File:Programme (1921) (14784818495).jpg

Identifier: programme2122bost (find matches)
Title: Programme
Year: 1881 (1880s)
Authors: Boston Symphony Orchestra
Subjects: Boston Symphony Orchestra Concert programs
Publisher: Boston, Mass. : Boston Symphony Orchestra
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Symphony Orchestra

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he Continent in the fact that Liszt has neverhad the slightest influence on English music. He played in England,he was adored in England, especially when he was too old to playany more—that is the true English way. But he founded no schoolof pianists in this country, and his compositions have been regardedwith something less than respect. Mr. Lamond was his pupil, andMr. Lamond is one of our great men, but his greatness lies in thedignity and austerity of his interpretations. Among our composersElgar is the only one who has derived something from Liszt.Perhaps it is just this touch of Liszt that has made Elgar moreacceptable to Continental audiences than others of his generation;yet it is an influence so slight as to be hardly apparent at all whenwe compare Elgar, not with his compatriots, but with his contem-poraries abroad. ^mm^^^^mmM^^MmmmM^^^^^^^^^ MlIC&IEIIE^^ir CBlRiXIDIE INCORPORATED 3B Feibmm^il SirMDSiET, IBaDSir©^ ^^■^;^..,^ .. »^,.^^ •_^^^j;^^^_:j^;.^^-;ZL^-^,^^
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England has produced no pianoforte music—though as I writethis sentence I feel rather like Alice in the trial scene. Yes,endless music is written for the pianoforte in England, but evenour newest renaissance has brought forth very little that finds itsway into concert programmes. The favorite concerts are still thoseof Schumann and Beethoven. Let it be noted that the concertos ofLiszt make rare appearances. Our pianists learn them, but I do notthink that they play them with much pleasure. They learn a fewof Ms rhapsodies and smaller pieces; but they very seldom play thegreat sonata. No English pianist would ever think of giving arecital devoted to Liszt alone. His music simply does not fit in withour English temperament. For Liszts music, with few exceptions,is always music for the concert platform. To sit down and play itis to proclaim oneself at once one of the race of supermen, one ofthose who do, at least on such occasions, if not in private life,claim the right to intensify the

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