For instance, this theme might have gone through
Chopin's mind much after this fashion:

[Illustration]

"The main idea being to reach the embryo of Chopin's thought and by
artistic insight divine the connotation of that thought, as nearly as
possible in the light of the treatment Chopin has given it.

"It is not so much the performer's duty to play mere notes and dynamic
marks, as it is for him to make an artistic estimate of the composer's
intention and to feel that during the period of reproduction he
simulates the natural psychological conditions which affected the
composer during the actual process of composition. In this way the
composition becomes a living entity--a tangible resurrection of the soul
of the great Chopin. Without such penetrative genius a pianist is no
more than a mere machine and with it he may develop into an artist of
the highest type."

A UNIQUE ATTITUDE

Reisenauer's attitude toward the piano is unique and interesting.
Musicians are generally understood to have an affectionate regard for
their instruments, almost paternal. Not so with Reisenauer. He even goes
so far as to make this statement: "I have aways been drawn to the piano
by a peculiar charm I have never been able to explain to myself. I feel
that I must play, play, play, play, play. It has become a second nature
to me. I have played so much and so long that the piano has become a
part of me. Yet I am never free from the feeling that it is a constant
battle with the instrument, and even with my technical resources I am
not able to express all the beauties I hear in the music. While music is
my very life, I nevertheless hate the piano. I play because I can't help
playing and because there is no other instrument which can come as near
imitating the melodies and the harmonies of the music I feel. People say
wherever I go, 'Ah, he is a master.' What absurdity! I the master? Why,
there is the master (pointing to the piano), I am only the slave."

THE FUTURE OF PIANOFORTE MUSIC

An interesting question that frequently arises in musical circles
relates to the future possibilities of the art of composition in its
connection with the pianoforte. Not a few have some considerable
apprehension regarding the possible dearth of new melodic material and
the technical and artistic treatment of such material. "I do not think
that there need be any fear of a lack of original melodic material or
original methods of treating such material. The