Omaha daily bee., 1918-02-24

to begin with, and to uApmo
bend all ones energies A>'io v
to accomplishing it. Then, half the time,
one will emerge successful at some
thing else. This has often proven to
be the case in the lives of the great
musicians, and many instances of it
occur today. Kreisler, it is said,
started out to be pianist, and de-
veloped into the greatest artist on
the violin of his day. Galli-Curci
first took the piano for her medium of
expression, then later, discovering
that she had a voice, she has become
the most sensational singer of the
present generation. The history of
Mslanie Kurt, Marie Barrientos and
OF many successful vocalists and
violinists has started with an aspira-
ton to become proficient pianists,
This should be great boost for the
piano business. among music students,
although it must be remembered that
one swallow does not make summer,
and, too, that all birds are not swal-
lows.
Seriously, though, to become pro-
hcient pianist is one of the best roads
toward becoming successful in some
other branch of music In thorough
and conscientious study of the piano
the student has an opportunity to gain
a musical foundation and familiarity
with harmonic idioms that is of the
greatest value in other musical lines:
The student has the opportunity OF
gaining this; but does not always avail
himself of it, for all too many piano
students get sidetracked in the mazes
of technique and learn but little about
music itself.
1t is a strange thing that, although
MANY of the leading violinists and
vocalists have forsaken the piano for
another branch of music, but few of
the leading pianists have torsaken
any other instrument for the piano
The only one that l can call to mind
is Harold Bauer, who will appear
hereyiu concert Wednesday evening.
He started out to be a violinist, and
at the age of 10 became so much Of
a prodigy that he made his debut in
London, with great success, and fol-
lowed it by many successful tours OF
England. He went to Paris, but
endured many privatlons there, being
unable to secure engagements as a
violinist, while various opportunities
were offered for his services upor the
piano, at which he was somewhat
skilled. He gradually gave more at
tention to the piano, and has risen
to his present high position il the
musical world through his attain
ments upon it. In his case, outward
circumstances altered his course.
But after all. among the great musi-
clans who have started out with one
musical means and changed to an
other, it has not really been change
III aim. Their real aim was not to
be merely pianist, or vocalist, or
violinist at all. Away back in the
skeins of fate their ambition was
recorded as that of becoming mus
clans, and the branch of music they
used was but a secondary consider
alton. How wonderful it would be
if all ambitious students instead of
desiring to learn all there is about
piano playing, or violin playing or
how to use the voice, would just try
to learn whatever they could about
music,
4 Harold Bauer comes to the Boyd
theater Wednesday evening, February
y, under the auspices of the tuesday
Musical club. His name is celebrated
one in the realm of pianiSts, and his
playing brings the greatest pleasure
and enjoyment through the many in
dividual touches with which he in
terprets the master works of the great
composers. Perhaps some of these
touches are the result of his intimate
knowledge of the violin and its capa-
bilities, perhaps more Of them are
from the unorthodox way III which he
worked out his own piano salvation.
His ideas of piano technlc are thor
oughly delightful, frequently at var,
lance with the mos. approved and
sanctimonous paths of piano technic
Righteousness, yet upon the whole de-
cided1y worthwhile and full of COM
mon sense. In Great Pianists Upon
Piano Playing" by Cooke, he ex-
presses himself very fully upon the
subject. He refused to write a book
upon piano playing a short time ago.
my whole life experience makes me
incapable OF perceiving wha: the nor
NAL methods of pianistlc study
should be. AS a result Of this | am
obliged with my own pupils, to invent
continually new means to meet the
mvriads Of artistic contingencies as
they arise and new plans for work
with each student" But one wonders
if that is not the most normal method
lfter all. Through his own stud be
became convinced that while technical
study and purely muscular training
are necessary, that it was a mistake
10 practice technic at all unless such
practice should conduce some definite,
specific and immediate musical result
He believes it is the differences that
count in art, not similarities. He does
not believe i'll the even scale, feeling
that each finger should be cultivated
is an artist by itself, according to its
lwn special aptitudes. He does not
lpprove of limiting the production to
certain kind of sound tha; is called
good tone" He considers the mat
Ter OF concentration of the highest
Importance in piano study, more than
lnything else. He does not approve OF
giving studies and pieces fot technical
purposes and cannot understand the
idea Of people using the music of
Bach" for technical purposes when
the,r nerer seem to think of inter