find
ourselves alone.

"I shall probably play considerably with orchestra next season. There is
a Concerto by Rimsky-Korsakow which is quite short, only one movement.
It Is charming and brilliant, and I think has not yet been played in
America. There is also a new work by Stavenhagen for piano and
orchestra, which is a novelty on the other side. I greatly enjoy playing
with orchestra, but of course I shall play various recitals as well."

Miss Spencer has appeared with the best orchestras in England and on the
continent, and has everywhere received commendation for her pure,
singing tone, plastic touch, and musical temperament. She is certain to
have success in America, and to win hosts of friends there.

XX

ARTHUR HOCHMAN

HOW THE PIANIST CAN COLOR TONE WITH ACTION AND EMOTION

"A pianist, like a painter, should have an infinitude of colors on his
palette," remarked Arthur Hochman, the young Russian pianist, in a
recent chat about piano playing. He should paint pictures at the
keyboard, just as the artist depicts them upon the canvas. The piano is
capable of a wonderful variety of tonal shading, and its keys will
respond most ideally to the true musician who understands how to awaken
and bring forth all this tonal beauty from the instrument.

"The modern pianist is often lacking in two important
essentials--phrasing and shading. Inability to grasp the importance of
these two points may be the cause of artistic failure. An artist should
so thoroughly make his own the composition which he plays, and be so
deeply imbued with its spirit, that he will know the phrasing and
dynamics which best express the meaning of the piece. When he has risen
to such heights, he is a law to himself in the matter of phrasing, no
matter what marks may stand upon the printed page. As a rule the editing
of piano music is extremely inadequate, though how can it really be
otherwise? How is it possible, with a series of dots, lines, dashes and
accents, to give a true idea of the interpretation of a work of musical
art? It is _not_ possible; there are infinite shadings between _piano_
and _forte_--numberless varieties of touch which have not been tabulated
by the schools. Great editors like von Buelow, Busoni and d'Albert have
done much to make the classics clearer to the student; yet they
themselves realize there are a million gradations of touch and tone,
which can never be expressed by signs nor put into words.

FOUR REQUI