76 files changed, 20156 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/35520-8.txt b/35520-8.txt
new file mode 100644
index 0000000..e44c2c3
--- /dev/null
+++ b/35520-8.txt
@@ -0,0 +1,6742 @@
+The Project Gutenberg EBook of Memories of a Musical Life, by William Mason
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Memories of a Musical Life
+
+Author: William Mason
+
+Release Date: March 8, 2011 [EBook #35520]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MEMORIES OF A MUSICAL LIFE ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+
+
+
+
+
+
+
+
+[Illustration: image of the book's cover]
+
+MEMORIES OF A
+
+MUSICAL LIFE
+
+[Illustration: WILLIAM MASON IN 1899]
+
+
+
+
+Memories of a
+
+Musical Life
+
+by
+
+William Mason
+
+[Illustration: colophon]
+
+NEW YORK
+
+THE CENTURY CO.
+
+MCMII
+
+Copyright, 1900, 1901, by
+
+THE CENTURY CO.
+
+
+_Published October, 1901._
+
+
+THE DEVINE PRESS.
+
+
+TO
+MY DAUGHTER
+MINA MASON VAN SINDEREN
+AT WHOSE REQUEST
+THESE MEMORIES
+HAVE BEEN WRITTEN
+
+
+
+
+CONTENTS
+
+
+                                                                    PAGE
+
+EARLY DAYS IN NEW ENGLAND                                              3
+  Lowell Mason's Career                                                7
+  First Beethoven Symphony in America                                  8
+  Musical Conventions                                                  9
+  Early Musical Training                                              10
+  Webster and Clay                                                    11
+  First Public Appearance                                             18
+  Leopold de Meyer                                                    19
+  "Father Heinrich"                                                   22
+  An Embarrassing Experience                                          25
+
+STUDENT LIFE ABROAD                                                   27
+  Meeting with Meyerbeer                                              28
+  Liszt's Feat of Memory                                              31
+  First Meeting with Liszt                                            33
+  Arrival at Leipsic                                                  34
+  Moscheles, Beethoven, and Chopin                                    36
+  The Intimacy of Moscheles and Mendelssohn                           37
+  Schumann                                                            38
+  Schumann's "Symphony No. 1, B Flat"                                 39
+  Schumann's Absent-mindedness                                        42
+  Moritz Hauptmann                                                    44
+  A Visit to Wagner                                                   48
+  Wagner on Mendelssohn and Beethoven                                 51
+  A Wagner Autograph                                                  55
+  Moscheles                                                           57
+  Joseph Joachim                                                      62
+  Schumann's "Concerto in A Minor"                                    63
+  Carl Mayer                                                          65
+  Dreyschock                                                          66
+  Prince de Rohan's Dinner                                            71
+  Chopin, Henselt, and Thalberg                                       75
+  Anton Schindler, "Ami de Beethoven"                                 79
+  Schindler and Schnyder von Wartensee                                82
+  First London Concert                                                84
+
+WITH LISZT IN WEIMAR                                                  86
+  Accepted by Liszt                                                   88
+  The Altenburg                                                       93
+  How Liszt Taught                                                    97
+  "Play It Like This"                                                 99
+  Liszt in 1854                                                      101
+  His Fascination                                                    102
+  Liszt's Indignation                                                103
+  Objects to my Eye-glasses                                          106
+  A Musical Breakfast                                                108
+  Liszt's Playing                                                    110
+  Liszt and Pixis                                                    117
+  Liszt Conducting                                                   119
+  Liszt's Symphonic Poems--Rehearsing "Tasso"                        121
+  Extracts from a Diary                                              122
+  Opportunities                                                      126
+  Brahms in 1853                                                     127
+  Nervous before Liszt                                               128
+  Dozing while Liszt Played                                          129
+  "Lohengrin" for the First Time in Leipsic                          132
+  In Stuttgart--Hotel Marquand                                       135
+  The Schumann "Feier" in Bonn, 1880                                 136
+  Brahms's Pianoforte-playing                                        137
+  A Historical Error Corrected                                       141
+  More about Liszt's Wonderful Sight-reading                         142
+  Liszt's Moments of Contrition                                      144
+  Peter Cornelius                                                    145
+  Some Famous Violinists                                             147
+  Remenyi                                                            151
+  Some Distinguished Opera-singers                                   153
+  Henriette Sontag                                                   154
+  Johanna Wagner                                                     156
+  Mme. de la Grange                                                  157
+  "Der Verein der Murls"                                             158
+  The Wagner Cause in Weimar                                         159
+  Raff in Weimar                                                     161
+  Dr. Adolf Bernhard Marx                                            165
+  Berlioz in Weimar                                                  168
+  Entertaining Liszt's "Young Beethoven"                             171
+  Rubinstein's Opposition to Wagner                                  174
+
+AT WORK IN AMERICA                                                   183
+  Touring the Country                                                184
+  "Yankee Doodle" and "Old Hundred"                                  187
+  Settling down to Teach                                             191
+  Theodore Thomas at Twenty                                          195
+  Thomas as Conductor                                                197
+  Karl Klauser, Musical Director at Miss Porter's School             202
+  Louis Moreau Gottschalk                                            205
+  Propaganda for Schumann's Music                                    209
+  Sigismond Thalberg                                                 210
+  Pedal and Pedal Signs--Why not Dispense with the Latter?           215
+  Pedal Study for the Pianoforte                                     219
+  Rubinstein and the Autograph-hunter                                221
+  Evolution in Musical Ideas--Beethoven Pianoforte Recitals          226
+  Rubinstein's Favorite Seat at a Pianoforte Recital                 227
+  Bach's "Triple Concerto" and "Les Agr�ments"                       229
+  A Significant Autograph from Rubinstein                            234
+  Rubinstein, Paderewski, and "Yankee Doodle"                        236
+  Meetings with Von B�low                                            238
+  Edvard Grieg                                                       241
+  Rates of Tempo--The Present Time Compared with Fifty Years Ago     243
+  Electrocuting Chopin                                               244
+  Tempo Rubato                                                       246
+  Unusual Pupils--Transposing--Positive and Relative Pitch           247
+  Appledore, Isles of Shoals                                         251
+
+MUSIC IN AMERICA TO-DAY                                              259
+
+APPENDIX                                                             273
+
+INDEX                                                                297
+
+
+
+
+     The author acknowledges the efficient collaboration of Mr. Gustav
+     Kobb� in preparing these Memories for publication, and also the
+     valuable assistance of his son-in-law, Mr. Howard van Sinderen.
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+William Mason in 1899                                    _Frontispiece_
+  From a photograph by Gessford & Van Brunt.
+
+                                                          FACING PAGE
+
+William Mason as a Boy                                                12
+  From a daguerreotype.
+
+William Mason at the Age of Eighteen                                  20
+  From a daguerreotype.
+
+Autograph of I. Moscheles                                             32
+
+Autograph of Robert Schumann                                          38
+
+Autograph of Mme. Schumann                                            44
+
+Autograph of Moritz Hauptmann                                         48
+
+Autograph of Richard Wagner                                           56
+
+Autograph of Joseph Joachim                                           64
+
+Autograph of Anton Schindler                                          80
+
+Liszt in Middle Life                                                  88
+  Drawn by George T. Tobin from a photograph of uncertain date.
+
+The Altenburg, Liszt's House at Weimar                                96
+
+Autograph of Vieuxtemps                                              144
+
+Autograph of Ole Bull                                                150
+
+Autograph of Henriette Sontag                                        164
+
+Autograph of Hector Berlioz                                          168
+
+Autograph of Ferdinand Laub                                          180
+
+The Mason-Thomas Quartet                                             196
+
+Theodore Thomas about Twenty-four Years Old                          200
+  From a photograph by Duchochois & Klauser.
+
+Autograph of Moreau Gottschalk                                       208
+
+Autograph of Sigismond Thalberg                                      212
+
+Autograph of Anton Rubinstein                                        232
+
+Autograph of I. J. Paderewski                                        236
+
+Autograph of Hans von B�low                                          240
+
+Autograph of Edvard Grieg                                            244
+
+Interior of Studio in Steinway Building, New York                    248
+
+Autographs of the Kneisel Quartet                                    262
+
+Lowell Mason                                                         277
+  From a daguerreotype.
