"Brilliancy does not depend on velocity but on clarity. What is not clear cannot scintillate nor sparkle. Make use of your strongest fingers in brilliant passages, leaving out the fourth when possible. A scale to be brilliant and powerful must not be too rapid. Every note must be round and full and not too legato—rather a mezzo legato—so that single tones, played hands together, shall sound like octaves. One of the most difficult things in rhythm, is to play passages where two notes alternate with triplets. Scales may be practised in this way alternating three notes with two.
"We must make things sound well—agreeably, in a way to be admired. A seemingly discordant passage can be made to sound well by ingeniously seeking out the best that is in it and holding that up in the most favorable light. Practise dissonant chords until they please the ear in spite of their sharpness. Think of the instruments of the orchestra and their different qualities of tone, and try to imitate them on the piano. Think of every octave on the piano as having a different color; then shade and color your playing. (Also bitte coloriren)!"
If Bülow's musical trinity, Bach, Beethoven, and Brahms, had a fourth divinity added, it would surely have been Liszt. The first day's program contained chiefly works by the Hungarian master; among them Au bord d'une Source, Scherzo and March, and the Ballades. The player who rendered the Scherzo was advised to practise octaves with light, flexible wrist; the Kullak Octave School was recommended, especially the third book; the other books could be read through, practising whatever seemed difficult and passing over what was easy. Of the Ballades the first was termed more popular, the second finer and more earnest—though neither makes very much noise.
The Annees de Pelerinage received much attention. Among the pieces played were, Les Cloches, Chasse Neige, Eclogue, Cloches de Geneva, Eroica, Feux Follets and Mazeppa. Also the big Polonaise in E, the two Études, Waldesrauschen and Gnomenreigen; the Mazourka, Valse Impromptu, and the first Étude, of which last he remarked: "You can all play this; thirty years have passed since it was composed and people are only just finding out how fine it is. Such is the case with many of Liszt's works. We wonder how they ever could have been considered unmusical. Yet the way some people play Liszt the hearer is forced to exclaim, 'What an unmusical fellow Liszt was, to be sure, to write like that!'
"Exactness in everything is of the greatest importance," he was fond of saying. "We must make the piano speak. As in speaking we use a separate movement of the lips for each word, so in certain kinds of melody playing, the hand is taken up after each note. Then, too, we cannot make the piano speak without very careful use of the pedals."
The Mazourka of Liszt was recommended as one of the most delightful of his lighter pieces. The Waldesrauschen also, was termed charming, an excellent concert number. "Begin the first figure somewhat louder and slightly slower, then increase the movement and subdue the tone. Everything which is to be played softly should be practised forte."
Of Joachim Raff the Suite Op. 91 held the most important place. Each number received minute attention, the Giga being played by Ethelbert Nevin. The Metamorphosen received a hearing, also the Valse Caprice, Op. 116, of which the master was particular about the staccato left hand against the legato right. Then came the Scherzo Op. 74, the Valse Caprice and the Polka, from Suite Op. 71. Von Bülow described the little group of notes in left hand of middle section as a place where the dancers made an unexpected slip on the floor, and suggested it be somewhat emphasized. "We must make this little witticism," he said, as he illustrated the passage at the piano.
"Raff showed himself a pupil of Mendelssohn in his earlier compositions; his symphonies will find more appreciation in the coming century—which cannot be said of the Ocean Symphony, for instance."
Of Mendelssohn the Capriccios Op. 5 and 22 were played, also the Prelude and Fugue in E. Von Bülow deplored the neglect which was overtaking the works of Mendelssohn, and spoke of the many beauties of his piano compositions. "There should be no sentimentality about the playing of Mendelssohn's music," he said; "the notes speak for themselves.
"The return to a theme, in every song or instrumental work of his is particularly to be noticed, for it is always interesting; this Fugue in E should begin as though with the softest register of the organ."