The Pianolist: A Guide for Pianola Players

by Gustav Kobbé

Besides those composers, one or more of whose works I have described in some detail, there are others who at least should be touched on, always bearing in mind, however, that one of the aims of this book is to stimulate the pianolist to explore for himself. Bach, Händel, Haydn and Mozart can be studied most profitably in connection with the courses that are referred to in the chapter on Educational Factors which follows. There too will be found reference to the thorough courses on Wagner, one a general course on that composer, the other a special course on his "Ring of the Nibelung."

A line of composers that may well interest the pianolist has come to the front in Russia. Rubinstein, whose "Melody" in F and "Kammenoi, Ostrow," No. 17, are among the popular selections in the pianolist's repertory was a Russian, who, however, from a musical standpoint, expressed himself in German. To a certain extent the same is true of Tschaikowsky. His music is "universal" rather than national. It has, nevertheless, the Russian tang to a greater degree than Rubinstein's, and Tschaikowsky is classed correctly as the head of the Russian school and one of the greatest of modern composers. His "Pathetic Symphony," which has been metrostyled by Edouard Colonne, a distinguished French orchestral conductor, is a noble work. Among smaller pieces which the pianolist readily will appreciate, are the "Song without Words," Op. 2, No. 2; an attractive "Valse à cinq Temps," with its oddly extended rhythm; the very characteristic "November, in the Troika," Op. 37, No. 11; an expressive "Barcarolle" and the selections from his "Casse Noisette" (Nutcracker) ballet suite.

Next to Tschaikowsky's "Song without Words" the most widely known short piece for pianoforte by a Russian composer is Rachmaninoff's "Prelude," Op. 3, No. 2, a broad and sonorous work with a splendid climax. A little "Waltz," Op. 10, No. 2, is captivating; and a "Serenade," Op. 3, No. 5, has an originality and charm quite its own. A very beautiful "Moment Musical," Op. 16, No. 5, does not seem to have been included as yet in the catalogue of music rolls, an honor to which it clearly is entitled. Arensky, Balakirew, César Cui, Glazounow, Karganoff, Liapounow, Rimsky-Korsakow, Sapellnikoff and Taneiew are other interesting figures of the "New-Russian" school of which so much is heard at present.

Dvorak who was a Bohemian wrote much music distinctly and fascinatingly characteristic of his native land. He was, however, broad enough in his tastes to recognize, during his sojourn of three years in America, the beauty of the Negro plantation melodies and to compose upon several of these as themes, his symphony "From the New World," sometimes called more briefly the "American Symphony." This symphony, two works of chamber music, also composed during his residence in America, and his compositions in his native Bohemian musical idiom usually are ranked higher than his more cosmopolitan efforts. His "Humoreske," Op. 101, No. 5, the "Slavic Dances" and "On the Holy Mount" are among his compositions unmistakably Bohemian in origin.

While Saint-Saëns, having worked more successfully in the larger orchestral forms, is ranked first among contemporary French composers, and Chaminade leads as a composer of clever salon music, the pianolist can add some attractive pieces to his repertory from the compositions of Delibes and Godard. Delibes is the composer of the opera "Lakmé," and the Airs de Ballet from this, as well as the selections from his "Coppelia" and "Sylvia" ballets, will be found spontaneous and original. In fact in all instances in which music composed in dance forms has survived, this will be found due to a decided strain of individuality and resulting originality in the composer. The Valse Lente from the "Coppelia" ballet is among the hundred most popular pieces in the pianolist's repertory; and well up in the same list is Godard's graceful "Second Mazurka," Op. 54.

Among the most distinguished modern composers is the American, Edward Alexander MacDowell. He is living, but his work is over; for, unfortunately, his mind has given way. His "Scotch Poem" with its graphic musical representation of the sea beating against a rockbound coast and its lyric episode consisting of a trist Scotch ballad, is highly dramatic, while his "Sea Pieces" are among the most poetic of contemporary compositions for pianoforte. His "Witches' Dance" is highly descriptive, and in whatever direction the pianolist may familiarize himself with the music of MacDowell, he will be found a highly original, eloquent and expressive composer, whose fame, already established, is bound to grow with the lapse of time.

This chapter may fittingly be concluded with a brief reference to two great German composers, Schumann and Brahms. Although "popular" is not a word ordinarily associated with Schumann, two of his shorter pieces, "Träumerei" (Revery) and "Warum" (Why) are great favorites. Schumann did much for the development of music that has a distinct meaning and his works frequently bear titles that are suggestive of some mood or scene, like "At Evening," "Soaring" (Aufschwung, sometimes translated as Excelsior), "Carnaval," a series of twenty-one pieces descriptive of carnival scenes; and the "Novelettes."

Brahms is far more of a melodist than his critics give him credit for, but his clearness of expression is interfered with by the relentless scientific accuracy with which he works out his ideas, to which method he is apt to sacrifice only too often the innate beauty of his thoughts. He seems, however, to be slowly gaining ground, but more through his songs than through his instrumental works excepting those of chamber music. Yet any one who will seriously study Brahms and begin with the shorter pianoforte pieces, Op. 76 and Op. 116-119, will find mines of purest musical gold, where, perhaps, he least expected to discover them. Entirely different in style from Brahms' other works are his "Hungarian Dances," in which he has taken dance themes of the Hungarian Gypsies and skillfully worked them up into pieces that are melodiously and rhythmically fascinating and unreservedly popular. They are much played by pianolists.

Let me point out again, here, that, however unsystematic the arrangement of this book may seem to the musical pedant, I have followed a certain sequence—one of my own devising and which seemed to me best adapted to give the pianolist a bowing acquaintance with some of the great composers that would lead him to wish for a closer intimacy with these and others. What I have kept in mind, and very clearly, is the fact that I am dealing with a player for whom all technical difficulties have been eliminated by the very instrument on which he plays. The complete control it gives him of all technical resources is what makes the old method of analyzing pieces according to their historical sequence not only unnecessary but futile in a book of this kind. Nevertheless, so perfectly does this instrument adapt itself to all music, that any one who desires to trace up the technical evolution of the art from Bach to the present day, will find it the readiest means for accomplishing his purpose, especially if he uses in conjunction with it the educational courses referred to in the next chapter.