+
+
+
+
+MEMORIES
+
+OF A MUSICAL LIFE MEMORIES
+
+OF A MUSICAL LIFE
+
+
+
+
+EARLY DAYS IN NEW ENGLAND
+
+
+I am the third son of Lowell Mason of Medfield, Massachusetts, and of
+Abigail Gregory of Westborough, Massachusetts, his wife, and I was born
+in Boston on January 24, 1829. My father was in the seventh generation
+from Robert Mason, who was born in England about the year 1590. In 1630
+Robert came to America, and was probably one of John Winthrop's company,
+landing at Salem on the twelfth day of June of that year. Thomas Mason,
+the elder son of Robert, went to Medfield to live in the second year of
+the settlement of the town. His marriage with Margery Partridge, on
+April 23, 1653, was the first marriage to be entered upon the town
+records; and the homestead lands, which he acquired by grant from the
+town, have ever since remained in possession of some member of the Mason
+family. Thomas and two of his sons were killed by the Indians under
+Monaco on February 21, 1676, when Medfield was burned. The line was
+continued through Ebenezer, a third son, born at Medfield, September 12,
+1669; Thomas, a son of Ebenezer, born at Medfield, April 23, 1699;
+Barachias, son of Thomas, born at Medfield, June 10, 1723, who was
+musical and who taught singing; and Johnson, son of Barachias, born at
+Medfield, August 7, 1767. Johnson was the father of Lowell Mason, who
+was born at Medfield, January 8, 1792. On January 8, 1892, the one
+hundredth anniversary of my father's birth was celebrated at Medfield,
+under the auspices of the Historical Society of that place. In the
+address delivered by the president of the society, a period of his life
+was touched upon concerning which but little had heretofore been
+published. The address will be interesting to those who are interested
+in him and in the work which he accomplished, and is printed, by
+permission, in an appendix to these memories.
+
+The difference between Boston and New York as musical centers is largely
+due to my father. He made Boston a self-developing musical city. New
+York has received its musical culture from abroad.
+
+My father manifested a remarkable fondness for music at an early age.
+His parents did not intend that he should take up music as a profession,
+but his talent was not neglected. In 1812, before he was twenty, he
+heard of an opening in a bank in Savannah, Georgia, and having secured
+the position, he went there. After business hours he continued his
+studies in music with an instructor named F. L. Abel, under whom he made
+rapid progress. He soon attempted composition, his first efforts being
+hymn-tunes and anthems. He arranged a collection consisting of a group
+of selections from William Gardiner's "Sacred Melodies," to which he
+added some of his own compositions. For this collection he vainly
+endeavored to find a publisher in Philadelphia and Boston, until chance
+brought to Savannah a Boston organ-builder, W. M. Goodrich, who had come
+to set up an organ. He induced my father to go to Boston in person, with
+the result that the work was submitted to Dr. G. K. Jackson, the
+organist of the Handel and Haydn Society, and received his approval. It
+was published in 1822, with the title, "The Boston Handel and Haydn
+Society's Collection of Music," and was an instant success, finding its
+way into singing-schools and church choirs throughout New England. Some
+of my father's hymn-tunes have become famous. It has been said that his
+missionary hymn, "From Greenland's Icy Mountains," has been sung in more
+languages than any other sacred tune. Among the many popular tunes which
+he composed are "Boylston," "Hebron," "Olivet," and "Bethany"; and one
+of his collections of sacred melodies brought him in over a hundred
+thousand dollars in royalties.
+
+
+
+
+LOWELL MASON'S CAREER
+
+
+The success of my father's first venture led him to leave Savannah and
+settle in Boston. Then, as now, the Handel and Haydn Society was largely
+recruited from church choirs, but in those days its concerts were few,
+and these were almost entirely devoted to church music. Rarely was a
+"work" offered to the public. Outside the realm of church music, the
+society's repertory consisted of "The Messiah", "The Creation" (and more
+frequently fragments from these), the "Dettingen Te Deum" by Handel, and
+the "Intercession" by M. P. King, who has long since been forgotten. For
+five years my father was president of the society, and served as musical
+director, the special employment of a conductor not having been
+authorized until 1847.
+
+Meanwhile he was constantly aiming at the introduction of popular
+education in music. It was through his efforts--and strenuous efforts
+they were--that music was introduced into the Boston public schools. To
+bring this about he first taught classes of children free of charge, and
+gave concerts to illustrate the practicability of his plans. When
+finally musical education was made a part of the Boston public-school
+system, the city council refused to make any appropriation for it, and
+he served as instructor for a year gratuitously, beginning work in 1837
+in the Hawes Grammar School, South Boston. The experiment was a complete
+success. Music was generally introduced into the public schools, and my
+father was made superintendent of the department. The seeds he sowed
+then are still bearing fruit. This was part of his labor which created
+in Boston a self-developing musical activity. While Dr. Samuel G. Howe
+was engaged in organizing the Perkins Institution for the Blind in 1832,
+at his request my father devised a system of musical instruction for the
+blind.
+
+
+
+
+FIRST BEETHOVEN SYMPHONY IN AMERICA
+
+
+About 1830 an English musician, Mr. George James Webb, settled in
+Boston. He was a gentleman of high culture, thoroughly educated in
+music, played the organ well, and was a good vocal teacher. His talents
+and his personal charm were promptly recognized. My father became
+intimate with him, and in 1833, with the co�peration of certain
+influential gentlemen of Boston, they founded the Boston Academy of
+Music, my father taking charge of the special department of church
+music, while Mr. Webb devoted himself chiefly to secular music and
+voice-culture. Instrumental concerts were also given at the academy, and
+there, on February 10, 1841, occurred the first performance in America
+of a Beethoven symphony, the Fifth, which was played by an orchestra of
+twenty-three, under the direction of Henry Schmidt.
+
+
+
+
+MUSICAL CONVENTIONS
+
+
+My father originated the idea of assembling music-teachers in classes.
+In 1838, when the experiment was not more than three years old, one
+hundred and thirty-four teachers, representing ten States, assembled at
+the academy. From these assemblages grew the musical conventions which
+my father held throughout New England and in some of the other States.
+Choir-singers and other musically inclined people from the towns lying
+within the surrounding district would gather at a central point, and he
+would hold a musical convention lasting for several days, drilling the
+singers in church music, but also, where he found sufficient
+advancement, in music of a higher order. The Worcester festivals may be
+traced to these conventions.
+
+
+
+
+EARLY MUSICAL TRAINING
+
+
+I had shown my fondness for music at a very early age. When I was a
+child, my father was the organist of the Bowdoin Street Congregational
+Church in Boston, of which Lyman Beecher had been the pastor. When I was
+seven years old, he placed me unexpectedly on the organ-bench at a
+public service, and while the choir sang the tune of "Boylston", I
+played the accompaniment. Up to this time I had had but little
+instruction in pianoforte-playing. My mother used to sit by me and guide
+me in the way of careful practising, and thus I had acquired
+considerable facility for those days, though now I have a feeling of
+compassion for any one who had to listen to me.
+
+I became useful to my father as an accompanist, and when he went to
+musical conventions he took me along with him, and I would play the
+piano accompaniments while he conducted.
+
+
+
+
+WEBSTER AND CLAY
+
+
+It was at about this time that my father took me with him on a trip to
+Providence. In those days the entrance to the cars was from the side,
+and we took seats nearly opposite the door. My father called my
+attention to a very dignified and impressive-looking man in the front
+corner of the car, saying: "William, the gentleman in the corner is
+Daniel Webster. Go over and wish him good morning." I promptly obeyed,
+and marching over to him, said, "Good morning, Daniel Webster." He asked
+my name, and I replied, saying my father was "over there," and then he
+exchanged greetings with my father. I was somewhat awed by his great
+dignity, and remember very well his piercing eyes.
+
+About the year 1842 I went to Maysville, Kentucky, to stay with the
+family of my uncle, Mr. E. F. Tucker. My health had not been good, and
+the change of residence was thought to be judicious. My uncle was at the
+head of some factory in Maysville, and one day, after I had been there
+for some time, a gentleman called at the house to see him about business
+connected with the factory. My aunt called me, and, presenting me to the
+gentleman, requested me to show him the way to the factory. This
+gentleman was Henry Clay. I remember his urbanity, and his friendly
+conversation attracted me. This time it was not the eye which was
+noticeable, but the mouth, which was unusually large.
+
+[Illustration: WILLIAM MASON AS A BOY
+
+FROM A DAGUERREOTYPE
+]
+
+
+
+
+FIRST PUBLIC APPEARANCE
+
+
+Returning to Boston after a year, I was sent to Newport, Rhode Island,
+to study under the Rev. T. T. Thayer, who was a Congregational clergyman
+in that place. In a short time after my arrival I began playing the
+organ at the services in his church, and continued this with regularity
+until my return to Boston a few years later. At Boston I became the
+organist at the Congregational church in Winter street, at which my
+father was music-conductor.
