The star. (Reynoldsville, Pa.) 1892-1946, 1907-09-11
WHAT IS A concerto?
1t Is the Dedication of a Single
instrument.
TONE DRAMA IN THREE ACTS.
A Concerto Is to the Pianist. Vioinist
or CeIlist What Grand Opera Is to this
Singer, the Highest Achievement the
Player Can Attain.

one instrument Is given persistent
prominence-in other words. an ex-
tended instrumental solo with orches-
tral accompaniment, often taking three
| quarters of an hour to perform. 1t is
the dedication of single instrument.
the highest achievement its player can
attain. A concerto is to the pianist,
| violinist or cellist what grand opera
| is to the singer. 1t is tone drama in
| three acts-energetic, tender then eli
matte.
In the first movement there Is usual
| ly a cadenZa two or three pages long,
which serves the sololst as the "mad
Scene" does the prima donna in "Lu-
cia" 1t Is an occasion for display.
The orchestra is silent, the conductors
baton at rest, while the player Of it be
a piano concerto) valiantly scales the
keyboard alone. At certain note,
however, the orchestra resumes its
role, giving the pianist perhaps rest
Of several bars. But he must be ready
for his next cue. Though it be on
thirty-second note in the middle of a
beat, he must ''land" square and true,
like a circus rider on his horse
In the matter of memory the pianist
has task more arduous than that of
any other solost. The singer voices
but one note at time, the viollnist on
occasion simultaneously sounds four,
but the pianist must keep in his head
perpendicular chords ten deep. When
1t comes to composition sixty-five
pages long, the players brain becomes
vertable safe deposit full of notes.
while his hands. like cashiers dole
them out.
There are famous cOncertos by all
great composers and for nearly all in
struments, even an occasional one for
the drum. But most numerous and fa-
miliar are the piano cOncertos A not
able example to study Is the one in ID
minor by Rubinstein, titanic stric
ture, splendid and substantial as the
shield Of Achilles, being sufficient in
Itself to protect the composer from OBJ
ilvion. 1t commences with the orches-
ira alone, softly mt first, but steadily
working up to clmax-a crescendo
that "torches the stars" Suddenly
there 10 crash from the piano and
tumble of chords, like the ornament
falling. Lucifer cast down from heav-
en-, lightning striking the earth, a me-
teor dropped into the sea, steaming,
Kissing, subsdlng.
1t Is stupendous effect when well
done, but something for the pianist to
work over thlrty-slx hours week all
the weeks Of year, and then full
decade later he still may find room for
improvement In this one overpOwerlng
passage. In the manner OF his attack
upon these very first chords a public
performer declares himself an artist or
a dllettante. No mere summer even
ing's play Of sheet lightning will do for
this tempestuous demonstration of elec-
tNc force. Indeed, the whole compost
ton Is built on colossal lines. Olym-
plan In character, like the Jupiter
symphony by Mozart, this Rublnsteln
concerto might fittingly be called the
Neptune" One can easily find in 1t
all that is over and under and on the
sea. The principal theme proclaimed
by the piano in ponderous, plunging
chords is n very levlathan Of its kind.
In the cadenza a tremolo in the bass
rumbles like an angry surf, while above
this turbulent accompaniment scars a
glorious theme In single tones, like the
curving flight of sea gull. Then a
shuddering crescendo, shrek in the
treble, q ship on the rocks! The ensu-
ing torrent of tones is almost unpar-
alleled in pianOforte music. The In
strument groans under the fearful
strain. The strings all twang TO the
breaking point. While the principal
theme is gloriously bugled by the or
chestra, the piano, sounding above it,
pours. forth, like relentless waves,
laundering ranks Of icy octaves.
This particular passage is another ia
nous one for the pianist to weep and
pray and work over. To play 1t with
absolute perfection one time out Of ten
is an achievement for a virtuoso.
The second movement is dream of
deep sea sounds-the underworld of the
waters, whose pulsing motion is mark
ed by the ebb and flow Of slumbering
harplike chords. A broodlng, gentle
song occasionally sounds above them,
but from first to last there prevails a
compelling hush of mystery.
The final movement has dash of
salt breeze In the music. Neptune
rides over waves and foam-sounding
conch shells and laughing sea gods.
The first solo theme is jerky group
Of notes that play in and out Of the
keys like dolphins in and out Of the
waves.
Another passage very peculiar In
construction Is a downright dispute
between piano and orchestra. They
talk back" in telling tones. What
one utters the other echoes in sharp
staccato sarcasm. They fling scraps
of scales at each other and lose no
time in doing tia well matched tussle
of tones lasting full two pages before
the conductor. by strenuous effort,
succeeds In quieting things down. 1t