New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-08-07

Continued from second page

win the good opinion of Bach for his new In
strument but though he consulted him, prohted
nv his advice and eventually received his COM
pliments he never weaned him from MS prefer
euce for the clavchord over ali It's riVals.
Forkel said of Bach: He liked best TO play
upon the c'ayichord: the harpsichord. though
certainly susceptible of a very great variety Oh
e. preston, had not soul enough Tor MIN, anu
the piano was in his lifetime too mucn IN us IL
fancy and still much too coarse to satisfy him
His son saw the pianoforte come into favor, but
he too preferred the clavichord for his own COM
INNINGS with the muse, and brought fortn llat
instrument when he wished to give Dr.. Burney
nm evidence of his skill as player. (See the &C
eount of Burney's visit to Bach in his present
State'D There is nothing IN the music OF
HAYDN to suggest the need Of the new lnstru-
ment He was not a virtuoso, like MOZART ana
his public use of the harpsichord was PROBABLY
confined to its employment as al accompaniment
Instrument in connection with the orchestra
But the advent OF the gracious sonata STYLE tne
DEVELOPMENT of musical culture among ANA
teurs and, probably. also the growing popular
,tv ~ the HGlnmercl1rier led to the employment
If KEYED instruments n the manner e2ampllAeo
I'm the duo sonatas and trios Of Haydn Inc olo
continue gave way to part which was OF sonle-
thing like equal Importance with that Oh lne
violin or the violin and violoncello; lhen 10
mart which might hold its with an orches-
trail accompaniment.
The road to the modern trio quartet quintet
and concerto in which the pianoforte shares
the work OF developing the thematlc material
with its companions was thus blaZed by Haydn,
though it was not fully opened until a little
later That opening needed the coming of Mo-
Eart and the impetus which he, a public per-
former from the very outset of his career. re-
eeiyed I'm the concert room. When the Won
derfuI child made his trip down the Danube, to
play before the Emperor and climb into the lap
Of the Empress at Vienna, he carried his little
el1ytchord with him. When he called for Wag-
ensel, IN order that his playing might have the
appreciation Of "one who knew he performed
upon the harpsichord. Before the end of his
career the pianoforte had won his love and
tered upon that progress which, in our day,
enables It to cope with an army OF strings
Wood-wtnd and brass. One of the items in the
Inventory of the property which he owned when
be died was a pianoforte with pedal" valued
at eighty forms. A pianoforte is preserved
smong the relics housed in the quaint little
museum, In the Getreidegasse in Salzburg; as
Also Is a clavichord. which. however, is gen
EaIly and incorrectly set down in the cata-
h4Qes as spnet A letter which he wrote to
bis father from Augsburg in October, 1777 tells
n tho pleasure which he derived from playing
mon g pianoforte made by Stein. In it he
eRaisee the equality Of the key action and the
DRumptness Of the escapement something
aeR. and lauds the superiority of the damper
action which was still worked with the knee,
M The swell of harmonium-
A. to the qualities Of Mozart's pianoforte