one worked with the knee—a circumstance which greatly influenced Mozart's style, and is largely responsible for the fact that his pianoforte works are hardly ever played to-day in the concert hall. For, as the tone could not be sustained, it was customary in Mozart's time to hide its meagre frame by means of a great profusion of runs and trills, and other ornaments, with which even the slow movements were disfigured. Under the circumstances, these ornaments were justifiable to some extent, but to-day they seem not only in bad taste, but entirely superfluous, because our improved instruments have a much greater power of sustaining tones.
Czerny, the famous piano teacher, touched in his autobiography on the peculiarities of Mozart's style. Beethoven, who gave Czerny some lessons on the piano, made him pay particular attention to the legato, "of which," says Czerny, "he was so unrivalled a master, but which at that time—the Mozart period, when the short staccato touch was in fashion—all other pianists thought impossible. Beethoven told me afterwards," he continues, "that he had often heard Mozart, whose style from his use of the clavecin, the pianoforte being in his time in its infancy, was not at all adapted to the newer instrument. I have known several persons who had received instruction from Mozart, and their playing corroborated this statement."
In view of these facts, we can understand why Beethoven did not like Mozart's pianoforte works as well as those of Clementi, in which there was more cantabile, and which required more fulness of tone in the execution; and we can understand why even so conservative a critic as Louis Ehlert should exclaim, apropos of Chopin's "entirely new pianoforte life," "How uninteresting is the style of any previous master (excepting Beethoven) compared with his! What a litany of gone-by, dead-alive forms! What a feelingless, prosaic jingle! If anyone should, without a grimace, assure me sincerely that he can play pianoforte pieces by Clementi, Dussek, Hummel, and Ries, with real enjoyment even now, I will esteem him as an excellent man—yes, a very honest one; but I will not drink wine with him."
Were it not for what I have ventured to call the fetish of Jumboism, I am convinced that Professor Ehlert would have written Mozart's name in this last sentence in place of Clementi's. By excepting Beethoven alone from the list of "uninteresting" composers preceding Chopin, he implicitly condemns Mozart; but he does not dare to do so explicitly, although such a confession would not have affected Mozart's greatness in other departments of music, which is undeniable. Indeed, if Professor Ehlert had been perfectly sincere I am not quite sure that he would have excepted Beethoven's sonatas. Although they teem with great and beautiful ideas, these sonatas are not really adapted to the intrinsic nature of the pianoforte, and hence fail to arouse the enthusiasm of those whose taste has been formed by the works of Chopin and Schumann. It was no doubt an instinctive antipathy to Beethoven's unpianistic style (if the adjective be permissible), which prevented Chopin from admiring Beethoven as deeply as he did some other composers, whom he would have admitted to be his inferiors. And Beethoven himself does not seem to have regarded his pianoforte works with the same satisfaction as his other compositions. At least, he wrote the following curious sentence in a corner of one of his sketch books in 1805; "Heaven knows why my pianoforte music always makes the worst impression on me, especially when it is played badly." He must have felt that his ideas found a much more appropriate and adequate expression in the orchestra than on the piano. Not being a radical innovator he did not, in his treatment of the pianoforte, go beyond Clementi; and so it remained for Chopin to show the world that the pianoforte, if properly treated, will yield tones whose exquisite sensuous beauty can hardly be surpassed by any combination of orchestral instruments.
The two principal means by which he accomplished these reforms were the constant employment of the pedal, and the use of extended and scattered chords, in place of the crowded harmonies and the massive movements of the older accompaniments.
Very few pianists seem to comprehend the exact function and importance of the pedal. Many will be surprised to hear that the word "touch," which they suppose refers to the way the keys are struck by the fingers, has quite as much to do with the feet—that is, the use of the pedal—as with the fingers. No matter how thoroughly a pianist may have trained his fingers, if he does not use the pedal as it was used by Chopin and Schumann, he cannot reveal the poetry of their compositions. In one of his letters Chopin notes that Thalberg played forte and piano with the pedals, not with his hands, and some piano bangers do so still; but every pianist who deserves the name knows that loudness and softness must be regulated by the hands (and very rarely the left-side pedal). Yet even among this better class of pianists the notion seems to prevail that the main object of the right-side pedal is to enable them to prolong a chord or to prevent a confusion of consecutive harmonies. This is one of the functions of the pedal, no doubt, but not the most important one. The chief service of the pedal is in the interest of tone-color. Let me explain.
Every student of music knows that if you sing a certain tone into a piano (after pressing the pedal), or before a guitar, the strings in these instruments which correspond to the tone you sing will vibrate responsively and emit a tone. He also knows that when you sound a single note, say G, on the violin or piano, you seem to hear only a simple tone, but on listening more closely you will find that it is really a compound tone or a complete chord, the fundamental tone being accompanied by faint overtones, which differ in number and relative loudness in different instruments, and to which these instruments owe their peculiar tone-color.
Now when you press the pedal of a pianoforte on striking a note you do not only prolong this note, but its vibrations arouse all the notes which correspond to its overtones, and the result is a rich deep tone-color of exquisite sensuous beauty and enchanting variableness. Hence, whenever the melodic movement and harmonic changes are not too rapid, a pianist should press the pedal constantly, whether he plays loudly or softly; because it is only when the damper is raised from the strings that the overtones can enrich and beautify the sound by causing their corresponding strings to vibrate in sympathy with them. Those who heard Schumann play say that he used the pedal persistently, sometimes twice in the same bar to avoid harmonic confusion; and the same is true of Chopin, concerning whose playing an English amateur says, after referring to his legatissimo touch: "The wide arpeggios in the left hand, maintained in a continuous stream of tone by the strict legato and fine and constant use of the damper pedal, formed an harmonious substructure for a wonderfully poetic cantabile."
I have italicised and emphasized the words maintained in a continuous stream of tone, because it calls attention to one of the numerous resemblances between the style of Chopin and that of Wagner, who in his music dramas similarly keeps up an uninterrupted flow of richly colored harmonies to sustain the vocal part. Schumann relates that he had the good fortune to hear Chopin play some of his études. "And he played them very much à la Chopin," he says: "Imagine an Æolian harp provided with all the scales, commingled by an artist's hand into all manner of fantastic, ornamental combinations, yet in such a way that you can always distinguish a deeper ground tone and a sweet continuous melody above—and you have an approximate idea of his playing. No wonder that I liked best those of the études which he played for me, and I wish to mention specially the first one, in A flat major, a poem rather than an étude. It would be a mistake to imagine that he allowed each of the small notes to be distinctly audible; it was rather a surging of the A flat major chord, occasionally raised to a new billow by the pedal; but amid these harmonies a wondrous melody asserted itself in large tones, and only once, toward the middle of the piece, a tenor part came out prominently beside the principal melody. After hearing this étude you feel as you do when you have seen a ravishing picture in your dreams and, half awake, would fain recall it."
Now it is obvious that such dreamy Æolian-harp-like harmonies could not have been produced without Chopin's novel and constant use of the pedal. And this brings out the greatest difference between the new and the old style of playing. In the pianoforte works of Mozart and Beethoven, and even in those of Weber, which mark the transition from the classical to the romantic school, there are few passages that absolutely require a pedal, and in most cases the pieces sound almost as well without as with pedal; so that, from his point of view, and in his days of staccato playing, Hummel was quite right in insisting
