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Updated: June 8, 2025
Almost all of Foote's compositions are written in the close harmony and limited range of vocal music, and he very rarely sweeps the keyboard in his piano compositions, or hunts out startling novelties in strictly pianistic effect.
As the work seemed to need a finale in its larger form, Bartlett took a liberty whose success was its justification, and added a finish made up of the three principal themes interwoven. A recent work is his "Concertstück," for violin and orchestra. It is not pianistic in instrumentation, and will appeal to violinists.
The music of Chopin is peculiarly pianistic, but it is, first of all, music, and any one of the wonderful melodies which came from the fertile brain of the Polish-French genius could be played upon one of many different instruments besides the piano.
His works make one keenly aware of the rhythmical, the formalistic limitations of Chopin's piano pieces, of the steeliness of much of Brahms', of the shallow brilliancy, the theatricality, of Liszt's. They even make us feel at moments as though in them had been realized the definitive pianistic style, that the hour of transition to the new keyboard of quarter tones was nigh.
Liszt is, of course, considered a great master for the piano, and I play his works with great delight, especially the Campanella with its beautiful bell effect, but I cannot look upon Liszt as a pianistic composer in the same way that one thinks of Chopin as a pianistic composer. The piano was Chopin's natural tongue. Liszt's tongue, like that of Beethoven, was the orchestra.
Rubinstein himself, MacDowell was told by one of the students, would have had to reform his pianistic manners if he had placed himself under the guidance of the Stuttgart pedagogues. Nor does the system of instruction then in effect at the Conservatory appear to have been thorough even within its own sphere.
Mendelssohn benefited to a slight extent by Chopin's example, but he did not add anything new to the treatment of the pianoforte. Nor does even Liszt mark an advance on Chopin from a purely pianistic point of view. Paradoxical as it may seem, Liszt, the greatest pianist the world has known, was really a born orchestral composer.
Between the many engagements that crowded upon the close of her long American tour, Miss Tina Lerner found time to talk over certain topics of significance which bear upon pianistic problems. We began by referring to the different methods of holding the hands, moving the fingers and touching the keys, as exemplified by the various pianists now before the public.
Faithful ones among the pupils who flocked about him in classic Weimar spread wide his influence, but also much harm was done in his name by charlatans who, calling themselves Liszt pupils, cast broadcast the fallacy that piano pounding was genuine pianistic power.
In his piano music can be found the germs of most of the pianistic innovations that are usually identified with other composers for instance, the manner of enveloping the melody with runs, the discovery of which has been ascribed to Thalberg, but which we find in Mendelssohn's first Prelude, written in 1833.
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