Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1916-12-09
GODOWSKY IS
MASTER SUPERB
An Event Which Stands Out
Pre-eminently in City's
Musical History
BY JOHN w. PHILLIPS

prompinent musician said recently
that 1T was superfluous to speak of
technique in writing up q concert be-
cause an artist was supposed to have
the necessary technique before appear
Ing on the concert platform, therefore
the critic should take 1t for granted
that the technical equipment has been
properly attended to and can be turned
loose on the public with perfect safety.
This argument would put all pianists
IN the same category as far as tech
nique goes. The argument could be
extended to include tone, because all
real musicians produce good tone.
PhraSing, proportion and temperament
should also be present in every artist
laying claim to public attention and
approval; and so the argument could
go on ad infinitum, until, with this
basis OF reasoning, set form of criti-
cism could be used leaving a little
space for filing in something about
personal appearance.
Let us make an experiment. Start
two young folks in at pianoforte study
at the formative age, when hands need
shaping and molding and strengthen
ing, when stiff wrists and unruly
hngers Iced attention; when the ear
and brain can be most easily inn
pressed, and when constant guidance
will develop vision, technique and
emotional expression. At the end of a
certain period will the two pupils have
the same ability? Most assuredly not.
The technical ability will differ as we'll
as the musical ability. If there is any
musical artist that needs good tech
nique 1t is the pianist. 1t means
slavery to acquire a technique that will
satisfy and endure. 1t requires unlim-
tied patience and will power, and
kindly disposed neighbors.
There are certain events in our lives
that impress and remain with us
throughout life, certain concerts stand
out pre-eminently and never fade from
the memory. Such a concert was given
last evening by Leopold Godowsky in
the Orpheum Theater. His superb
mastery of everything presented must
have brought to the many piano stu
dents there new mbition-or despair.
The program opened with a Chopin
sonata Che only wrote three) in
B minor. Chopin is not noted for his
sonatas, but rather for his style and
melody and original treatment of
strong yet refined rhythm, especially in
other forms. The largo movement came
dangerously close to being tiresome,
and the first movement is too long to
hold interest. The second and final
movements are brilliant. Mr.. Godowsky
played the entire sonata in a note
worthy manner, showing keen musical
insight, and a very fine sense of tone
color and poetic feeling. His next
SdDTlCClOSO,
Weber-Godowslfy; Etude No. 81; + do
No. 8, Op. 10 (for the left hand al }.
Chopin-Godowsky. and symphonic
metamorphoses of Johann Strauss
waltz. "Wein, Webb und Gesang." and
here we began to realize the technique,
the versatility, the power and the
mastery of the performer. There was
poignancy in phrasing and an enun-
ciating of melody and rhythm truly
remarkable and beautiful. In the
etude for left hand alone Mr.. Go
dowsky did as much with one hand
as most pianists do with two.
In the final group he played num-
bers by Ravel Saint Saens, Henselt,
Liszt and Schubert, arranged by
Tausig.
The Ravel number, from the mod
ern French school, was a decided de-
parture from Chopin, and gave the
audience a good chance to compare
creations less than one hundred years
apart. Mr.. Godowsky makes very
little fuss in playing even the heaviest
and most difficult numbers. His ar
peggios and runs were models of
smoothness and clarity, yet with a
singing quality and firmness only at
tanned by the very few. His discrimi-
mating use of the pedals was a re-
markable part of the performance.
The audience gave warm approval to
the great pianist and he was obliged
to respond many times, and added
some interesting encores.
Miss Belle Story, soprano, was the
assisting artist. Miss Story has an un-
usually good voice, well produced, and
under excellent control. Her voice is
high in pitch, but very sweet, true and
steady. She is a happy singer with
vitality and style. While she seems to
he decidedly coloratura singer, yet
she proved her ability in sustained and
legato work in one or two numbers.
She made a real hit, and deserved 1t.
She is artistic, charming, and naturally
musical. She added several encores
She sings French well, but her English
needs attention.
Harold Brigs was the efficient ac-
companist.