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Updated: May 17, 2025


"Some good rousing tunes first." Rosamond played admirably. Her master at Mrs. Rosamond, with the executant's instinct, had seized his manner of playing, and gave forth his large rendering of noble music with the precision of an echo. It was almost startling, heard for the first time.

She was a good musician and had the well-taught executant's certainty and grace of movement. It may be the fancy of an outer Philistine, but I love to forget the existence of the instrument and to feel the music coming from the human finger-tips. She found a volume of Chopin's Nocturnes on the rest. In fact she had left it there a fortnight before, the last time she had played for me.

She had neither the patience nor the sternness of mental quality which is required in a creative genius: the little songs and poems which she sometimes composed were insipid to an astonishing degree. Hers were the executant's gifts, and the fascination which she exerted over men and women depended wholly on the natural charm of a temperament made up of fire and honey.

The finale, of course, was done with the due brilliance, the executant's share in a composition not written for modern players. But what was wonderful, for its reverence, its perfection of fidelity, was the playing of the slow movement and of the little sharp movement which follows, like the crying and hopping of a bird.

This only proves again that a tone may be beautiful, though in itself harsh, if this harshness comes in the right time and place. "As with velocity so with power; there is no fixed and infallible rule in regard to it, for that would only be another limitation to the feeling, the poetry, the emotion of the executant's thought.

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