The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1907-06-18

The second of series of four lee
ture recitals. Travels in Music
Land gwen by Mr.. Louis Elbei. I'M
der the auspices of the Richmond Art
association, was heard Monday even
ing at The Garfield school.
The subject was 1.-The Story of the
Pianoforte-Some Great Pianists."
Mr.. ElbeI gave a short history of the
pianoforte, showing the different
stages of development of the mono
chord. the ancestor of the pianoforte.
used to great extent about 1850, and
the clavichord and harpsichord Used
by Bach and Haendel, and the modern
pianofortc, used since Beethoven
time.
To play the compositions of the old
masters, Mr.. Elbe1 said, it is neces-
sary for pianist to know the linaita-
tions of the instruments they were
written for. To show the great devei-
opment in pianoforte building, Mr..
Elbel played first the "Pastorale" and
"Capriccio'' of Demenico Scarlatti, OF
the sixteenth century, in an exact imi-
tation of the clavichord, the piano be
| ing arranged TO represent the sounds
| of the same, and then modern com
| position ..Pagodes", by Debussy, Sc
lection requiring the highest type oil
pianoforte building.
| Then in three other stages of piano
| forte development, Mr.. Elbel played
Webers' A flat Sonata, great favor
| tie of List. and of other great plan
4 lists. group of Chopin and group
of List.
Chopin was the poet of the piano
forte; mis- whole life was given to play
ing and writing for it. No other com
poser ever specialized so completely
List was the most versatile of al
composers, AMI besides the greatest
of all pianists, creating a school which
/ includes the great pianists of today
One of the most interesting parts O
Mr.. Elbels talk was the explanation
of LISTS method of piano playing
how he produced his wonderful sing
ing tone, and legato touch, and var
ious other styles of playing.
| In the Chopin and List selections
Mr.. Elbel was thoroughly at ease
bringing out every shade of touch ant
tone that was necessary. These rang
eu IIOu1 Tie uiOoI uSIkdIS hboiiNNS
the Chopin "Berceuse' to the tumuit
uous chords of the List Polonaise
the immense range of which, made
clear the remark, that the pianofort'
is the King of Instruments.
Mr. ElbeFs simple explanatory re
marks put his audience in the prope
mood for each number of the program
and are great help to those whose
knowledge of music is limited, ant
worth a term of lessons to the student
1t is very rare that any one man cal
possess the ability to impart in clea
and concise manner the depths an
intricacies of the art of music and a
the same time Illustrate his talk will
selections from the musical master
wherewith he can hold his audience
in complete power. But Mr.. ElDe
has that ability He is full of his sub
ject and is enthusiastic in the inter
probation and presentation of 1t
beauties; and his talks here will be ;
lingering educational remembrance o
mastery rendered music.
Mr.. Elbels manner in his talks an
at the piano, is an epitome of modest
and righteousness. There is no striN
ing for effect, his work shows the re
suit of consistent study; a sane, viril
effort to speak without pedantry
through musical coloring, in the on
universal language: in short, a we
balanced. intellectual as well as music
al effort. The distinguishing feature
!, of his playing, besides his remarkabl
technique are sincerity, intellfgen
!, reading, breadth and subtlety of feelin
and execution. The grandeur of hi
playing gives to the initiated feelin
that the artist is conscious of his pow
er and of complete mastery over hi
, instrument. His work is always sa
, isfying and characterizes the real ar
list. His touch is firm, but symps
, thetic; the heroique and the emotions
| alike receive the same competent il
depreciation. His playing, therefor
may be classed as intellectual rathe
than sensous or merely pyrotechnica
The cultural value Of music is no Ions
, er a matter of dispute. 1t is one
the great studies that grows richer an
, more wonderful through an intimat
, acquaintance with the technical d.
, tails and the more elusive qualities {
, tone that represent the fundament;
principles of the art The pleasure
, be derived from the artistic perform
ance of a worthy composition is ofte
lost by the inability of the listener
understand the purpose of the compo
er and the Interpretation of the arts
so the finest concert or recital fr
quently fails in it's appeal to the int
!. lect and the emotions. 1t is here tia
the musical training of most indivi'
uals is lacking. and it is reasonable
suppose that those who are intereste
in acquiring finer appreciation of tt