August 7, 1915 MUSICAL AMERICA 21
EXTEND/NO PIANO TECIINJQUE TO MEET DEMANDS OF MODERNISM JOSE MARDONES George F. Boyle Illustrates Departures from Traditional Methods that Have Arisen for Composer and His Interpreter CHIEF BASSO
B altimore, J uly 31, 1915. modern idiomatic piano composition and to describe the tecl)nical departures from Boston Opera HE composer-pianist of ultra-mod ~rn traditional methods which have arisen T tendencies is blazing a trail for through the use of the new idiom. Said Company new ideals in pianism, establishing a he: "Upon analysis of the modern com new mode of expression, creating a new poser-pianist's work one should find strong individuality of expression, pro order to finger technique and develop duced through the employment of strik ing the much neglected art of pedaling. ing thematic material, subtle harmoniza American musicians are doing an active tion, with the use of shifting tonalities, although allegiance to the fixed tonal Initial foundation must be noticeable. Transcontinental Economizing in Material "In my opinion, there should be a Tour desire to economize in material when creating a work. I often find an over flow of thematic ideas seeming to spring from the principal theme. But spon taneity and unity must be the outcome of my composition scheme. Therefore, SPANISH FOLK SONGS no matter how attractive and sparkling an effect may be in itself, unless it Constitute One of the is the direct outgrowth of thematic de Features of His Programs ve:opment, reasonably related to the gen eral scheme and in logical association with the melodic contour, I do not deem it worthy of use. "Rare equipment for concert. Few who can combine "Thematic treatment, counter and re lated themes, melody with accompani such intelligence and temperament."--Boston Glob-e . ment removed to an extreme register, in terlocking, overlapping and rapidly mov "Voice of noble beauty,' a sin ger of consummate taste." ing counterpoints having fragmentary theme suggestion are some of the means -Cincinnati Enquire·r. employed in modern piano composition. AtmoS'pheric effects and tone color are "Wonderful voice of splendid range." sought. Color is gained by attention to the penetration of accent, the extreme - Pittsburgh Dispatch. treble becomes ethereal, brilliant, brittle or sparkling, while the lower registers embody mysticism, warmth and richness of tone, capable of causing endless For Available Dates and Terms Address psychological suggestion. Just how well these effects are made apparent will de pend upon what consideration has been The Booking and Promoting Corporation given to the important matter of pedal ing. Too frequently composers are Aeolian Hall New York George F. Boyle, Composer, Pianist and afraid to use the blendings and the Member of the Faculty of the Peabody minglings of tone which result when Conservatory of Music, and His Wife, Who, combining higher figuration with basic as Avery Baker, Was H i s Pupil In P lano harmony that apparently has little rela govern the fingering employed for this and his scoring always carries colorful tionship. Still this blurring is not with scale. As there are two foundation significance. His growing classes of share in the advancement of these ideals, out charm and becomes unpleasant only notes upon which it is formed, either pupils, from year to year, show that as their creative efforts show a distinct when it is employed in too low a regis the white keys or the black keys, it re his methods of instruction are based character and style which point to the ter. Effects gained through mingling quires separate fingering. In a word, upon the soundest principles, for he not fact that music for the piano is in a high melodic figuration by adroit pedal the same finger should fall always on only follows ideals that lead him to be ing not only produce a subtle harmonic the same key; generally the thumb is an artistic player himself but has the state of evolution. background, but, by modifying the shrill to be avoided on the black keys ..... For keen faculty of imparting his knowledge These ideals are embodied in the work ness of tone penetration, add to the instance, beginning on C, ascending, the to others and inspiring them toward a of George F. Boyle, who, although an coloring." . right hand would conveniently finger the similar goal. Australian by birth, by virtue of his To illustrate his remarks Mr. Boyle six notes of the whole tone scale thus: FRANZ C. BORNSCHEIN. long association with an American in qegan improvising at •the piano. Each 1, 3, 1, 2, 3, 4-descending in reverse stitution of musical learning, as a point was fully amplified either with order; beginning on C sharp, or its Wilfred Glenn to Be Soloist with Handel teacher at the Peabody Conservatory of an example from his own works or in equivalent, D flat, ascending, the finger Music, Baltimore, may be considered an a phrase from some modernist. Be ing would be : 3, 4, 1, 3, 1, 2-descend and Haydn Society American by adoption. tween puffs at his inseparable cigar, he ing in reverse order. In the left hand, Wilfred Glenn, the basso, who earned Mr. Boyle was asked recently to de began chatting about the technical de beginning on C, a scending: 1, 3, 1, 4; 3, 2 a decided success recently at the Globe's fine the essential characteristics of mands made upon the modern playeJ'. -descending in reverse order; beginning concerts in Madison Square Garden, New on C sharp, ascending, 3, 2, 1, 3, 1, 4- York, has been engaged for the Febru Changes in Technique descending in reverse order. Of course, ary concert of the Handel and Haydn this is the fingering that suggests itself Society of Boston. The Lowell Choral EDWARD "Since the advent of the whole tone as comfortable to me. Others may de Society has engaged him for an appear scale, with its resultant progressions of vise more suitable sequences to meet ance in the "Messiah" on January 25 augmented chords and the use of chords their needs." and he will appear as soloist with the with added intervals, modern piano Troy Orchestra on January 20. RECHLIN technique has indeed undergone changes. Mr. Boyle's Compositions Just as the diatonic and the chromatic Mr. Boyle's piano compositions are de scale in the days of Dussek, Czerny, Thai cidedly modern in trend and are being A number of American songs were in berg and Liszt gave cause for concern, universally played by prominent artists. troduced with much success recently by so do the devices employed at present Ernest Hutcheson has played Mr. Boyle's John Proctor Mills, the bass-baritone, in