MUSICAL COURIER 20 May 10, 1923 IS IT A FAULT? It is with a good deal of satisfaction that we find another critic that seems able to take a view of interpretative art similar to our own. The occasion for this was the last Paderewski recital, of which the World says: “Occasionally he smote the keyboard so fiercely that the hammers and strings were taxed beyond their limits, so that the resultant crash was all percussion and no tone. And yet how silly a business technical appraisal is when one is dealing with an artist. Most of the times when Paderewski pounded worst were the moments when he was at his greatest. For this was no mere ivory thumper, trying to get more noise out of a piano than there was in it. It was an interpreter who conceived the music he was playing in terms too big for his medium of expression. It was a fault, if you like, but a noble fault.” There is a lot of wisdom in that statement, and to those who are struggling to be pianists, or interpretative artists of any sort for that matter, the thoughts therein expressed and suggested are of the highest importance. Interpretation is, at best, a difficult thing. It is especially difficult when the interpreter is striving to give adequate expression to the inspiration of supreme genius. It is not too much to say that the genius of the interpreter must be the equal of that of the composer if he is to do justice to his works. And, having the genius, he must also have the freedom from bias that delivers him from all hampering restrictions, especially the deadening influence of tradition. We have already in these pages quoted the remark of a piano teacher who said he would not have his pupils hear Paderewski because his playing was not “pianistic,” and a voice teacher was heard not long ago stating that he would not have his pupils hear Chaliapin because of his faulty emission (or something of the sort, whatever it may have been). Those teachers had more respect for pedantry of purism than they have for art. Can you imagine an interpretative artist going on the platform with a head full of that sort of restrictive ideals doing entire justice to the works of giants like Beethoven, Chopin, Schumann and Brahms, who certainly did not think their thoughts with pianistic limitations? A great deal of that music is of the same nature, the same bigness and force, as the symphonies, and it demands the same fortissimos. Yet there is many a player who, in his piano interpretations, “takes the brass out of the orchestra.” The result may be good piano playing from a pianistic pedagogical point of view, but is it good art? Is it ever good art to substitute weakness for strength? We would be the last to advise indiscriminate thumping of the dragon’s teeth. There are those who do just that and nothing more. They confuse noise with greatness and “try to get more out of the piano than there is in it.” They also try to get more out of themselves than there is in them. They are in the same class as certain would-be composers who load on the brass and the percussion to cover up the nakedness of their invention. But are we, therefore, because of these dabblers, to deny to genius the right of noise when he deeds it? Noise is a perfectly legitimate part of music. The big full orchestra effects may, like the full organ, be very bad indeed. But they may also be sublime. And so may the thumping of a Paderewski. Is it a fault? It is difficult to believe that it is. There is that back of it that renders it magnificent. Nor is Paderewski the only great pianist before the public today who permits himself these heights of interpretative power. It is perhaps not wise to mention names, for we are dealing with a subject upon which there is a great deal of difference of opinion. But if you will listen to the great pianists and ask yourself where and when you get the greatest thrill, the greatest delight, you will probably find that at those moments the player is conceiving the music “in terms too big for his medium of expression.” “It is a fault, if you like, but it is a noble fault.” baritone department. Mr. Gatti’s early departure makes it probable that another opera or two and perhaps a few singers may be added to the present lists when he returns. hundred artists and organizations in different institutions—hospitals, homes and prisons—which brought a ray of light and a knowledge of what Music Week means to the sick, the poor, and the unfortunate. This work, under the direction of Mrs. Sada Cowen, was splendidly organized. The whole gigantic program of the week was, in fact, carried out in an impressive manner. The cultural value of such a demonstration is incalculable and it is good to know that it will continue annually in even increased proportions. ----$---- A report was circulated recently by one of our neighbors that the daughter of Adolf Tandler, formerly conductor of the Los Angeles Symphony Orchestra, had passed away after an operation in Switzerland. This report is absolutely without foundation. Mr. Tandler’s daughter has, indeed, been taken to Switzerland for her health, but she is steadily improving and her condition gives no immediate cause for anxiety. Mr. Tandler is at present in New York and expects to join his wife and daughter in Switzerland later. -----<$>- It is a great many years—a quarter of a century, to be exact—since Willy Burmester last played in this country. Now it is announced that he will be here all next season for a concert tour. In the intervening years he has built up a reputation for himself, not only at home but also in many distant quarters of the world, including Japan, where he has just concluded an unusually successful season. There will be great interest to hear him, both as soloist and as a player of concertos with our best orchestras. The reports from abroad praise him extravagantly—he is called “king of violinists,” “the greatest player of the day.” With Burmester added to all the great ones already here, there will be a pretty contest for the laürels. ----3>--- THE WARMING PAN Anyone who has lived in New England knows that clam-chowder, baked beans and hash get better and better the oftener they are warmed over. But who would think of a song being improved by the same process ? Musically and poetically speaking, the immortal Home, Sweet Home, whose centenary is being celebrated this week, is no masterpiece, but it is_ a great improvement over the form in which Bishop originally cooked