Evening star. [volume] (Washington, D.C.) 1854-1972, 1882-01-07
PIE TSsCAL LEGATIONS FOR
MUSIC.
Some Interesting illustrations.

To show that the physical qualifications for
music Is greater than may be generally believed
1t Is necessary to present few facts
The celebrated pianist. Gottschalk, was highly
amused on finding his performances studied
very closely by scientist who had published
treatise on the number of muscular efforts that
may be made In given time for this learned
savant found that in one brilliant piece Colts
chalk exceeded greatly the estimate he had
made after careful consideration. The number
or consecutive percusSiOns given out were
found to be quite astonishing. Although Colts
chalk pretended to he greatly entertained by his
critics and their widely differing points OF view,
yet he must have already known that his physical
strength was great Although to all appear
ance decately constituted. he wrested with
the muscular giants who were engaged in NOV
ing his heavy concert pianos. and with a success
that astonished them so greatly as to make it O
subject OF conversation to the present Gay.
When Bulow was on his concert tour through
Germany and Austria he met Rubnstein at
Vienna. They were both playing on the BoZen-
dorfer piano-fOrtes. but BulOw would not play
o n RuDlnsteinS instrument. He would have
another one provided for his use. Prof. Schmidt.
OF that city, being curious to learn the real rea-
son OF this determination examined the "tOuch'
OF each instrument respecting the depth the
Keys sank and the weight required to depress
them to the lowest point. The piano-forte that
OF Lightweight grams Zone gram being equal to
fifteen and One-half grains) while Buiow'S re-
CURED an average weight of one hundred and
five grams. Therefore the KEYS of the Rubin
stein pianO-forte were easier to put in action
than those of Bulows piano-forte; but On the
other hand the keys sank fully twenty-five per
cent. deeper than BulOW'S so that the action OF
both pianos made pretty equal demands on the
physical powers of the respective performers.
But if BulOw had played on Rubinstein's instru-
WGnla hauS cipk m
too deep, for they are small To play on an in
strumeut with deep touch one must have long
fingers
Professor Schmidt
COUNTED THE NUMBER OF NOTES
played by Rubinsten, at one of the concerts.
and found them to be siXty-two thousand nine
hundred and ninety in number, and therefore
equal to a pressure of nine hundred and eighty
eight and One-half pounds in weight On the
Bulow instrument they would be equal to a
pressure of one thousand one hundred and
ninety and ive-eighths pounds.
When it is considered that something more
than pressure is needed in a brilliant fortissimo.
and on a large instrument in a large hail. and
that high degree Of velocity must be given to
the hammer and not the mere motion due to
weight. some estimate of the expenditure of
force necessary to deliver such perc ussive &C
cents from the fingers NAV be made
1t is said that Rubinstein. when PLAYING In
New YORK on the SteinWay pian0-fortes. caused
some Instruments to be specially prepared for
nn Inc chances were of such nature that
few ordinary players would regard and vet to
the eXecutant they were most Important Sue
cess is often achieved in consequence of special
attention being given to matters like these that
from their mechanical nature seem foreign to
art OF beneath the consideration of an artist
The study of such details leads to subtle dis
tinctiOns being made that NAV be spoken of as
fanclIul or the result of an over fastidousness
nervousness, or love of making ridiculous dis
examinations on the part of the artist, analogous
10 thOse sometimes made by prima donna.
But as Y1gliant attention given to or withheld
from seeing trifies may affect the margin. how
ever small, that will make or break a merchant
IN business venture. so thought bestowed on
or withdrawn from matters connected with the
physical and material elements of art may lead
81 nillarly to fame or failure.
VIOLIN HAS LATELY BEEN INVENTED
by c. F. Albert. of Philadelphia. The body is
removed. and spine with two small resonant
cavities takes its place. This instrument is
specially designed for travelling violinists for it
may be folded up. The height of the strings
above the finger board NAV be varied. and TINS
the fingers of a student may be gradually trained
to press them greater distance. The tone is
extremely soft. so that the many nerves of the
head that pass from the under-sde of the left
jaw to the brain may not be Oyer-taXed This
aSWeil aS being OF inestmabie value to others
IN contininS the tone produced by a student
within the limits OF the room he occupies. 1t is
surprising that more consideration is not made
Tor other persons by those who practice music
In many boarding-school one NAV hear sew
erat p!ano-fortes being played loudly at the
same time, while other students are trying to
learn their lessons. This leads to haired of
tones and even music. 1t is very simple mat
ter to insert wedge ofcork above the left foot
pedal or to have celeste felt placed over the
strings Of each instrument. by which their tones
may be reduced to minimum By any such
proceeding the wear and tear OF the struinent
and especially the felt of the hammers. and the
annoyance OF listeners may be leSsened while
the student will labor under no Disadvantage
but may be often spared headache. the result
OF over-stimu!ation OF the brain through the
ear.
PERFORMANCE ON WIND INSTRUMENTS
With reference to the physical qualifications
for performance on wind Instruments it should
be remembered that although a single nspec-
ton OF the lips and teeth and trial of the lungs
and heart would probably show sufficient capac-
ity for ordinary performances, it would be
utterly impossible to say if. after years of hard
study ana practice, any one person would be
able to compete successfully with the best play
ers The physical powers might prove UNEQUAL
70 the strain of regular practice and instead of
and lead to trouble with the nerves of the Inns
and other distressing consequences When it is
considered how very trtng is the knowledge of
art required to play a few popular songs upon
corfet. and the enormous fees that are continu-
ously paid for such performances. and how many
persons are striving to obtain these fees the mat
ter seems to resolve itself at once to a question
of physical power.
The reeimental band of the Bluffs was broken
up while stationed at Calcutta. in 1878. in con-
sequence OF fifteen out of the TWENTY-FIVE menu
beers being found unit to play wind Instruments
The report Of the medical authorities after care
fnl inspection says:-''Tlat owing to the ST ate
OF their hearts" the required eXertion was too
great. On the other hand. an eminent French
physician has put forth theory that the play
ing on wind instruments Is beneficial
The real conditions of the case are not easily
found or understood. but it appears to be a
rational conjecture that the larger the instru-
ment the easier, more natural and healthful is
its employment. and especially as far as the
lungs are concerned. Therefore it would prove
advantageous to begin with deep bass tuba or
trombone and gradually to proceed through the
various kinds Of trombone to the trumpet and
Cornet.
UPON BIG ORGANS.
With the advance in the physical sciences, per-
formance on enormously large cathedral and