+
+I played in public about the year 1846, in one of the concerts of the
+Boston Academy of Music, given in the Odeon, which was then the
+principal concert-hall in Boston. On this occasion I had the
+accompaniment of a string quartet. This was my first regular appearance
+in public. About this time, too, I began taking pianoforte lessons of
+Mr. Henry Schmidt, to whom reference has been made as the conductor of
+Beethoven's "Fifth Symphony" on the occasion of the first performance
+of this work in Boston. Mr. Schmidt's instrument was the violin, but he
+was also an excellent pianoforte teacher, and to his careful and skilful
+instruction I owe very much. I remember that in those days I was more
+fond of playing--if my habit of improvising in a loose or inaccurate way
+can be so called--than of careful practising and close attention to
+detail. When my lesson-hour arrived I used to trust much to luck, and
+thus occasioned poor Mr. Schmidt a deal of trouble and vexation. He
+begged and entreated me to be careful, and after a while a spirit of
+contrition overcame me, and so, on a certain occasion, I really did
+practise carefully and to my best ability during the interval between my
+lessons. When Mr. Schmidt made his appearance, however, I became so
+nervous and apprehensive lest my work should not show to advantage that
+the very thing I dreaded took place, and I stumbled through my piece in
+a distressing manner. I do not wonder that my teacher's patience was
+tried, and he rebuked me with severity, saying that he believed I had
+not practised at all since the previous lesson. I received this all very
+meekly, but when he took his departure I pitched the music into a
+corner, and did not practise until he made his appearance for the
+following lesson. At this lesson, however, I played with great accuracy
+and spirit, much to my gratification and somewhat to my surprise. Mr.
+Schmidt warmly commended my work, and attributed it to the fact that I
+had _now_ practised industriously and carefully. I had enough sense to
+know that the successful result was owing to the practice I had
+previously done, and which needed time to produce its results. This bit
+of experience I commend to pianoforte students for careful
+consideration, to show that acts are not always immediately followed by
+desirable results.
+
+Mr. Schmidt taught me much concerning the production of tone in
+pianoforte playing, and in particular led me to acquire a certain habit
+of touch which I have never lost, and which has been the means of
+greatly lessening the fatigue which would otherwise have been attendant
+on the performance of pieces which require much strength and
+long-continued endurance. I write somewhat at length concerning this
+matter, feeling that a knowledge of my experience may be of substantial
+use to pianoforte students.
+
+The habit referred to has especial relation to the playing of the
+various rapid scale and arpeggio passages, involving closed or open hand
+position which are so common in pianoforte compositions and which grow
+out of the nature of the instrument. The touch is accomplished by
+quickly but quietly drawing the finger-tips inward toward the palm of
+the hand, or, in other words, slightly and partly closing the
+finger-points as they touch the keys while playing. This action of the
+fingers secures the co�peration of many more muscles of the finger,
+wrist, hand, and forearm than could be accomplished by the merely
+"up-and-down" finger-touch. It is difficult to describe in detail
+without an instrument at hand for illustration. If correctly performed,
+however, the tones produced are very clear and well defined, and of a
+beautifully musical quality. The simile of "a string of pearls" of
+precisely similar size and shape has often been used in describing their
+fluency and clearness of outline. A too rapid withdrawal of the
+finger-tips would result in a short and crisp staccato. While this
+extreme staccato is also desirable and frequently used, it is not the
+kind of effect here desired, namely, a clear, clean delivery of the
+tones which in no wise disturb the legato effect.
+
+Of course it requires cultivation and skill to secure just the right
+degree of finger-motion to preserve the legato and at the same time the
+slight separation of each tone. Therefore the fingers must not be drawn
+so quickly as to produce a separation or staccato effect, but in just
+the right degree to avoid impairing the legato or binding effect. For
+the sake of convenience in description I have named this touch the
+"elastic finger-touch," and through its influence a clear and crisp
+effect is attained. It is interesting to observe in this connection, a
+fact which I learned only many years later, that Sebastian Bach's touch,
+described in detail by J. N. Forkel in his work entitled "�ber Johann
+Sebastian Bachs Leben, Kunst und Kunstwerke," both as used by Bach
+himself and as he taught it to his pupils, seems to be identical with
+the touch I am here attempting to describe. Forkel expressly emphasizes
+the "pulling-in" motion of the finger-tips. While it has relation solely
+to finger-action as distinguished from the action of the wrist and arm,
+it cannot be accomplished properly without bringing into action the
+flexor and extensor muscles, principally of the forearm from wrist to
+elbow.
+
+Through the medium of this touch pianissimo effects are possible which
+no other mechanism can reach, for passages of the most extreme delicacy
+and softness still retain the quality of vitality and clearness of
+outline.
+
+During the season of 1846 I played the pianoforte part throughout the
+series of six concerts of chamber-music given by the Harvard Musical
+Association. I remember that Mr. Blessner played the violin and Mr.
+Groenvelt the violoncello, but cannot recall the names of the players of
+the second violin and viola. These concerts were given at the pianoforte
+warerooms of Mr. Jonas Chickering, 334 Washington street, Boston. I
+still have the programs. String quartets by Haydn, Mozart, and Beethoven
+were played, also piano trios by Beethoven, Reissiger, and Mayseder.
+
+
+
+
+LEOPOLD DE MEYER
+
+
+The knowledge I gained from Mr. Schmidt was largely advanced and
+supplemented by what I learned a year or two later, in 1847-48, from the
+playing of the pianoforte virtuoso Leopold de Meyer, who came to the
+United States about that time.
+
+It was from a careful study of the manner of his playing that I first
+acquired the habit of fully devitalized upper-arm muscles in
+pianoforte-playing. The loveliness and charming musical beauty of his
+tones, the product of these conditions, greatly excited my admiration
+and fascinated me. I never missed an opportunity of hearing him play,
+and closely watched his movements, and particularly the motions of hand,
+arm, and shoulder. I was incessantly at the pianoforte trying to produce
+the same delightful tone quality by imitating his manner and style.
+
+[Illustration: WILLIAM MASON AT THE AGE OF EIGHTEEN
+
+FROM A DAGUERREOTYPE
+]
+
+My continued perseverance was rewarded with success, for the result was
+a habit of devitalized muscular action in such degree that I could
+practically play all day without a feeling of fatigue. The constant
+alternation between devitalization and reconstruction keeps the muscles
+always fresh for their work and enables the player to rest while
+playing. The force is so distributed that each and every muscle has
+ample opportunity to rest while yet in a state of activity. Furthermore
+the tones resulting from this touch are sonorous and full of energy and
+life. An idea of my own which was persistently carried into act aided
+materially in bringing about the desired result. This was to allow
+the arms to hang limp by my side, either in a sitting or standing
+posture, and then to shake them rigorously with the utmost possible
+looseness and devitalization. This device was in after years recommended
+to my pupils, and those who persistently followed it up and persevered
+for a while gained great advantage from it, and eventually acquired a
+state of habitual muscular elasticity and flexibility.
+
+I might easily have learned from any book of anatomy the names of the
+muscles which are here referred to, but for the practical instruction of
+pianoforte pupils this seemed to be of little consequence. However,
+there are three muscles of the upper arm which may here be named: the
+triceps, the brachialis anticus, and the biceps. Of these the
+first-named is of the most importance to the pianist.
+
+Leopold de Meyer's New York concerts were given in the old Broadway
+Tabernacle, some distance below Canal street, as I now remember. The
+piano-lovers were not so numerous then as they are now, and it was
+difficult to fill the hall, even with the help of deadheads. De Meyer's
+agent, acting on the principle that "a crowd draws a crowd," hired a lot
+of carriages to make their appearance a little before the concert-hour,
+and to stand in front of the doors and then advance in turn, so that
+passers-by might receive the impression of activity on the part of the
+concert-goers.
+
+
+
+
+"FATHER HEINRICH"
+
+
+Somewhere about this time there lived in New York an elderly German
+musician and composer who had somehow gained the cognomen of "Father
+Heinrich." He composed quite a number of large works, both vocal and
+instrumental, and also a number of pianoforte pieces. During a visit
+which he made to Boston, his headquarters were at Chickering's
+pianoforte warerooms, and on one occasion I was presented to him as a
+youth of some musical promise. He immediately showed me one of his
+pianoforte pieces in manuscript, and said: "Young man, I am going to
+test your musical talent and intelligence and see if you appreciate in
+any degree the importance of a proper observance of dynamics in musical
+interpretation." He had placed the open pages of the manuscript on the
+pianoforte desk, and I was glancing over them in close scrutiny. "I wish
+to tell you before you begin to play that I have submitted this piece to
+two or three of the best musicians in New York and they have failed to
+bring out the intended effect in an important phrase." This remark put
+me at once on my guard, and while he was talking I was closely
+scrutinizing the manuscript to see if there was some dynamic or other
+mark which would reveal his intention. About half-way down the second
+page I discovered a series of sforzando marks, thus: > > > > > over
+several notes in one of the inner parts, and immediately determined to
+bring out these tones with all possible force. Further than this there
+seemed to be no peculiarity; but as he had by this time finished his
+remarks I began to play with special care. The piece was easy to read,
+and so I made good progress, and on coming to the passage referred to I
+put a tremendous emphasis on the tones marked sforzando, playing all of
+the other voices by contrast quite softly. To my boyish satisfaction I
+found I had hit the mark. The excitement and pleasure of Father Heinrich
+was excessive and amusing. "Bravo! bravo!" he cried. "You have great
+talent, and you have done what none of our musicians in New York have
+accomplished!"
