rful lungs, alone can give. But if the full beauty of Chopin's
conception is to be gained, his music must be played on the pianoforte
and on nothing else. The pianoforte has, to be sure, several
limitations; it is not per se a loud instrument in comparison with a
trumpet or an organ, and the whole nature of its tone is
evanescent--that is, as soon as the tone is produced, it begins to
fade away, [decrescendo symbol]. This latter apparent limitation,
however, is in fact one of its most suggestive beauties; for nothing
is more stimulating to the imagination than the dying away of a
beautiful sound, as may be felt in the striking of a clear-toned bell,
or in the wonderful diminuendo of the horn. This effect, inherent in
pianoforte tone, should be more utilized rather than deplored,
especially since dwelling on a delightful harmony or a single dramatic
note is a definite characteristic of "tempo rubato"--that peculiar
feature of Chopin's rhythm. The pianoforte can neither steadily
sustain a tone [sustaining symbol] nor increase it [crescendo symbol];
achievements for which the strings and the wind instruments are so
valued. On the other hand, the instrument has the merits of great
sonority and marvellous coloristic possibilities; and when music is
composed for the pianoforte by one who understands its secrets and,
furthermore, when it is properly played, it is quite the finest[215]
instrument ever yet brought under the control of a single performer.
Again, the pianoforte is not meant for great rapidity of utterance,
such as, for instance, we associate with the violin, the flute or the
clarinet. It is, in fact, often played _too fast_, sounding like a
pianola or a machine rather than an instrument with a soul. If there
be no lingering over the notes, beautiful effects have no opportunity
to be heard. Rapidity and brilliance on the pianoforte do not depend
on so many notes per second but on vitality and precision of accent.
These admirable qualities of the instrument are due to the great
number of vibrating metal strings (in a modern concert-grand, about
two hundred and thirty, _i.e._, three strings to each of the twelve
notes of the seven octaves, save for a few of the lowest bass notes);
to the large sounding board (about twenty-four square feet, on the
largest model), and above all to the damper pedal which Rubinstein--so
appropriately--calls the soul of the pianoforte. The very term
Pianoforte implies a wealth of meaning;