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.
Pages:
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213