+
+I did not at the time understand how he could lay so much stress on the
+affair, but in the light of a long experience as teacher of the
+pianoforte I no longer wonder at his excitement. All music is full of
+nuances and accents of greater or less intensity, to which pupils hardly
+ever give any attention, although they are necessary in order to give
+due expression to rhythm. They correspond to vocal accents in reading
+aloud, or in declamation.
+
+
+
+
+AN EMBARRASSING EXPERIENCE
+
+
+It is difficult to realize the crudity of musical taste in the early
+days. I remember that in 1840 my father conducted a convention in
+Vermont--I think in Woodstock. We went by rail as far as we could, and
+then traveled a number of hours by coach. We were received by the
+dignitaries of the town, and conducted to the house in which we were to
+stay. While we were shaking off the dust of travel, we heard the sounds
+of drum and fife. Looking out of the window, we found that these
+instruments headed a small procession which had come to escort us to the
+church. The drum and the fife were the instrumental outfit of the town;
+so, led by these, my father and I marched with the magnates of the place
+to the church. I still remember how foolish I felt.
+
+In 1846 my father was preparing to hold a convention in Augusta, Maine.
+Mr. Webb was to go with him, and I was sent to his house the evening
+before they were to start to let him know about the arrangements.
+Though I knew Mr. Webb very well, I had never had occasion to go to his
+house. At this time I was seventeen years old. When I was shown into the
+drawing-room, I saw Mr. and Mrs. Webb and their daughter, a girl then
+not fourteen. I had not been in the house half an hour before I was
+deeply in love with her. I found that she was going to Augusta, and I
+decided at once that I would go, too. So the next day we all started
+together. She and I grew to be good friends, but the idea of an
+engagement between us was not to be thought of at that time, and while I
+lived in Germany we were not permitted to correspond. For five years I
+did not see her; but when I came back I hastened to her father's house.
+The sequel I shall tell later.
+
+
+
+
+STUDENT LIFE ABROAD
+
+
+It having been decided that I should continue my musical studies in
+Europe, I sailed from New York for Bremen on the side-wheel steamer
+_Herrmann_ in May, 1849, accompanied by Mr. Frank Hill of Boston, who
+had already attained some distinction as a pianist. My intention was to
+go directly to Leipsic to study with Moscheles. One of our
+fellow-passengers was Julius Schuberth, the music-publisher of Hamburg,
+who had been in America on business. Arriving at Bremen, we learned that
+the insurrection had not yet been suppressed, and that within two or
+three days there had been bloodshed in the streets of Leipsic. For this
+and other reasons I gladly accepted Mr. Schuberth's invitation to visit
+him, first making a short trip to Paris with Hill.
+
+
+
+
+MEETING WITH MEYERBEER
+
+
+I arrived in Paris shortly after six o'clock in the morning, and went to
+the H�tel de Paris, in the Rue de Richelieu. In those days, at that
+early hour, Paris was as quiet as an American town at midnight. There
+were three of us in the party. We secured two rooms, and my friends
+remained up-stairs, while I returned to the porter's lodge below to have
+my passport sent to the Bureau of Police to be vis�d. The porter went
+out to attend to this, and I was left alone in the lodge.
+
+Shortly afterward a man entered, of medium height, well dressed, and
+with a good deal of manner. He addressed me in French, but when I asked
+him if he could speak English he began conversing fluently in that
+language. He asked if I was from England and a stranger in Paris. When I
+told him I was from America, he exclaimed, "Ah, that is farther off."
+Then, noticing the passport, which was uncommonly large and was bound
+like a book, he asked, "Is that an American passport? Please let me
+have a look at it I'm curious to see it." Bound in with the passport
+were a number of blank leaves to be used for the vis�s of various
+consuls. "Young man," said my chance acquaintance, "you have leaves
+enough there to travel about Europe for twenty years." Then he inquired
+if I was traveling for pleasure or on business.
+
+"I have come over to study music."
+
+"Ah, composition?"
+
+"No; mainly piano, but also theory and composition."
+
+"And where?"
+
+"I expect to go to Leipsic to study with Moscheles, Hauptmann, and
+Richter. Eventually I hope to go to Liszt."
+
+"Well, well, you've chosen good men. Moscheles knew Beethoven."
+
+Then, with a few friendly words, he left the lodge and entered the
+hotel. Just as he was leaving the porter returned.
+
+"Who is the gentleman?" I asked, pointing after the disappearing form.
+
+"Meyerbeer, the composer."
+
+The porter then took me into the courtyard and pointed out the room
+which Meyerbeer occupied, calling my attention to the fact that his
+window and mine almost faced each other.
+
+"If you look out of your window about eleven o'clock," said the porter,
+"you will see Mme. Garcia and Roger, the tenor, coming here to rehearse
+their r�les in the new opera with the composer."
+
+Meyerbeer was so affable at our chance meeting that I think I could
+easily have followed it up and have seen more of him; but when a boy is
+in Paris for the first time, he has many things to think of. Moreover, I
+did not realize that at the end of the century, "Le Proph�te," the work
+which Meyerbeer was then rehearsing, would still be in the repertory of
+every first-class opera-house. I knew that he was a distinguished
+composer, but I did not for a moment imagine that his work would live so
+long. As I now look back through the perspective of time, I realize the
+opportunity I missed; but I thank the freak of fortune which threw in
+his way, if only for a few moments, a young man who was too careless to
+improve the chance acquaintance.
+
+From Paris I returned to Schuberth's in Hamburg. He was an active,
+enterprising, pushing business man, with a large acquaintance in the
+musical world, and the knowledge of how to put it to the best use. I
+remained in Hamburg for some time. Boy-like, I had spent all my money in
+Paris, and was now obliged to wait for a remittance from home. In
+Hamburg I met Carl Mayer of Dresden, a fine pianist of the Hummel
+school, and Mortier de Fontaine, who was very well known in his day as a
+Beethoven-player--had, in fact, won considerable fame as the first
+pianist to perform Beethoven's "Sonata, Op. 106" in public. That was his
+label.
+
+
+
+
+LISZT'S FEAT OF MEMORY
+
+
+From Hamburg I went to Leipsic, but Schuberth did not lose sight of me.
+Whenever he came there he looked me up, and was very kind in
+introducing me to people whom it was well for me to meet. He knew Liszt
+very well, and having taken a fancy to a composition of mine, "Les
+Perles de Ros�e," which was still in manuscript, he said: "Let me have
+it for publication. Dedicate it to Liszt. I can easily get Liszt to
+accept the dedication. I am going directly from here to Weimar, and will
+see him about it. At the same time, I will prepare the way for your
+reception later as a pupil."
+
+[Illustration: Autograph of I. Moscheles]
+
+Not long afterward I received a letter from Schuberth in which he told
+me that when he handed the music to Liszt, the latter looked at the
+manuscript, hummed it over, then sat down and played it from memory.
+Then, going to his desk, he took a pen, and accepted the dedication by
+writing his name at the top of the title-page. Encouraged by this, I
+wrote a letter to Liszt, expressing my desire to become one of his
+pupils, and asking what my chances were. Unfortunately, I misinterpreted
+his reply, and received the impression that it amounted to a
+refusal; but at the same time he gave me a cordial invitation to
+attend the festival about to take place in Weimar in commemoration of
+the hundredth anniversary of Goethe's birth. I still have this letter,
+which is dated August 18, 1849. Had I understood then that Liszt was
+ready to accept me as a pupil, I should have taken up my residence at
+Weimar at once, instead of waiting until I learned my mistake, as I did
+during a call which I made upon Liszt nearly four years later.
+
+
+
+
+FIRST MEETING WITH LISZT
+
+
+However, I went to Weimar with Mr. Hill to attend the Goethe festival,
+arriving there early in the afternoon of the day before it began.
+
+The third day of the festival we called on Liszt, who was then living in
+the Hotel zum Erbprinzen, and were received most cordially. Schlesinger,
+the Paris publisher, was there with his little daughter, who was
+precocious as a pianist and played several Chopin waltzes. Liszt was
+very busy with his guests, so that our visit was limited, and nothing
+was said about my coming to Weimar to study except that Liszt said he
+never received pupils for regular lessons, but that those who lived in
+Weimar (and there were only three or four in those days) had frequent
+opportunities of hearing and meeting artists who visited him. Having
+misinterpreted his letter, I accepted these remarks as a further
+politely worded refusal to receive me. So I returned to Leipsic to
+continue my studies there.
