The Lambertville record. [volume] (Lambertville, N.J.) 1872-1968, 1895-01-02

Si'"t'ohs AANlplu6 AASh OfhSfB fIuuh
Bice. Recitation, s.The Candy Mac, u
Charlie Abbott. Recitation, ''The Lost
Kitten" Harry Lawyer, Julius Steven,
Edgar Ruth, Gideon Cook Singing.
SHERRY Bells of Christmas Tlmc," School.
Recitation. "Too L,,le." Annie Bowels.
Singing, "Away in Manger," School.
The following interesting pafer was
read by Mrs. s. W. Cochran, at late
meeting OF tue Piano Club Of this city
oHoPIN's WORKS
The list of Chopln's works number only
seventy four. Not very formidable list,
yet they represent az immense amount OF
care and labor. With regard TO rare must
cal value, originality and perfection of
style, the solo pieces might be classed as
follows: Etudes aud preIudes. ma2our-
kas and polanaises, ballads and sheI2os,
nocturnes and wal;zes. Ne can see now,
after the lapse of forty five years, he was
not az inspired amateur, as ihe musicians
and friends of bis time were apt to think
him. Even his most ardent friend and
critic, List, chose TO accent the poe,ical
and romantic side of his Individuality,
aud few classed him with prof s'onal
academically. drained musicians.
A Polish emigrant, Gryginala, who was
among Chopin's early friends, seems
mainly responsible for so many misstatc-
ments concerning his life and training.
From his mother he seems Ia have inher'
tied his peculiar scnsiivcness Of tempcra-
mcnt, and being the pel,cd darling OF a
select circle Of Partisan friends, we must
give him credit FIR tue amount Of serious,
earnest work he id II 'beIt Schuman,
on hearing his rreludes, called him The
boldcst and noblesi artistic spirit OF the
times. lie might have added he was a
thoroughly trained musician OF quite ex'
ceptional attachments. a pianist OF the
very first order and a writer for the piano
tote pre- eminent beyond comparison, a
great master Of style, fascinating me-
Iodlst, as well as most original manipu.
lai,r OF reilucd rhythm and harmony.
lie chose forms for his compositions 10
which the Rhythmic or mcl@dic type is
prescribed, such as mazourkas, polonaises,
wal,zes, &c. While he virtually set him
self the task IT saying the Same thing
agaia and again, yet in variety Of torn
and cooriag he appears truly iucxhausli.
BILE, even as the Autumn leaves falling
year BY year ever assume new colors aud
shadings, yet ever bring recurring Delight
Like magician, he appears possessed oil
the secret to transfigure whatever he
touches into form OF which no dupli
cate is possible, no imitation desirable.
He was a great Inventor, not only as
regards the technical treatment OF the
pianoforte, which included the pedal
movement for which he stands out so
conspicuous, but as regards the compost
ton Of music. He spoke Of new things
well worth hearing and found new ways
of saying such things.
How different bis cradle song from that
Of Grleg. While In the one we have the
sturdy. vigorous elements II the Morse
character, with its humble surroundings
and violent temperament capable OF sud
den and energetic outbreaks 10 the Other
we have the dignifed precision, the dainty
surroundings and the exquisite colofiogs
which we would expect 10 nnd In Paris
salon.
We ever look for exquisite refinement.
A halting rhythm or vulgar melody were
instinctively revolving TO him. lie was
such seeker for refined harmony that
he seems 10 some Of his later works to
have over.shot the mark and clouded
them In obscuTeness.
His waltzes are perhaps his most popu.
lar compositiors, but are not written for
tho feet alone, but for heart and imagina.
ton. The one Ia A fist, which We will
listen TO, is planned on broad scale, con-
tains great variety aud thoroughly taxes
the resources OF the pianist. In i,s tender,
floating melodies, bright and delicate pass
age work, ils surging, swaying hJthm,
it suggests the gliding grace. the arch CO.
ouctry and passionate warmth which We
associate with scenes I" Where youth and
beauty meet TO chase the glowing hours
with flying feet" Sparkling lights, deli
cate, floating draperies, and bright eyes
that sciutlate with mirth nr soften with
emotion are all brought before us.
Next comes the polonnisc, which wal
less dance than promenade, in which
courtly pomp and aristecratic splendoi
are on exhibition. Ia contrast with thu
waltz Il is a chivalrous rather than amor
Gus dance, one ia which age and rani
take precedence OF youth and beauty ane
masculine strength holds the foreground
rather than the fair beauty. Chopin
handles these with masculine hand, on,
OF great power and yet delicate refine
ment.
II we Judge by numbers, the mazourk'
was Chepin's fayorlte form. They con
tain more local coloring than any other o
his compositions. His intense patriots
love, his devotion to his art, and his brigh
yet sorrowful life, are oil depicted in thes
pathetic dances, and we feel that 10 then