The Washington times., 1919-02-13
BY J. Mach.


A Stradivarius becomes a Joint
star" with the artist in violin re-
citaI. In like manner we consider
the "atmosphere" created by the tin
Killing tones OF the spinet or harpsi-
chord an embodiment OF the music of
yesterday.
Some interesting sidelights were
given to the writer by T.. II. Droop.
on the place in the music scheme that
the modern piano takes in relation to
the artist Of a piano recital. And
what a great development has the
piano undergone since the days OF
the wcll-tempcred ClavichOTd!
Some artists today not only travel
with their own piano, a specially Sc
Iected one. but also one that is ad
justed TO the particular technical ef-
fects that that artist desires most to
make.
The instance chosen TO develop this
theme was that Of Josef Holman.
Everyone has read that this great
pianist is also quite genius in me-
chanics. II is not known generally
however, that not alone does Mr.. Hof-
mann take a special piano en- tour,
but he also takes with him a special
piano tuner plduO duIuSNtIs MI
DrOop calls him.
Verify, the exactions behind scenes
are legion.
$50 exact must be the adjustment
OF Mr.. Hofmann's Steinway piano"
says Mt. DroOp, that he knows with
in a fraction OF an inch just how far.
for instance, the felt hammers must
lie from the strings OF the instru-
ment In that is some Of the secret
Of Mr. Hofmann's featherIike runs.
"Why. almost a breath upon the
keys Of his piano will awaken a
music vibration" he added
1T is part, too, of that highly
technical mystery, the Over-tonas.
But We will not dilate upon chem.
They do illustrate. however. the art
achievement Of the piano as a mech
anism for the highest perfection
Of it's tone.
Tone, There you have what the
artist owes TO his piano.
But the artist in the scheme?"
came the question.
All" he continued, without the
artist there is no language. And,
do you know, i, for example. can
make i've or more OlSllncl LOncS
by purely technical laws
And then Mr.. DrOOp, for he is him
self fine pianist. illustrated on his
desk some OF the tricks" in tech
nique by which tones suaye and
beautiful may be obtained, tones
crisp and joyous, or even tones tnat
are raucous. for dramatic effect
Thus il is that the pianist takes
his piano. as the artist takes his
palette. and through careful selec-
tion technical proficiency uses the
color he wishes 10 put into his tone
picture.
II he has Imagination. his hearers
get il. Just now diverse Is this
Imagination. We can dcduCe from the
great variety in personal interpreta-
tions given by the artists who are
visiting Us today. But behind the
Interpreter a great instrument
stands. from which the picture IS toI
be awakened into life.
Behind the scenes, before recital
by Paderewski or Hofmann, lies
this mechanical preparation for the
perfection Of tho artists playing.
Felix Garziglia voiced this fact
when he spoke with enthusiasm OF
the piano he was given to play
upon at his debut recital in Aeoitan
Hall, New York. last November
"Oh. you should have heard Il, he
exclaimed. The music came right
up 10 you. out of it" He fitted the
gesture 10 the words.
Mr.. GarZtglia has a delightful pro-
gram for his second Aeolian Hall re-
cttal Of February s. And. by the
bye, l think IL was Reginald De
Koven, who said of him: He has
fully caught the evanesCcnt and Clu-
sive charm Of his Countryman, De
busy, whose music he plays better
than any one else heard in New York /
OF late"
He is to play the Beethoven So