+
+
+
+
+ARRIVAL AT LEIPSIC
+
+
+I well remember the feeling of awe mingled with interest with which I
+looked upon every German whom I met in the streets of Leipsic on my
+first arrival in that famously musical city. I looked on even the
+laboring-men, the peasants as well as those in higher positions, as
+being Mozarts and Beethovens, and the idea gained such ascendancy that I
+felt my own inferiority and metaphorically held down my head. This
+feeling, however, was not of long duration, and changed in the course of
+a month or two on account of what happened at a concert of the Euterpe
+Society which I attended. The concerts of this musical society were
+second only to those of the famous Gewandhaus, and their audiences were
+made up largely of those who attended the concerts of the latter. At
+this concert the program was classical and unimpeachable as to the
+orchestral concerted pieces, but one of the numbers was a solo for
+clarinet. At my age I was disposed to look down on this as an inferior
+kind of music, and as decidedly unsuitable to an educated and musically
+cultivated taste. Therefore, when, to my surprise, this turned out to be
+the most popular piece of the evening and received the most vociferous
+applause of the entire audience, I found my high opinion of the select
+musical taste of the Germans sensibly decreased.
+
+Since then I have learned that there is a place for everything good in
+its way; but the clarinet solo seemed out of place in the classical
+atmosphere of a symphony concert.
+
+
+
+
+MOSCHELES, BEETHOVEN, AND CHOPIN
+
+
+Moscheles, with whom I studied in Leipsic, had been a pupil of Dionysius
+Weber in Prague. At that time Beethoven was still a newcomer, and was
+regarded with skepticism by the older men, whose ideas were formed and
+who could not get over their first unfavorable impressions of him.
+Beethoven was a profound man and had strong individuality. He was
+eagerly accepted by the younger men, Moscheles among them; but Dionysius
+Weber regarded him as a monstrosity, and would never allow Moscheles to
+learn any of his music. Consequently, Moscheles practised Beethoven in
+secret, and when he grew up he prided himself on being a
+Beethoven-player, and wrote a life of Beethoven, which, however, is
+largely based on Schindler's.
+
+At about the time I went to Leipsic the attitude of Moscheles toward
+Chopin was very like what Dionysius Weber's had been toward Beethoven.
+One of the daughters of Moscheles was very fond of playing Chopin, but
+her father forbade it. Afterward she married and went to London, where
+she played Chopin to her heart's content. It is curious how men who in
+their younger days are pioneers become so conservative as they grow
+older that they are like stone walls in the paths of progress. They
+forget that in their youth they laughed at or criticized their elders
+for the same pedantry of which they themselves afterward become guilty.
+
+
+
+
+THE INTIMACY OF MOSCHELES AND MENDELSSOHN
+
+
+Moscheles and Mendelssohn had been warm friends. Moscheles, in
+particular, prided himself on the composer's friendship. No one to-day
+can understand the influence which Mendelssohn had upon his
+contemporaries, by whom his music and his personality were fairly
+worshiped. Comparisons were made between him and Beethoven to the
+latter's disadvantage. I remember an excellent musician saying to me,
+"Beethoven does have consecutive fifths now and then, Mendelssohn
+never." He did not realize that these apparent violations of technical
+rules were part of Beethoven's ragged strength, while Mendelssohn's
+scrupulous adherence to them was evidence of weakness.
+
+Mendelssohn's death was a great shock to Moscheles. Mendelssohn had
+often visited him, and there was such profound musical sympathy between
+them that they were able to improvise together on two pianos. They
+understood each other so well that one of them would improvise a theme,
+which the other would follow. After a while they would interchange their
+r�les, the second piano taking up the theme, the first piano
+subordinating itself. This is not in itself an extraordinary feat, but
+it illustrates the musical sympathy which existed between Mendelssohn
+and Moscheles.
+
+
+
+
+SCHUMANN
+
+
+[Illustration: Autograph of Robert Schumann]
+
+For some years prior to 1844 Schumann lived in Leipsic. It was his habit
+to compose intensely all day, and then to walk to a beer-cellar at
+the upper end of the Grimmaische Strasse. There he would sit at a table
+with one of his most trusted friends, an odd-looking but able musician
+and piano-teacher named Wenzel. There were two or three other musicians
+who frequented the place and were generally at the same table. Schumann
+enjoyed being among friends, but disliked nothing more than the
+restraint of social functions. No doubt there was a large consumption of
+beer, after the fashion of the Germans on such occasions, but to a
+musical student who could sit within hearing there was afforded a golden
+opportunity of absorbing musical ideas.
+
+
+
+
+SCHUMANN'S "SYMPHONY NO. 1, B FLAT"
+
+
+When I went to Germany, Schumann was living in Dresden, but he made
+frequent visits to Leipsic. I knew little or nothing of Schumann's
+music, for Mendelssohn then dominated the musical world; but the first
+orchestral composition of Schumann's that I ever heard placed him far
+above Mendelssohn in my estimation. It was at the second concert I
+attended at the Gewandhaus in Leipsic, and the work was the "First
+Symphony." I was so wrought up by it that I hummed passages from it as I
+walked home, and sat down at the piano when I got there, and played as
+much of it as I could remember. I hardly slept that night for the
+excitement of it. The first thing I did in the morning was to go to
+Breitkopf & H�rtel's and buy the score, the orchestral parts and piano
+arrangements for four and two hands, and in these I fairly reveled.
+
+I grew so enthusiastic over the symphony that I sent the score and parts
+to the Musical Fund Society of Boston, the only concert orchestra then
+in that city, and conducted by Mr. Webb. They could make nothing of the
+symphony, and it lay on the shelf for one or two years. Then they tried
+it again, saw something in it, but somehow could not get the swing of
+it, possibly on account of the syncopations. Before my return from
+Europe in 1854, I think they finally played it. In speaking of it, Mr.
+Webb said to my father: "Yes, it is interesting; but in our next concert
+we play Haydn's 'Surprise Symphony,' and that will live long after this
+symphony of Schumann's is forgotten." Many years afterward I reminded
+Mr. Webb of this remark, whereupon he said, "William, is it possible
+that I was so foolish?"
+
+Only a few years before I arrived at Leipsic, Schumann's genius was so
+little appreciated that when he entered the store of Breitkopf & H�rtel
+with a new manuscript under his arm, the clerks would nudge one another
+and laugh. One of them told me that they regarded him as a crank and a
+failure because his pieces remained on the shelf and were in the way.
+
+I often saw Schumann in Leipsic, and I heard him conduct his cantata,
+"The Pilgrimage of the Rose." His conducting was awkward, as he was
+neither active nor of commanding presence. However, I liked his looks,
+as he seemed good-natured, though perhaps not like a man with whom one
+might easily become acquainted. This impression, however, may be due to
+anecdotes which I had heard regarding his lack of sociability.
+
+
+
+
+SCHUMANN'S ABSENT-MINDEDNESS
+
+
+Up to the time of Mendelssohn's death his followers and the small body
+of musicians who appreciated Schumann had rubbed pretty hard together.
+Naturally, Moscheles and Schumann had not been intimate. But Moscheles
+felt Mendelssohn's loss so keenly that he cast about for some one to
+take his place, and finally decided to make overtures to Schumann by
+inviting him to his house to supper. What occurred there was told to me
+by a fellow-pupil. He said that while the company was gathering in the
+drawing-room, Schumann sat in a corner apparently absorbed in thought,
+without looking at any one or uttering a word. He did not impress my
+friend as morose, but rather as a man whose thoughts were at the moment
+in an entirely different sphere. Supper was announced, and the guests
+being seated, it was discovered that there was a vacant place at the
+table. Moscheles looked about for Schumann, but he was not there. The
+host and several guests went back to the salon to look for him, and
+found him sitting in his corner, still deep in thought. When aroused, he
+said, "Oh, I hadn't noticed that you had gone out." Then he went in to
+supper, but hardly said a word. What a contrast there was between his
+personality and that of the ever-affable, polished Mendelssohn! There is
+the same contrast between their music: Schumann's profound, and
+appealing to us most when we wish to withdraw entirely within the very
+sanctuary of our own emotions; Mendelssohn's smooth, finished, and
+easily understood.
+
+Early in 1844 Schumann had moved to Dresden, and I called upon him in
+that city and received a pleasant welcome, contrary to my expectation,
+for I had heard much of his reticence. Judging by the brief entry in my
+diary, nothing of importance was said. I could not see Mme. Schumann,
+because she was giving a lesson. This was on April 13, 1850. I called
+again later in the month, and Schumann gave me his musical autograph, a
+canon for male voices; and the next day I received an autograph from
+Clara Schumann. In 1880 I learned from Mme. Schumann that the canon
+referred to had already been published at the time when I received it
+from Schumann. (See Op. 65, No. 6.)
+
+Afterward, when I met Wagner I could not help contrasting his lively
+manner and glowing enthusiasm with Schumann's reserve, which, however,
+was by no means repellent. Indeed, if I had been the greatest living
+musician, instead of a mere boy student, Wagner could not have received
+me with more kindness, or have talked to me more delightfully during the
+three memorable hours of my life which were spent with him.
