Evening star., 1932-09-08
Did Rubinstein write anything but

Did Rubinstein write anything but
his Melody in F.?
Or Massenet anything except the toe
famous Meditation from 'Thais"?
Or Nevin, besides the suite, "A Day
In Venice?
Judging from the radio broadcast
programs, evidently not, or at least not
much else.
Over and over again one hears them
together with similar excellent things
beloved the musical world over
Yet there Is such thing as too much
of good thing, and in no sphere OF
art does it hold true more than in the
great realm of music.
He who has mastered one melody on
the piano may be content to hear him
self play it forever and q day, but
probably most listeners grow tired.
Here is strictly amateur musician
self-taught, who has managed to master
both the treble and bass of Offenbach's
lovely "BarcaroI1e.
He never loses interest in 1t, because
mostly he is occupied with getting in
the troublesome lower notes at the
same time he keeps up the melody.
Such music. to such player, is q
perpetual game. often one in which
he never really scores very high; the
music forever is tending to run away
from him.
See his bowed back. his fingers anxi-
ouslv sprawling for the keysl
Maybe he has his mouth slightly
open. as Is the custom with strict
amateurs.
Somehow they seem to have the
naive belief that the open mouth
helps.
And maybe it does.
Amateur performers on such instru-
ments as the mandolin and guitar
often find that the mouth held slightly
ajar enables them to finger the in
strument better, explain 1t as they
may
Regular humping or patting of the
foot on the floor is standard aid to
correct tempo with thousands Of be-
ginners. Sometimes they carry this
habit into their more mature efforts,
when they would be willing enough to
rid themselves Of 1t, but find they
cannot.
The open mouth. the anxious foot,
these and other physical signs show
the great difficulty with which many
performers master their small roper
torres.
There IS every excuse in the world
for them, If their list of pieces" Is
limited, but surely as much cannot be
said for the broadcasting stations,
which find themselves In the position
OF directing the work of scores of ac-
complished musicians. who. it must be
presumed, are able to play anything
without misgiving.
We will be told that the great public
likes what it knows.
1t wants to hear the same old things
over and over again.
We'll, 1t gets them, all right.
But one may wonder IL that isn't
being carried a bit too far.
These millions who listen over radio
every highland during the day, too
no doubt there are countless thousands
Of them who are amateur musicians.
They are music lovers, and we never
heard of a real lover of music yet who
was willing to rest on his oars, except
in the sort of case we have outlined
above, that Of the one-piece player.
No matter how lovely or charming a
composition may be, one tends to tire Of
it, as steady diet, and seek more by
the same hand.
The supposition is fand generally 1t
is correct) that the composer of one
melodic bit has been able to repeat.
Surely Rubinstein wrote something
else besides his Melody!
And the answer Is You just bet he
did!"
Occasionally even a broadcaster will
let out the secret.
Music lovers everywhere lament the
paucity of experimentation, however, in
favor Of the wight who knows but one
tune and prefers to hear that endlessly
One may wonder If such a creature
actually exists, any more than the