Evening star., 1933-06-06
.HE master class in interpr

TINE master class in Interpretation
for pianists conducted by the
celebrated teacher and COM
i poser, Sigismond Stojowski, was
held last evening at the home
of Miss McQuade on Twenty second
street, before a large gathering Of
artists and students. The class had
been arranged by Norman Frauenheim
and proved to be so valuable and in
structive that it Is to be hoped that
pianists of this city will have more op-
portunities to profit by such construc-
tive help. The importance OF such
classes cannot be too highly emphasized. d..
The personal contact with an artist
whose great natural gifts have been
perfected and enriched through world
wide experience can prove more
stimulating in an evenings session than
many hours of lonely practice. Through
expert criticism and the reiteration OF
the pure ideals Of musical interpreta-
ton by such an artist as Mr.. Stojowski,
an incentive to more artistic work will
result as well as q widening OF musical
outlook
Mr.. Stojowski created an atmosphere
OF informality by walking around the
room as he listened or talked. His re-
marks on the rendition Of the compost
tions played for him were concise and
clearly expressed for the benefit OF the
entire assembly. From time to time he
sat down at the piano to give a prac-
tical demonstration of the way phrase
should be played.
Understanding Of what part Of COM
position an interpreter must leave un-
touched and what part he can adjust
to his personal expression Of its makes
fnr nfn hi sat -
jowski. The duty of the performer to
adhere strictly to the minute details
Of form the composer has given to his
ideas was stressed. The exact meaning
Of crescendo and diminuendo was ex-
planned and their gradual accomplish
ment Illustrated by Mr.. Stojowski. The
moments when fortisSimo or pianis-
simo can be arrived at suddenly or
when there must be an anticipation of
these effects was made clear, as also
the value of lengthening or shortening
their duration. Exactness of rhythm,
which must be combined with elasticity
Of execution and watchfulness as re-
CARDS the relative value Of notes, was
brought to the attention as of extreme
Importance in artistic playing.
Mr.. Stojowski interspersed his ana
lyttcal comments by general remarks
about the meaning of music, insisting
that q high standard should inbue
every performer and urging a clear con-
ception of each phrase to link together
in a splendid whole. In this matter
Mr.. Stojowski combined his actual criti-
cism of the composition performed for
him with a fine and subtle plea for
more attention to higher musicianship.
Several pupils Of Mr.. Frauenheim
played for Mr.. Stojowski, Frances Cute
Illus, who played the Brahms "E fiat
Scherzo," being the only artist-teaeher
not Of Mr.. Frauenheim's school. Those
who were heard were Mrs. Loving, In
Chopin's "Fantasie in F Minor; Eliz-
abeth Harris, in the Tausig arrange
ment of Bach's "Toccata and Fugue in
D Minor: Miss Squibb, in Bach's &c
Minor Fanatsie"; Betty Kate Stone in
four Chopin etudes; Eugene Cooley in
Chopin's "A Fiat Polonaise." and Janet
Wright in Beethoven scherzo. The
Cesar Franck Sonata for violin and
piano was later played by Milton
Schwartz, violinist, and Miss Harris.
THE piano recital by Stanley Ohm
sted, which was to have been given
last week. took place last evening at
Holton Arms School The well ar
ranged program was entitled, 1.-THE
Piano as Romance" and contained
compositions by Arensky, MacDowen,
Leschetizky, Ravel, Chopin, Grieg, De-