New-York tribune., 1910-09-25

gressive steps in art, science or learning. Nell |
ther have l tried to make mention of all the
names of pianofOrte composers which nave been
written brightly on the roll of fame in the
.o1lree of the last century and q quarter. These
studies do not make up either historical hand
book or guide to pianoforte literature III
this had been their design l should now be
scarcely at the beginning of my task instead OF
near the close Never before much
pianoforte music written as now; but it must
be added never before was so little of the prod
net of the dav utilized by virtuosi. If, then,
The apprehension touching the critical attitude
nf these writings at the end which expressed In
Charter VI should now be verified, I shall at
least be able to shield myself behind the men
whose business it is to stand between the Gre
ative artist and the public If they are unwilling
to play the pianoforte music composed by their
contemporaries Uhey are always willing to play
their own) why should 1 be bound to discuss it?
/ have been frank in all things heretofore; let
ne continue to be frank to the end of the chap
ter and confess that 1 feel very little sympa-
thetic interest in the compositions with which
pianoforte literature is being extended in this
latter day. Yet this is not because of an exces-
sivt conservatism of the kind which is willing
20 find beauty only in that which belongs to the
days of old Music is too young an art and its
progress in some departments within the last
generation two has been too obvious to give
color Of truth to the assertion that its capabilities
have been exhausted. Nor can it be said that
the public is Indifferent to the creations of the
present. On the contrary, every novelty from
n famous pen is scrutinized with almost feverish
caGerness by concert players, in the hope that
it may prove good enough to be included in their
repcrtories. Yet how small is the proportion of
the music given out by the writers of to-day
which takes hold upon the popular heart or
Gnds an abiding place in the popular affections.
A study of the programmes of q seasons con-
certs in New York which l made some years
aoco Chere has been no change in conditions
since except that Brahms has died), disclosed
that out of 2j6 miscellaneous pianoforte com
positions played (cOncertos and sonataS Delhs
excluded more than two-thirds were the WORKS
Of masters Of the past; and the remaining one
third included the productions of all living and
local composers who in various ways, such as
giving concerts of their own works, got their
names in the list The concertOs played included
practically every work of this class which has
maintained itself in the concert room, thus rep
rcsenting the survival of the fttest of CEN
tury's productions. Here is, however, a fact
more significant still: sixteen of Beethoven's
sonatas played. a number several times
greater than all the sonatas of other composers
combined. Obviously, I not alone in want
sitions; it is shared by the pianists themselves.
i there a lesson to be learned from this? L
think so; but before l attempt to look for 1t let
me draw a few other factors into the problem.
Music especially pianoforte music, never
SO universally cultivated Musical peda
gogy never before reached the eminence which
It occupies now. On its mechanical side il has
profted by the patient plodding Of centuries on
is intellectual it has benefited by the researches
Of wise men who have lifted some of the ele- |
ments of Interpretation almost to a science. |
Printed music was never cheap now. The |
pianoforte of to-day has many times the power
and richness of tone of the instrument of fifty |
years ago. Science has lent it's aid TO make it |
an instrument capable of asserting itself against
an orchestra of a hundred, and at the time |
Of giving voice to the tremuous and all but |
inaudible sigh Why should not this be the |
Golden Age of pianoforte music?
First-Recause il is not artistic age in any !
sense 1t is the age of science politics and COM |
mercC the last activity determining the course
and activities of the two others 1t is an age |
Ehod with iron. The flowers of art do not and |
not spring up in its path. Indescribably i
which it strikes out in its thunderous progress |
That IS one reason There is another which is |
inherent in the development of music itself |
Who it was that first made the observation |
10 but ~,