WHAT OF THE PIANO?

Press, Volume LXIII, Issue 19176, 6 December 1927, Page 7

WHAT OF THE PIANO?

Since the Player Piano, the Uramophone, and Wireless Musio have found widespread popularity, pessimists hav® persistently deprecated the Piano, declaring it obsolete and the expenditure for instrunfent and tuition superfluous, since music can now be bought readymade, like other wares. Little justification can be claimed for these rash and sweeping denunciations. In fact, if ever the Piano were to yield its prfda of place sis a home-maker, the loss to intimate family life would bs nothing short of a calamity. All the ambitions of the musically gifted, fosterecj in untold thousands of homes, all the wholesome rivalries that led to distinction within or beyond the family circle, would bo buried—while we re* main behind as languid listeners. In-' stead of free choice from the treasures of music, we should lie at the mercy of a few big wigs and their limited repertoire. We then barter away independence and wilfully open the door to monopolies and favouritism. Even the Gramophone, the most formidable rival of the Piano, on account of its permanent records, belies the assertion that the Piano is "played put," For the Piano is indispensable for accompaniment and without it home-singing would be doomed. Vet they hope to revive the age "when AH England sang." Without the Piano the movement invites utter collapse, liven with moderate skill the "missing link" is useful to the singer. But the value and utility of the Piano transcend by far its subordinate functions. Certain types of music appeal to the massoa and are easily enough absorbed by listening. But from u higher grade ouwards insight and discrimination can only be acquired through actual fundamental knowledge for which thero is no better medium than tho Piano. Our pianistio progress may be slow, our final attainment negligible, but it wakens at least whatever gifts we may possess and brings us nearer and nearer to understanding and feeling great music. In what other way could talent in children he discovered than by the revelations of the keyboard or strings P And is the little tuno your child extracts quite so useless? Endless are the regrets in after life of those who failed to grasp their chance of a musical education in youth. They are aware of missing one of the roads to life's happiness. The desire for self-expression and real action is strong in aLI conscious of musical talent and must be allowed a free course, unchained, There is no reason why the Gramophone, "without dislodging the Piano, should not indeed help to raise tho pianistic proficiency to higher standards. For by its means both teachers and students may consult pnd compare the reading of ina.ster-minds for their own benefit and for the preservation of their humility. But servants always, not masters, all devices should remain.

From every point of view, above any other instrument, the existence of the Piano is vital; if music is desired to flourish. It is so wrapt up with great music, that to lose it for the sake of any appliance might spoil disaster to the art, perhaps greater that we can foresee. H. Al. LUND.