrate to the minds and hearts of the masses. Art has to
advance on its own shoulders. "I cannot rest contentedly on the past,
I cannot take a step forward without its aid." The pianolist has both
the past and present of music at his command.
VIII. A FEW "DON'TS" FOR PIANOLISTS.
By way of postscript I give here a few hints to pianolists. General
directions on how to play the pianola are provided in pamphlets and
circulars which can be obtained without charge, and I do not propose
to traverse these. The instrument is capable of great brilliancy and
great power, greater than lie in the ten fingers of any pianist. This
very fact is what has caused the instrument to be called "mechanical."
But in reality it is the fault of the player, because, carried away by
the capacity of the instrument, he is apt in the beginning to play too
loudly and too brilliantly. One of the first don'ts for the pianolist
is that he refrain from putting the instrument to the full test of
its--not really mechanical but superhuman--capacity for brilliancy and
power.
Indeed, not only the beginner, but all pianolists should bear in mind
that the chief distinction of the instrument lies in its exceeding
delicacy. No virtuoso can play as delicately and lightly and, at the
same time, as distinctly as can the pianolist those rapid pianissimo
runs and those exquisite traceries and ornamentations which are found
in modern music; all of which does not mean that the pianolist never
should play loudly and brilliantly, but that he should not allow
himself to be carried away by the possibilities of the instrument in
these directions.
Certain refinements of interpretation which the pianist long has made
his own also should be observed. Don't start a trill and keep it up
with an evenly sustained strength of tone and rapidity from beginning
to end. Begin it a shade slower and a shade more softly than the tempo
and dynamic signs indicate, let it swell and grow louder, then taper
down, and slightly retard the turn which leads back to the melodic
phrase. This is not a hard-and-fast rule, but one which usually it is
safe to follow. The pianolist can execute his trills with a
combination of delicacy and clearness that is absolutely unique.
Don't rip off runs as if you were tearing cloth. Come down with
decision on the first note, begin somewhat slower than the indicated
tempo and then increase the time to the proper acceleration. This is
the true virtuoso effect, adopted, no doubt, because on the pianoforte
it is easier to execute a run in this manner; and so, however
erroneously, it has come to be considered the genuine musical
way--showing that even in art we are creatures of habit.
Don't use the sustaining pedal too frequently, not even as frequently
as indicated on the rolls. The pedal directions on the rolls follow
those of the printed sheets too closely. The pianist often is obliged
to use the sustaining pedal to hold a note that he cannot keep down
because his fingers are otherwise employed. But the music rolls are
cut so that every sustained note is held down as long as the composer
directs that it should be. Remember too that the term "loud pedal" as
applied to the sustaining pedal, as it properly is called, is
incorrect. This pedal sustains but does not increase the power of the
sound that is produced. That effect is secured by a stronger pressure
of the feet upon the pumping pedals. In fact by varying the degree of
pressure of the feet on the pumping pedals the pianolist can vary the
degree of sound from a whispered pianissimo to the strongest
fortissimo.
The pianolist should remember that, as the instrument on which he
plays relieves him of all burdens of technique and enables him to
play anything, no matter how difficult, with absolute technical
accuracy, it is all the more his duty to play with as much expression
as he can call forth from his inner nature. Emotion, the power of
expression, the art of interpretation, can be developed by practice as
well as any other latent capacity. It is an excellent plan for the
beginner to take one piece, the Nevin waltz that I have described, for
example, and play it over many times, not necessarily at the same
sitting, in fact better not; but without attempting anything else.
Each time let the pianolist try to get more meaning, more expression
out of it than he did before. He will find, if he does this, that,
when he takes up another composition, the expression, the art of
interpretation, will come to him more naturally and more quickly,
until, from an ignorant beginner, he soon will have developed into a
musical artist who can give himself and hundreds of others the most
exalted pleasure--that of listening to music, not to mere playing.
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