it. Borrowing the melody from what appears to be a genuine Sicilian dance tune (see last week’s issue of the Musical Courier, pages 7, 8 and 9), he made it first into a song with the simple title of Sicilian Air; and words, beginning “To the home of my childhood in sorrow I came, And I fondly expected to find it the same,” were set to it by an Englishman, Thomas Haynes Bailey. Then came the warming over process—the second for the music and the first for the words. Sir Henry fashioned a tune that had begun as a six-eight Sici-liano, passed through a four-four stage (“To the home of my childhood”), into its final two-four form, as we know it; and John Howard Payne, American actor and author, warmed over Bailey’s idea and made a sentimentally pathetic poem, the first two lines of which are still familiar to perhaps 49 per cent, of English speaking persons. Thus—in the warming pan—is artistic immortality achieved. --------- GATTI’S ANNOUNCEMENT The annual advance announcement of the Metropolitan season plans appears on another page of this issue. Mr. Gatti’s list of novelties and revivals is unusually interesting. The Rossini, Meyerbeer, Donizetti, Bellini contingent is entirely absent. Of the two novelties, Massenet’s Le Roi de Lahore is probably entirely new for this country, unless there may have been a performance or two at the old New Orleans opera; Laparra’s Habanera was done by Henry Russell’s Boston company ten years ago or so and also at the Cincinnati summer opera. Of the revivals, Die Meistersinger and Siegfried immediately catch the eye, and Der Freischütz, done with a strong cast and a new and splendid outfit of scenery and costumes, will surely please; the arrangement is to be made by Bodanzky, who, it will be remembered, turned out a fine acting version of Oberon. Amelita Galli-Curci will sing the famous tip-top arias in Le Coq^ d’Or, that delightful work of Rimsky-Korsa-koff’s. L’Amico Fritz, not a very exciting affair, is to be condensed to two acts, which will improve it, and played in a double bill. Fedora will be the box-office vehicle for Jeritza, supported by Martinelli and Scotti. Marta will give Gigli an opportunity in a Caruso role that is specially fitted to him. Of the new singers one is glad to see a fine American voice like that belonging to Merle Alcock added to the list. Of Fleta, the Spanish tenor, much is expected in first roles, and the voices of Ballester and Schorr will add much beauty and sonority to the JV\V5ICAL(0URIER U/eekly Review or rue Worlds Music Published every Thursday by the MUSICAL COURIER COMPANY, INC. ERNEST F. EILERT..................... President ALVIN L. SCHMOEGEB..............SeT Ld Treas 437 Fifth Avenue, S, E. Corner 39th Street, New York Telephone to all Departments: 4292, 4293. 4294, Murray Hill Cable address: Musicurier, New York Member of Merchants' Association of New York, National Publishers' Association, The Fifth Avenue Association of New York, Music Industries Chamber of Commerce, The New York Rotary Club, Honorary Member American Optimists. ALVIN L. SCHMOEGEB LEONARD LIEBLINQ H. O. OSGOOD WILLIAM GEPPERT [ CLARENCE LUCAS J RENE DEVRIES 1 J. ALBERT RIKER / OFFICES CHICAGO HEADQUARTERS—Jbannettb Cox, 820 to 830 Orchestra Building, Chicago. Telephone, Harrison 6110. BOSTON AND NEW ENGLAND—31 Symphony Chambers, 246 Huntington Ave., Boston. Telephone, Back Bay 5 554. LONDON, ENG.—Cesar Saerchinger (in charge), Selson House, 85 Queen Vic-Street. London. E.C. Telephone 440 City. Cabin address Musicurier. London. BERLIN, GERMANY—Cbsab Saerchinger, Schellingstrasse, 9, Berlin W. 9. Telephone Nollendorf 6589. Cable address Musicurier, Berlin. 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Copy for advertising in the MUSICAL COURIER should be in the hands of the Advertising Department before four o'clock on the Friday previous to the date of publication. Entered as Second Class Matter, January 8, 1883, at the Post Office at New _______________York, N. Y., under the act of March 3, 1879. ־ THE MUSICAL COURIER EXTRA Published every Saturday by Musical Courier Company Devoted to the interests of the Piano Trade. New York Thursday, May 10, 1923 No. 2248 Unsuccessful musicians believe in luck. -----e---- Do you feel festive? This is the season of music festivals. -----$---- See that music does not grow weak now that Music Week is over. ------- The non-stop arpeggio record is held by the young lady next door who is practising to be a singer. ------------------------------- Those who merely understand music have no monopoly of it. Music belongs to anyone who enjoys it. -----$---- That philosopher who wrote, “No discourse that is too long can be pleasing,” uttered a valuable hint also for composers, conductors and givers of recitals. --------------------------@---- Now that the Hippodrome is to be closed permanently, its herd of elephants is for sale. Does this suggest nothing to prima donna press agents ? ---------- Science can explain everything except the reason why operatic prima donnas appearing in concert always leave the stage with a hop, skip, and a jump. --------------------------®---- The latest estimate is that there are 110,000,000 inhabitants in the United States. The Musical Courier never dreamed it had that many readers. ------------------------e------ The Stockholm correspondent of the Musical Courier sends word that the Swedish Ballet is scheduled for its first visit to the United States next winter. A detailed announcement of the plans for the American tour is expected shortly. -----«>—— The newly incorporated State Symphony Concerts, which Josef Stransky is to conduct, announces fourteen subscription concerts divided between Carnegie Hall and the Metropolitan Opera House and also gives the names of three distinguished soloists already engaged, Maria Jeritza, John McCormack and Ignaz Friedman. This looks like real competition for the other orchestras. -----®---- Music Week is over. It was bigger and better than ever before; in fact, under the skilful and expert guidance of the present management it is getting better and better in every way, year by year. There was more music and more different kinds of music than could be enumerated in a column of this paper. So why try? The value of the work accomplished in making two blades of music bloom in hearts where only one—if any—flourished before, is incalculable. And among the most valuable features were the concerts given by an enormous group of over nine