EMIL LIEBLING

MR. EMIL LIEBLING.

Born at Pless, Silesia, April 12, 1851.

At first glance there might seem an impropriety in
counting among American composers this scion of the
well-known Liebling family of pianists and musicians of
Berlin, Germany, whither his parents removed while
Emil was but a small boy. But Mr. Emil Liebling is
essentially American and Germany has had but little to
do with his development. The list includes Mr. Max
Liebling, the well-known piano teacher of New York ;
Georg 1 Liebling and Saul Liebling, concert pianists.
Emil Liebling came to America upon his own resources
to hustle for his future, landing in New York at the age
of sixteen. Almost immediately he was offered the posi-
tion of piano teacher in a Kentucky college in the fol-
lowing September (this was in June), provided he would
qualify himself to speak English by that time. With
characteristic ardor he set himself to the task and ac-
complished it. After two years in Kentucky he came
to Chicago, where he has ever since resided, except for
two years in Germany from 1874 to 1876, during which
time he studied and taught in Vienna and in the Kullak
school in Berlin, where he was highly esteemed. After
his return to America Mr. Liebling immediately took a
commanding position as teacher of piano and recital
pianist, which he has ever since retained.

Although Mr. Liebling has not chosen to figure in any
very extensive way as composer,, his name stands in

connection with quite a large number of pieces for piano,
a few songs, etc., all light, pleasing and effective. He
has carefully eschewed sonatas, concertos and fuges and
other unpopular profundities.

Many of his pieces have had fine success. By way of
variety he competed for a prize offered by the New
York World for a set of waltzes, and gained the prize.
But he has never composed for orchestra or chamber,
and has written but a few songs. Had he chosen to fol-
low this branch of musical production, he has talents
which would easily have secured him a high place as
composer of light opera his mentality having exactly
that "touch and go" quality, the sparkle and wit needed
in this very profitable department of effort.

ROMANCE DRAMATIQUE. OP. 21.
C7th Grade.)

This romance is one of the most serious of Mr
Liebling's efforts. It consists of a rather impassioned
melody, quite broken as to its smaller rhythm, but per-
fectly clear if the effect of double measure is well kept,
and this melody is supported upon an arpeggio accom-
paniment which covers generally about three octaves,
in motion of sixteenths, the measure being 6-8. The
modulations are striking and effective. The melody
begins in the key of G, but in the thirteenth measure
(not counting two measures of introduction, in which
the accompaniment is getting itself shaken .out and
settled down to business) it is already in B major. From
this it goes into E flat minor, and so around through
other countries back again to G major. When well
played this piece ought to make a really clever and poetic
effect. That it has not been very popular, as the author
suggests, is probably due to its considerable difficulty.

MADELEINE. VALSE DE SALON. OP. 27.
(5th Grade'.)

One of the most pleasing of Mr. Liebling's composi-
tions is the Madeline waltz, a brilliant and very dance-
able waltz in the key of F. Effective and pleasing.

SPRING SONG. OP. 35.
(4th Grade.)

Liebling's "Spring Song" has been perhaps more
played than any other of his pieces. It is a sort of
scherzo, or playful movement, filled with the expec-
tancy, the delicate suggestiveness and the freshing life
of spring.

Should other examples be desired the following are
recommended: ''Florence Waltz," "Canzonetta" u.A
"Gavotte Moderne," the latter of 7th or 8th gr-jJk- of
difficulty.