+
+
+
+
+MORITZ HAUPTMANN
+
+
+[Illustration: Autograph of Mme. Schumann]
+
+My teacher in harmony and counterpoint was Moritz Hauptmann, a pupil of
+Spohr, and an excellent composer of church music, his motets being
+especially beautiful. He was the cantor and music director of the
+Thomas-schule at Leipsic, a position which years before had been held by
+Sebastian Bach. He was altogether a genial and attractive man, of gentle
+manner and disposition, and I at once became much attached to him. He
+was in delicate health and suffered constantly from dyspepsia, yet bore
+all of his ills with patience and equanimity. I remember that he had a
+passion for baked apples, one of the few things he could eat without ill
+results, and on his stove, a regular old-fashioned German structure of
+porcelain, nearly as high as the ceiling, there was always a row of
+apples in process of slow baking.
+
+His autograph is one of the most curious in my book, and is an excellent
+example of his technical knowledge. It is a _Spiegel-Canon_
+("looking-glass canon"). When held up to the mirror the reflection shows
+the answer to the canon in the related key.
+
+Not long after beginning my studies under Hauptmann, I received from my
+father a copy of his latest publication, being a collection of tunes,
+mostly of his own composition, for choir and congregational use in the
+church. He requested me to show this to Hauptmann and get his opinion,
+if practicable. I felt a decided reluctance to do this, because I
+thought my father's work was not worthy of the notice of such a profound
+musician, so I delayed the carrying out of his request. After a few
+weeks, however, I began receiving letters from my father upon the
+subject, and realized that I could not postpone action any longer. So
+one day, going to my lesson, I took the book with me. I kept it as well
+out of sight as I could during the lesson, and then at the last moment,
+when about to leave the room, I placed it on Hauptmann's table, telling
+him in an apologetic way of my father's request and seeking to excuse
+myself for troubling him. I said I was afraid he would find nothing in
+the book to interest him.
+
+When the regular time for my lesson recurred I hesitated to present
+myself again; but there was no way of avoiding the difficulty, so with a
+tremendous exercise of will I faced the situation. What was my surprise
+and relief when he greeted me with "Mr. Mason, I have examined your
+father's book with much interest and pleasure, and his admirable
+treatment of the voices is most musicianly and satisfactory. Please give
+him my sincere regards, and thank him for his attention in sending me
+the book."
+
+At the moment I could not understand how such a big contrapuntist could
+express himself in such strong terms of approval; but I knew him to be
+genuine, and so I straightened myself up and really began to be proud of
+my father. Another and more important result was the recognition of my
+own ignorance in imagining that a thing in order to be great must
+necessarily be intricate and complicated. It dawned upon me that the
+simplest things are sometimes the grandest and the most difficult of
+attainment.
+
+I also took lessons in instrumentation from Ernst Friedrich Richter, a
+pupil of Hauptmann.
+
+
+
+
+A VISIT TO WAGNER.
+
+
+My parents joined me in Leipsic in January, 1852, and in the spring of
+that year we planned a tour which was to take us to Switzerland in June.
+
+In Leipsic I made the acquaintance of a man named Albert Wagner, meeting
+him quite frequently at the restaurant where I took my meals. While I
+was planning the tour, I chanced to mention it to him, and when he heard
+that I was going to Z�rich, he said: "My brother, Richard Wagner, lives
+there. I will give you a letter of introduction to him." This was the
+first intimation I had that Albert was a brother of the composer. I
+suppose he had not thought it worth while to tell me. Richard was still
+under a political cloud in Saxony, and was compelled to live in exile on
+account of the part he had taken in the revolution of 1848; nor was
+his reputation as a composer then so general that Albert would have
+thought his kinship much to boast of.
+
+[Illustration: Autograph of Moritz Hauptmann]
+
+We reached Z�rich on June 5, 1852, and, the next morning, armed with the
+letter, I made my way to Wagner's chalet, which was situated on a hill
+in the suburbs. It was then about ten o'clock in the morning.
+
+When I asked the maid who opened the door if Herr Wagner was at home and
+to be seen, she answered, as I had feared she would, that he was busily
+at work in his study, and could not be disturbed. I handed her my letter
+of introduction, and asked her to give it to Herr Wagner, and to say to
+him that I was expecting to remain in Z�rich three or four days, and
+would call again, hoping to be fortunate enough to find him disengaged.
+
+Just as I was turning to leave, I heard a voice at the head of the
+stairs call out, "Wer ist da?" I told the maid to deliver my letter
+immediately. As soon as Wagner had glanced through it, he exclaimed,
+"Kommen Sie herauf! Kommen Sie herauf!"
+
+At that time Wagner was known, and that not widely, only as the composer
+of "Rienzi," "The Flying Dutchman," "Tannh�user," and "Lohengrin." I had
+heard only "The Flying Dutchman," but considered it a most beautiful
+work, and was eager to meet the composer.
+
+Wagner's first words, as I met him on the landing at the head of the
+stairs, were: "You've come just at the right time. I've been working
+away at something, and I'm stuck. I'm in a state of nervous irritation,
+and it is absolutely impossible for me to go on. So I'm glad you've
+come."
+
+I remember perfectly my first impression of him. He looked to me much
+more like an American than a German. After asking about his brother, he
+began questioning me in a lively way about his friends in Leipsic, about
+the concerts and opera there, and the works that had been given. He also
+asked most kindly after my own affairs--what I was doing, with whom I
+had studied, how long I intended to remain, what my plans were for the
+future, and most particularly about musical matters in America. In some
+way Beethoven was mentioned. After that the conversation became a
+monologue with me as a listener, for Wagner began to talk so fluently
+and enthusiastically about Beethoven that I was quite content to keep
+silent and to avoid interrupting his eloquent oration.
+
+
+
+
+WAGNER ON MENDELSSOHN AND BEETHOVEN
+
+
+As he warmed up to the subject, he began to draw comparisons between
+Beethoven and Mendelssohn. "Mendelssohn," he said, "was a gentleman of
+refinement and high degree; a man of culture and polished manner; a
+courtier who was always at home in evening dress. As was the man, so is
+his music, full of elegance, grace, finish, and refinement, but carried
+without variance to such a degree that at times one longs for brawn and
+muscle. Yet it is music that is always exquisite, fairy-like, and fine
+in character. In Beethoven we get the man of brawn and muscle. He was
+too inspired to pay much attention to conventionalities. He went right
+to the pith of what he had to say, and said it in a robust, decisive,
+manly, yet tender way, brushing aside the methods and amenities of
+conventionalism, and striking at once at the substance of what he wished
+to express. Notwithstanding its robustness, his music is at times
+inexpressibly tender; but it is a manly tenderness, and carries with it
+an idea of underlying and sustaining strength. Some years ago, when I
+was kapellmeister in Dresden, I had a remarkable experience, which
+illustrates the invigorating and refreshing power of Beethoven's music.
+It was at one of the series of afternoon concerts of classic music given
+at the theater. The day was hot and muggy, and everybody seemed to be in
+a state of lassitude and incapacity for mental or physical effort. On
+glancing at the program, I noticed that by some chance all of the pieces
+I had selected were in the minor mode--first, Mendelssohn's exquisite 'A
+Minor Symphony,' music in dress-suit and white kid gloves, spotless and
+_comme il faut_; then an overture by Cherubini; and finally Beethoven's
+'Symphony No. 5, in C Minor.'" At this point Wagner rose from his chair,
+and began walking about the room. "Everybody," he continued, "was
+listless and languid, and the atmosphere seemed damp and spiritless. The
+orchestra labored wearily through the symphony and overture, while the
+audience became more and more apathetic. It seemed impossible to arouse
+either players or listeners, and I thought seriously of dismissing both
+after the overture. I was very reluctant to subject Beethoven's
+wonderfully beautiful music to such a crucial test, but after a moment's
+reflection I appreciated the fact that here was an opportunity for
+proving the strength and virility of it, and I said to myself, 'I will
+have courage, and stick to my program.'"
+
+Wagner stopped walking a moment, and looked about the room as if
+searching for something. Then he rushed to a corner, and seizing a
+walking-stick, raised it as if it were a baton.
+
+"Here is Beethoven," he exclaimed, "the working-man in his
+shirt-sleeves, with his great herculean breast bared to the elements."
+
+He straightened himself up, and, giving the stick a swing, brought it
+down with an abrupt "Ta-ta-ta-tum!"--the opening measure of Beethoven's
+"C Minor Symphony":
+
+[Illustration: Musical notation]
+
+The whole scene was graphically portrayed. Then throwing himself into a
+chair, he said: "The effect was electrical on orchestra and audience.
