The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1899-02-18
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Angelus--Do YOU think that IL is
advisable to play everything from
memory? ! refer to piano pieces
which one has practiced To play be-
fore others
Answer. That depends upon whether
ones memory can always be relied
upon. There are those who assert
that 2 piece can only be played with
the proper expression when the per-
former has no notes before him. there
are others who declare that playing
from memory is a detriment, since the
players mind is hampered by a con
stant fear that his memory may fail
him. a player can interpret his pieces
better If he has once memorized them
sufficiently to play them entirely from
memory in the privacy of his own
home, even if he uses his notes i'm pub
lie. The process of memorizinP has
made him so familiar with every note
that he has n clearer conception of the
compositions ana their proper inter-
pretation. 1t Is at present quite the
fashion to play everything from mem
ory, even in public. Some of the great
concert pianists have cultivated their
memories to such an extent shat they
perform almost incredible feats in this
direction; indeed, it is not to be doubt
ed that their exhibitions Of memory
call forth from the public a species Of
admiration not far removed i'm k.rd
from that which any acrobat or tight
rope performer might evoke. The
musical merit of the performance, ard.
IN consequence, the desired effect ppcn
the listeners. is too often lost sight IF
in the opcn-eyed. open mouthed aston
lshment that a long and difficult pro-
Sramine has actually been played from
memory. The worst side Of always
playing from memory is that even the
greatest artists are limited in rhe eE-
tent Of their repertoire. Certain COM
positions of the great composers are
learned as a stock in trade. as il were.
ana the almost mind-killng task O"
committing them and keeping them
clearly in the memory prevents Them
from performing hundreds of other
compositions. equally great. which The
musical public would rejoice in heal
ing.
carr ReiniCke one of the graatcrt
living musicians. who for many Years
was conductor of the famous GewdnG-
haus orchestra. at Leipsic, Germany.
ana is Sttll connected with the ccIe-
brated ConSerVatorium in the same
cllN, mas touched upon this mallrr Of
memorizng in What Shall We Pray"
as IOllows:
u am of the opinion that one OUGHT
not only 70 cultivate and devclop a
good musical memory. but ouch: also
to strengthen a weak memory. Ii is
very nice not tn be obliged tn i;nroll
ones notes for every little musical per-
Torrance. Playing from memory mas
also certain charm for the majority
of the public. Acknowledging inis. I
must nevertheless complain that play
Irg from memory has hecom, a kG,d
of fashion. Conductors ,.ho. like
myself have been embarrassed innum-
cradle times by solosts. even nose If
the first rank. who forgot thclr notes,
confusing both orchestra and leader.
VINO have been asked cOntidcntial!y by
NirtuoSi to give them a private sign
here and there, feel very much like
saying To them: Most respected lad
les and gentlemen. play your 81 plos. if
YOU choose, from memory. for yo,. can
help yourselves out whenever NDlr
memory fails you. but i'm playing with
orchestral accompaniment IL as Md
dame Clara Schuman does. She is GER
tainly not inferior to you. but she neV-
e'thelcSS places her notes neatly on
the desk to guard against all ppssl-
bilitY of stumbling. 1t once happened
to MendelssOhn, even. that h- broke
down i'm his own ID minor concerto
Iney tell me that in Amercl a vir-
tuOsO would ne lost from the begin
ming If he should make use of his notes.
Al such views of art Cne can only
smile. If it would make enjoyment
of art any higher To play from rnrm-
Ory, every honest artist ought TO force
himself 10 it at any price" hut this
H. simply not the case. Who would
assert that the performance nf tnc
Joachim String quartette 10 not belong
20 the most lofty thar i'm eIHrutativr
art can show? Yet these four artists
have the notes before their eyes. who
knows whether an Organist. hidden
from sight, is playing from memory
or not" What matters it - the blind,
10 the ncar-sighted, TO rhoS" seated at
distance, whether tha performer
plays from nOres or nut2 Consequent
~, one cannot say that it affords a
greater and higher enjoyment to listen
10 n piece of music played from MEM
Ory. 1t has only become a matter of
fashion, bravura ahd report ON the
side of the artist ana the public Las
50 accustomed itself 10 ii, little by lit
tie that it now almost feels entitled
To demand it. The chief reason why
modern artists have So accustomed
themselves to playing from memory
you will find when you considc" that
N" tasks which are demanded oi tha