Omaha daily bee. (Omaha [Neb.]) 187?-1922, 1916-02-13

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about Interpretation, which Is
the highest aim OF all musical
4yyIVyVVl effort and 20 which all knowi-
edge and skill are subservient.
Nksk8321 This IL true in the case Of the
composer. the performer and the listener.
The Interpretation Of music is like the
prince in the fairy tale. the right one
awakens the sleeping beauty IL IL the
magic wand which by It's touch infuses
life into the inanimate. The composer
interprets the words Of a song into music,
thereby enhancing Its impression and at
the same time interpreting his ideas of
its beauties or the ideas awakened in him
by its words. He may picture a mood
touch OF nature, a story or painting
may inspire him TO express ideas In tones,
TO interpret his thoughts in sounds lie
may have had a program and he may not
perhaps II he had II might help others
to understand his point OF view and to
interpret his ideas the more truly from
that angle; he may leave his work merely
as certain style of composition, etude,
sonata, prelude. and allow those who ap-
proach IL TO interpret for themselves ae-
cording to their knowledge, skill and ex-
perience. unaided. Through his lnterpre-
tation must be the idea. the significance
OF what he wishes to convey. standing out
In strong relief. or his work will not last
The performer, too. must first grasp
the idea, the meaning which IL expressed
IN composition before he tries to inter
pref II to others. What does 1t mean to
him1 What can he see in Il? II IL is A
song what do the words express? DO
they not suggest a fuller story than IL
told? Perhaps the lines OF the melody or
accompaniment will suggest other details.
II IL IL instrumental. what character Of
music is II? What is it all about? Does
Il not bring to mind any ideas through it's
style or content7 Perhaps the composer
has given hint; n he hasn't, can't one
Imagine lovely story from IL? Perhaps
that minor march movement suggests
ghosts creeping about, now coming nearer
or Sinking back maybe that light run
ning movement indicates the tramp Of
iairy feet, who knows but the queen may
De crowned at its climax? That tender
melody In the plaintlve harmonies may
De the song OF a mother at the bedside
OF sick child. II II helps one 70 an idea
OF how TO successfully understand and pass
on TO others the varied effects In the
music, II It helps the music to mean
something to the performer, why not let
the Imagination run on in a labyrinth of
fancy, led only by the guiding thread OF
the musical SUGGESTION Yet how many
who perform do not seriously look within
TO see II the music they are trying TO ex-
press really does mean anything to them
or has anything to II but time and notes
ana few signs (Which they usually do
not know or look up.) And a great MANY
who are paying out good money TO get the
most they can out OF music lessons are
really missing the point OF It all.
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The listener must also interpret the
music he hears for himself. But before
ne judges rashly be should be sure that
ne hears It. He should hear the same
number many times, each time irving
to gain from It something OF stimulus FOR
thought or imagination. II ls an interest
ing diversion to try TO fashion faneIes
out Of the music one hears or studIes
and It many times helps to great apnre-
citation The literature Of language tells
many stories. while the literature OF
music suggests them.
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The one hundred and thirty-second an
niversaFy Of the birth OF the world fam
Gus violinist. Nicolo Paganini, occurred
on Thursday Of last week Although a
great composer for his instrument, only
Few OF his competitions are in exist
enee, the best ones were not published
ana probably were never written down.
During his life he had the musical world
at his feet, critics and public alike mar
yelling at the miraculous feats OF technic
ana sweep OF musical feeling, with which
ne swayed them at WILL He was be-
lieved by many to be In league with
the devil, and many absurd stories as
TO MS life and characteristics were cir
culated. He did much for violin music.
and his influence upon this instrument
was far reaching. The use OF harmonics.
now 30 we'll known, was first made by
him; also the tremulo for the left hand.
StaccAto bowling was perfected by him,
and the pizxicato runs In rapid move
menfA His Guarnerius violin. which
he willed 20 the city OF Genoa. at his
death. upon condition that no one else
should play Il. IL still upon exhibition
In that city. A short time ago Il was
reported that the authorities were much
concerned as Il was infected by a species
lof worm. which threatened to destroy
II. but which would not have affected II
II II were used.
The following sneodote comes from an
article upon Joachim. by Prof Isador
Troostwyk OF Yale University School OF
Music. and printed In Musical America: Z"
Upon a concert tour In Holland one
severe winter when the ice was fine,
Joachim could watch from his hotel win
dow IN Amsterdam. the merry crowd OF
skaters. on one OF the principal canals
His interest grew until he, too. felt de-
sire to skate, though he had never be-
for INDUCED in this sport.
However. Il looked so easy that he
secured a pair OF skates and boldly
struck out The result was as painful
as Il was surprising; but Joachim picked
himself up. and. nothing daunted. dashed
off again. with precisely the same result
and added pain. For nearly an hour the
great violinst whiried wildly about on
his new skates. the baanveger, OF
sweeper, who had heard him play at a
concert the evening before, watching him
from the bank Finally Jochim landed
IN a most unidentified heap. almost al
In. R.of - tha av,aanar tAh MVnhaaFfi