+There was no more apathy. The air was cleared as by a passing
+thunder-shower. There was the test."
+
+"When Wagner spoke of Mendelssohn, his tone of voice indicated the
+gentle refinement of the courtier and his music. When he mentioned
+Beethoven, his manner was animated and full of enthusiasm.
+
+Wagner's enthusiasm, his openness in taking me at once into his musical
+confidence, fascinated me, and gave me an insight into the wonderful
+vitality and energy of the man. He was planning a tramp through the
+Tyrol, about a week later, with a professor from the Z�rich University.
+"Come along with us," he said. "Alle guten Dinge sind drei" ("All good
+things are three"). However, I did not feel at liberty to leave my
+parents to continue their trip alone, as I was acting as interpreter for
+them. Of course Wagner was not then what he afterward became in the eyes
+of the world. I now know what I missed.
+
+
+
+
+A WAGNER AUTOGRAPH
+
+
+But I did not leave Wagner's house without what many musicians, to whom
+I have shown it, consider one of the most interesting musical autographs
+ever penned. It is autographic from beginning to end, even to the lines
+of the staff; for when I asked Wagner for his autograph, he drew them
+himself on a sheet of blank paper, and then wrote what is evidently the
+germ of the dragon motive in "The Ring of the Nibelung." It is dated
+June 5, 1852, and it is particularly interesting that he should have
+written this motive at that time. From his correspondence with Liszt, it
+is clear that he had not yet finished the poem of the "Walk�re," and had
+not yet begun the score of the cycle. He wrote the books of the "Ring"
+backward, but in the composition of the cycle he began with the
+"Rheingold," in the autumn of the year in which I met him. The dragon
+motive occurs in the "Rheingold," but in quite a different form. He
+began the "Walk�re" in June, 1854, two years later, completing it in
+1856. In the meantime, in the autumn of 1854, he also began the music of
+"Siegfried," and it is in the first act of this music drama, written
+more than two years after I had met him, that we find the dragon motive
+exactly as it is written in my autograph, except that it is transposed a
+tone lower, and that the length of the notes is changed, though their
+relative value is the same, dotted halves being substituted for
+quarters.
+
+[Illustration: Autograph of Richard Wagner]
+
+The passage will be found on page 7 of Klindworth's piano-score of
+"Siegfried." This, I believe, is the only place in the four divisions of
+the "Ring" where the motive appears in this form.
+
+Added significance and value are given to the autograph by the lines
+which Wagner wrote under it, and which are signed and dated: "Wenn Sie
+so etwas �hnliches einmal von mir h�ren sollten, so denken Sie an mich!"
+("If you ever hear anything of mine like this, then think of me.") Even
+this was characteristic of the man. "Siegfried" was not heard until
+nearly a quarter of a century after he had written a passage from it in
+my autograph-book--_but it was heard_.
+
+
+
+
+MOSCHELES
+
+
+The playing of Moscheles was in a direct line of descent from Clementi
+and Hummel, and just preceded the Thalberg school. Moscheles was fond of
+quoting these authorities and of holding them up as excellent examples
+for his pupils. He advocated a very quiet hand position, confining, as
+far as possible, whatever motion was necessary to finger and hand
+muscles; and by way of illustration he said that Clementi's hands were
+so level in position and quiet in motion that he could easily keep a
+crown-piece on the back of his hand while playing the most rapid scale
+passages.
+
+I was not much surprised at this, for I knew it had been said of Henry
+C. Timm of New York, an admirable pianist of the Hummel school, that he
+could play a scale with a glass of wine on the back of his hand without
+spilling a drop. I, boy-like, could not resist the temptation to repeat
+what I had heard. There was a curious expression upon the face of our
+good teacher, which gave the impression that he thought it a pretty tall
+story, and my fellow-pupils put it down as a yarn prompted by desire on
+my part to get ahead of Moscheles. Among these was Charles Wehle of
+Prague, of whom I saw a good deal. Some years later, after I had left
+Weimar for America, Wehle happened to visit Liszt. My name was
+mentioned, and Wehle asked, "Did you ever hear his wonderful tale about
+Timm, the New York player?" Then he repeated the anecdote, but changed
+the glass of wine to a glass of water. Liszt shook his head
+incredulously, and said, "Mason never said anything about a glass of
+water all the time he was in Weimar."
+
+Moscheles was an excellent pianist and teacher, but he was already
+growing old, and his playing of sforzando and strongly accented tones
+was apt to be accompanied by an audible snort, which was far from
+musical. However, as a Bach-player he was especially great, and it was a
+delight to hear him. One evening, after my lesson, he began playing the
+preludes and fugues from the "Well-tempered Clavier," and I was
+enchanted with the finish, repose, and musicianship of his performance,
+which was without fuss or show. I have never heard any one surpass him
+in Bach.
+
+Paderewski's Bach-playing is much like that of my old teacher. Several
+years ago, in company with Adolf Brodsky, the violinist, I attended one
+of Paderewski's recitals given in this city. After listening to
+compositions of Bach and Beethoven, Brodsky said: "He lays everything
+from A to Z before you in the most conscientious way, and through
+delicacy and sensitiveness of perception he attains a very close and
+artistic adjustment of values."
+
+Thoroughly in accord with Brodsky, I vividly recall the similarity of
+Paderewski's interpretation to that of Moscheles, both being
+characterized by perfect repose in action, while at the same time not
+lacking in intensity of expression. The modern adaptations and
+alterations from Bach are not here referred to, but the music as
+originally written by the composer. In Paderewski's conception and
+performance, like that of Moscheles, each and all of the voices received
+careful and reverent attention, and were brought out with due regard to
+their relative, as well as to their individual, importance. Nuances were
+never neglected, neither were they in excess. Thus the musical
+requirements of polyphonic interpretation were artistically fulfilled.
+Head and heart were united in skilful combination and loving response.
+
+While I was in Leipsic, Moscheles celebrated his silver wedding, and one
+of the features of the occasion was odd and interesting. I forget
+whether I had the story direct from him or from one of my
+fellow-students. It is as follows: At the time Moscheles was paying
+attention to the lady who afterward became his wife he had a rival who
+was a farmer. What became of the farmer after Moscheles carried off the
+prize history does not make clear. A friend of Moscheles, an artist of
+ability, conceived the unique idea of commemorating the joyous
+anniversary, and, putting it into act, he painted two portraits of Mrs.
+Moscheles, one representing her as she appeared on that interesting
+occasion, and the other giving his idea of how she would have looked
+after twenty-five years of wedded life had she married the farmer.
+
+
+
+
+JOSEPH JOACHIM
+
+
+"Leipsic, Wednesday, September 19, 1849." Under this date I find in my
+diary a note to the effect that Joachim the violinist made me a friendly
+call at half-past ten o'clock. I had previously called on him to present
+a letter of introduction which I had received in Hamburg from Mortier de
+Fontaine.
+
+Joachim made a marked impression upon me as being genial and unassuming
+in manner. He very cordially invited me to come to his room, saying, "We
+will play sonatas for violin and pianoforte together." This afforded a
+fine opportunity to a young piano-student, and, coming as it did without
+solicitation or expectation, was all the more appreciated. Less than two
+weeks later, on September 30, I heard him play the Mendelssohn violin
+concerto at the first Gewandhaus concert of the season, and was
+enchanted with his musical interpretation of the beautiful composition.
+A little further on in the diary it is written that the second
+Gewandhaus concert was given on October 7. The Schumann "Symphony in B
+Flat Major, No. 1," was played, and "I never before experienced such a
+thrill of enthusiasm." On Thursday, October 18, the third Gewandhaus
+concert took place, the symphony being by Spohr, "No. 3, C Minor." An
+item of special interest regarding this concert is that I heard here for
+the first time the fine violoncellist Bernhard Cossmann, with whom, in
+later years, I became intimately acquainted. He was then in the Weimar
+orchestra and the Ferdinand Laub String Quartet, and was one of our
+"Weimarische Dutzbr�der."
+
+
+
+
+SCHUMANN'S "CONCERTO IN A MINOR"
+
+
+This concerto I heard for the first time in Leipsic, on Saturday,
+January 19, 1850. It was in one of the Euterpe Society's concerts,
+exceedingly well played by Adolph Blassman of Dresden, and I vividly
+remember the stunning effect it produced upon some of the best pupils of
+the Conservatory who were present. I was nearly as much excited over
+the composition as I had previously been at the performance of the
+"Symphony in B Flat Major."
+
+A few weeks later the same concerto was played in a Gewandhaus concert
+by Fr�ulein Wilhelmine Clauss, a pupil of Mme. Schumann, who had studied
+it under her supervision. The result was another good rendering,
+although at the previous rehearsal there had been trouble with the
+so-called syncopated passage where the 3/2 and 3/4 rhythms alternate,
+and it was not until after many repeated attempts that success was
+attained.
