Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1891-12-20

exAggeration to say that his name Is .
household word with every futist living.
He lived to realize his hopes, and died in
Munich Q881) at the patriarchal age of 80
years. Although the distance is great
which sometimes separates the conception
Of happy ideas from their realization in .
practical form, those who know will see
proof of the value of Boehm's invention in
the fact that it has lived down the prejudice
against all novelties and established itself
as the only queen of instruments, Of which
the violin is king.
Although nearly 40 years have passed
since the greatest futists of that time ac-
-cepted the Boehm flute, there are, strange
to say, here and elsewhere good musicians
playing the antiquated German flute and
ready to take up the club in defense Of that
wheezy relic of bsrbarism. The antagonism
to the Boehm flute has been more notable in
Germany and among Germans everywhere.
The Old Style Flute in Pittsburg.
Who can dispute that Mozart, though he
charmed his audience on a spinet, could
have produced still greater effects with the
best modern piano? And the same COM
parison is just regarding the two flutes, for
Berlioz, who was one of the judges at Lon
don when Boehm's flute was awarded the
Boehm's the old flute was only fit to be
played at q country fair" Undoubtedly
many artists have carried perfection to its
last limits on the German flute, but there
are difficulties in the construction of the
instrument which it is impossible to over
come. need not, however, go beyond our
present day for an exceptional example of
what may be accomplished with the old
flute. Those who attend the Pittsburg con-
certs will, no doubt, agree with me that in
point of tone and execution Mr.. William
Guenther charms US in spite of the possible
defects (for / have not noticed them) of his
flute. In this case boldly state that the
secret is in the player who wears his we'll
earned 1aurels with the modesty becoming q
conscientious, talented artist.
With the Boehm flute no technical diff
culties are known, but to produce a perfect
tone requires the most careful practice and
perseverance,. If the player attempts to
make trumpet of his instrument It's effect
and beauty are lost, and any conductor
would be justified in excluding him from
the orchestra The orchestral players chief
quality should be that he blend with the
band, but If he forces the tone-seeking in
dividual prominence, the effect is shril1 and
harsh.
An old italian proverb sayu "A good
voice In SO per cent" but without subscrib-
ing to that maxim will remark that tone is
the most essential part wherein lies the
beauty Of the instrument, and no player
can attain distinction without it.
Some OF the Best Players.
Tulou was one Of the most sentimental
players that ever lived, but his playing was
ineffective, as he had no tone. Charles
Wehner, of New York, sustains his great
reputation on tone alone; while the quality
of his tone is perfect it lacks in power and
capacity that of his gifted pup pill Otto
Oesterle, first flute of the Thomas Orchestra.
Many Of my readers who have heard that
body Of musicians have been charmed by
the superb tone and fine technique of that
brilliant, talented, young artist.
The Boehm flute will depict Joy, sadness
and boldness, if the mind asserts its supe-
riority, and one of the chief causes of the
neglect of the old flute was from tho sense
less, tasteless character of most of the COM
positions Execution has been alLprevail--
ing, fact which the majority of hearers
deplore. Nevertheless composers have
been encouraged into the debasement of one
of the most. beautiful of arts, by audiences
applauding that which at most only excites
some wonder, never affords real pleasure
and il often the source of absolute disgust
The Real Test Of Skill.
Such pieces as Demersseman's "Carni-
val" and the Austrian Hymn" by Heine-
meyer, are no doubt very wonderful, but
where il the music? For my part, as an
amateur Of 10 years playing, a good an
dante sostenuto is better criterion of q
players ability than the Carnival" or
any Of those pyrotechnical displays I
know Of some dextrous performers of such
music who are incompetent to play Boehm's
"Andante Pastorale," than which no finer
exists.
From its easy method Of treatment the
Boehm flute is fast becoming popular with
women both in Europe and America The
keys are as easily manipulated as those of
the pianoforte, and the position moro
graceful than that of the violin. What
sight can be more impressive than to see q
lovely woman playing a resplendent silver
Boehm? The reason which provoked
Minerva to throw aside her flute has for
tunately inclined modern women to its use,
for by performing upon it their natural
charms, instead Of being diminished, are
but rendered still more irresistible.
All futists owe to Boehm a debt Of grati- |
tude which they can never repay.
WILLIAM MAxwKII.