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Updated: July 15, 2025
Classical pianists pour in from Germany principally; popular pianists, who delight in fantasias rather than concertos, and who play such tricks with the keyboards, that the performances have much more of the character of legerdemain than of art, arrive by scores; violinists, violoncellists, professors of the trombone, of the ophicleide, of the bassoon, of every unwieldy and unmanageable instrument in fact, are particularly abundant; and perhaps the most popular of all are the particularly clever gentlemen who, by dint of a dozen years' or so unremitting practice, have succeeded in making one instrument sound like another.
"Before notation existed, before keyboards were invented, people sang. Before a child knows anything of notation or a keyboard, it sings. It is following its natural, musical instinct. Notation and keyboards are simply symbols of music cages in which the beautiful bird is caught. They are not music any more than the alphabet is literature.
He introduced in France keyboards worthy of the name, and he gave to the higher notes, through his invention of harmonic stops, a brilliancy they had lacked. He invented wonderful combinations which allow the organist to change his combinations and to vary the tone, without the aid of an assistant and without leaving the keyboard.
She exploited their several capacities with masterful hands, not deigning to seat herself, but just slightly bending forward, and sweeping her fingers up and down their keyboards able, domineering fingers which pounded, tinkled, meditated, assented, condemned, all in a flash, and amid what affected the layman's ears as a hopelessly discordant hubbub.
In order to give greater resources, the builder multiplied the keyboards. Pedals were introduced to help out the keyboards. At that time Germany alone had pedals worthy of the name and worth while in playing an interesting bass part. In France and elsewhere the rudimentary pedals were only used for certain fundamental notes or in prolonged tenutos.
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