The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1900-02-25

sisted by Mr.. Hugh McGibeney, Vioiinist.
Mrs. w. F. Schelke. soprano; Mr.. Frank
Tavlor. baritone: the Philharmonic string
quartet, composed of Hugh McGibeney,
first violin; Miss Bertha Schellschmidt.
second violin; Rudolph Roster. viola. and
Charles F. Hansen. who will give his
humorous sketches on the organ, a novelty
in organ work that will meet with favor
der. including: Sailors Song Cdosen-
thaD, Evening and Laughing" (Abt),
Glover Blossoms Kiss Her Feet" (Haw-
ley), Woodland Roses" (Mairl. I'm Love
(Smith). and. by request, "Paul Revere's
Ride (Buck) The string quartet will play
Haydn's andante and variations on the
"A Td Ian. National Hymn" Mrs. scheike'
respectively. MY Noble knights" Meyer
beer, THE Sword of Ferrara' (Bullard),
and Rhapsody Hongroise" Wauser.)
Thursday, March /, is the ninetieth an
niversary of the birth Of Frederick Francois
Chopin. Though he only lived thirty-nine
years these must have been busy ones. At
the age of nineteen he made his debut a
pianist in Vienna He there produced one
of his first compositions, the don Gio-
vanni Fantasia" which excited the won
dering enthusiasm of Robert Schumann.
The individuality and style of Chopins
works were not the result of gradual de-
velopment, but were characterized from
first to last by a most melancholy nature,
usually attributed to his Polish or Slayonic
nationality. While a high-strung, passion
ate nature such as Chopin possessed could
only express itself in short forms of music
these scintillate with refined restlessness
contagious in the extreme His many valses,
mazourkas and polonaises, are fanciful
creations, dances in name only, but are
ttctt -
they form a type of compositions that will
forever stand alone. Chopin is perhaps
best known by his nocturnes. The favorite
with most musicians is the Opus 81. No. ?.
This work begins with a simple barcarele
melody, but before the tenth measure is
reached he has turned a complete har-
monte somersault, and these unusual
changes of key continue throughout the
composition, emblematic, some think, of
the composers short, sad life. One whose
nerves are unusually sensitive cannot help
being swayed by this work. A well-known
young musician of this city was almost
undone by overmuch Chopin study, and
1t was several years before he could re-
sumo his music studies. Chopin's works
cannot be played by amateurs because, to
give them correctly, presupposes knowl-
edge or harmony, without which, leaving
technical difficulties aside, an intelligent
rendition is impossible. His creations are for
the virtuoso. in whose repertoire they will
live because of their inherent virility and
sterling originality, and also because of
their extreme erraticism. Vladimir De
Pachmann. the most noted Chopin inter-
prefer living, will celebrate the composers
anniversary by giving an entire Chopin
programme at his recital at Mendelssohn
Hall. New York. Thursday evening.
Unlike any Of the other great foreign
artists who have visited this country for
the first time Mark Hamburg, the
phenomenal young Slav pianist. who will
appear in this city at the German House
on Tuesday. March 6, at the Amphion
Clubs concert, prefers to travel alone
rather than be accompanied by an agent
AS his knowledge of English is very slight
and his acquaintance with American Gus
toms and manners still slighter, he natur-
ally has many amusing experiences, which |
he accepts not only with the calmness |
of a philosopher, but with humorous APP
probation: The following anecdotes are |
amusing instances, and they are said to |
be bona fde occurrences: The other night |
after one of his concerts he went into the |
office of the hotel and was waiting at the |
desk for the clerk to give him his key |
had been regarding him closely. The |
stranger had evidently been dining well |
and drinking much. He was in the affec- |
arouna sfhge ana placing his
confdentially. SAY. kid, amt you |
some kind Of an artist? "Oh, |
don't KNOW" said Hamburg, modestly; |
WHY" Il know you are an artist; you |
look it. I'm artist myself. I play the |
banjo. and raise -. too" WELL" said |
Mark, II just play the piano, but don't |
raise anything-unless it's the limit, occa- !
sionally, In friendly game Of draw" One |
OF Hambourgs early experiences on an
American railroad was on a sleeping car |
over rough stretch of road full OF curves |
and winnings, and the cars unsteady mo-
ton made walking a hazardous task and |
sleeping an impossibility. He summoned |
the porter to his section. Say" said he, |
in his broken English. tell your conductor |
that he must go slower around these cor
ners or shall not be able to appear be- |
fore my audience to- morrow" whats
the natter" asked the porter. "This car /
goes too fast around the corners. It jolts |
me all to pieces. / am Mark Hamburg
the pianist, and I must play tomorrow.
Tell the conductor all / say, and waste |
no time" The player crep back to his Sec |
ton and the porter returned to his boots, |
whistling, meantime an unclassical, rag
time air, and the incident. so far as he |
was concerned, dropped but il so |
happened that within five minutes the train |
slowed up at q junction. where ii waited
two hours for Southern Connection, and
in the stiffness of the night the pianist
composed himself to slumber with pleas
ant smile resting upon his face. His COM
mand had been obeyed