+
+On account of the long, uninterrupted continuance of this 3/2 rhythm its
+character as a syncopation is entirely lost and it becomes simply an
+augmentation of the preceding and following 3/4 rhythm, and all of the
+best orchestral conductors I have seen always give out the beat
+accordingly--that is, in a manner equivalent to simply doubling the rate
+of speed in the 3/4 from that of the 3/2 movement. I do not see how the
+performers, both in orchestra and piano, can be kept together in any
+other way.
+
+[Illustration: Autograph of Joseph Joachim]
+
+
+
+
+CARL MAYER
+
+
+From Leipsic I went to Dresden in March, 1850, and stayed there a few
+months with some American friends who were studying the pianoforte under
+Carl Mayer, whose very beautiful and finished playing was more adapted
+for the salon than for the concert-hall. Although I took no lessons of
+him, I constantly enjoyed his society, frequently heard him play, and in
+this way profited much from the association.
+
+I wished, however, to get to work in the more advanced and modern
+methods, and so decided to go to Alexander Dreyschock in Prague. My
+departure from Dresden was somewhat delayed because, upon going to the
+Austrian consul's to get his vis�, he refused to give it to me. This was
+owing to the political disturbances which had taken place in Europe a
+year or two before. Thereupon I wrote to Dreyschock for his assistance,
+and being on friendly terms with the Austrian minister at Dresden, he
+easily accomplished the desired result.
+
+
+
+
+DREYSCHOCK
+
+
+Alexander Dreyschock was one of the most distinguished
+pianoforte-virtuosos of his time, and his specialty was his wonderful
+octave-playing. Indeed, he acquired such fame in this particular that
+the mention of "octave-playing" at once suggested the name of Dreyschock
+to his contemporaries. He was also celebrated on account of his highly
+trained left hand, so much so that Saphir, the famous Vienna critic,
+paid tribute to the fact by writing a stanza which obtained wide
+circulation, and which runs as follows:
+
+    Welchen Titel der nicht hinke
+      Man dem Meister geben m�chte,
+    Der zur Rechten macht die Linke?--
+      Nennt ihn, "Doctor beider Rechte."
+
+An anecdote, related to me by one of his most intimate friends not long
+after my arrival in Prague, is interesting in this connection, as well
+as instructive to piano-students. Tomaschek, his teacher, was in the
+habit of receiving a few friends on stated occasions for the purpose of
+musical entertainment and conversation. One evening the rapid progress
+in piano-technic was being discussed, and Tomaschek remarked that more
+and more in this direction was demanded each day. A copy of Chopin's
+"�tudes, Op. 10," open at "�tude No. 12, C Minor," happened to be lying
+on the piano-desk. It will be remembered that the left-hand part of this
+�tude consists throughout of rapid passages in single notes, difficult
+enough in the original to satisfy the ambition of most pianists.
+Tomaschek, looking at this, remarked, "I should not wonder if, one of
+these days, a pianist should appear who would play all of these
+single-note left-hand passages in octaves." Dreyschock, overhearing the
+remark, at once conceived an idea which he proceeded next day to carry
+into execution. For a period of six successive weeks, at the rate of
+twelve hours a day, he practised the �tude in accordance with the
+suggestion of Tomaschek. How he ever survived the effort is a mystery,
+but, at any rate, when the next musical evening at Tomaschek's occurred
+he was present, and, watching his opportunity for a favorable moment,
+sat down to the pianoforte and played the �tude in a brilliant and
+triumphant manner, with the left-hand octaves, thus fulfilling the
+prediction of Tomaschek. Upon a subsequent occasion he repeated this
+feat at one of the Leipsic Gewandhaus concerts. Mendelssohn, as I am
+told, was present, and was very demonstrative in the expression of his
+delight and astonishment. I will add, for the benefit of those of my
+readers, should there be any, who are inclined to try the experiment,
+that certain adaptations are necessary in various parts of the �tude in
+order to get the required scope for the left-hand octaves. Thus, the
+opening octave series, as well as other similar left-hand passages
+throughout the �tude, must, when necessary, be played an octave higher
+than written.
+
+At the time of which I write (1849-1850) very little seems to have been
+known of the important influence of the upper-arm muscles and their very
+efficient agency, when properly employed, in the production of
+tone-quality and volume by means of increased relaxation, elasticity,
+and springiness in their movements.
+
+I received considerably over one hundred lessons from Dreyschock, and
+with slow and rapid scale and arpeggio practice his instruction had
+special reference to limber and flexible wrists, his distinguishing
+feature being his wonderful octave-playing. Beyond the wrists, however,
+the other arm muscles received practically little or no attention, and
+the fact is that during my whole stay abroad none of my teachers or
+their pupils, with many of whom I was intimately associated, seemed to
+know anything about the importance of the upper-arm muscles, the
+practical knowledge of which I had acquired through the playing of
+Leopold de Meyer as described in the earlier part of this book. In the
+Tomaschek method, as taught and practised by Dreyschock, the direction
+to the pupil was simply to keep the wrists loose. To be sure, this could
+not be altogether accomplished without some degree of arm-limberness,
+but no specific directions were given for cultivating the latter. So far
+as wrist-motion is concerned, Leschetitsky's manner of playing octaves
+has much in common with the Tomaschek-Dreyschock method, if the former
+may be judged from the playing of most of his pupils, who seem to pay
+but little attention to the upper-arm muscles. This is quite natural
+when it is remembered that Leschetitsky was in some sense an assistant
+of Dreyschock when the latter was at the head of the piano department in
+the Conservatory of Music at St. Petersburg. The Leschetitsky pupils,
+however, have a manner of sinking the wrists below the keyboard which
+was not in accordance with Dreyschock's manner of playing. It seems to
+me that the latter's method of level wrists is more productive of a
+full, sonorous, musical tone.
+
+I remained with Dreyschock for over a year, taking three lessons a week
+and practising about five hours a day. I played also in private
+musicales at the houses of the nobility and at the homes of some of the
+wealthy Jews, two classes of society which were entirely distinct from
+each other, never mingling in private life. I met and became well
+acquainted with Jules Schulhoff, whose compositions for the pianoforte
+were very effective, but more appropriate to the drawing-room than to
+the concert-hall.
+
+
+
+
+PRINCE DE ROHAN'S DINNER
+
+
+It was customary in Prague to give once a year an orchestral concert of
+high order, the pecuniary proceeds of which were for the benefit of the
+poor, and on one of these occasions I played with orchestra a brilliant
+composition of Dreyschock's entitled "Salut � Vienne." It was also the
+custom, in concerts of this order, to use the name of some nobleman--the
+higher the better--as patron. On this occasion the name used was that of
+the Prince de Rohan, a French nobleman who, expatriated, had lived for
+some time in Prague in a palace of the old Austrian Emperor Ferdinand,
+who, shortly before the time of which I write, had abdicated in favor
+of his nephew, the present emperor. A few days after the concert, while
+I was practising in my modestly appointed room, there was a loud knock
+at the door, and immediately there entered a servant of the prince in
+gorgeous livery, who, advancing to the middle of the room and
+straightening himself up, announced in stentorian tones, "His Highness
+Prince Rohan invites you to dinner," at the same time handing me a large
+envelop with a big seal on the back. Without waiting for a reply, he
+made a low obeisance and left the room.
+
+It turned out that all the principal artists who had taken part in the
+concert had been invited to the dinner, and on the appointed day one of
+these, an opera-singer of distinction, came to my room and asked if he
+might go with me. Never having been to a prince's house, and not knowing
+what ceremony might be considered appropriate to such an occasion, he
+conceived the idea of securing a chaperon. The incongruity of his
+selecting a green American youth for this purpose greatly amused me,
+but I said, "Come along; they won't hang us for anything we are likely
+to do." Arriving at the palace five or ten minutes before the hour, the
+porter at the outer gate refused us admission, saying we were too early.
+This untoward reception somewhat unsettled us for the moment, but there
+was nothing for us to do but to walk about until the appointed time. On
+presenting ourselves again at the gate at precisely the right moment, we
+were promptly admitted. After passing through the hands of several
+servants, we were finally ushered into the presence of the prince.
+
+He was not an imposing man in appearance, neither was he as well dressed
+as several of the four or five guests who arrived later, my companion
+and I being the first-comers. The prince offered me his arm, and led me
+through the picture-gallery adjoining the reception-room, pointing out
+the portraits of his ancestors, whose names were mostly familiar to me
+from French history. As all formality in his manner had passed away, I
+found the occasion intensely interesting.
+
+Dinner being announced, we proceeded to the dining-room, and, when we
+were seated, the prince said that he would greet us first with a glass
+of Schloss Johannisberger Cabinet wine, which he had just received from
+his friend Prince Metternich, the owner of that world-renowned vineyard.
+As is well known, this Cabinet wine is never on the market, and can be
+bought only at an administrator's sale, and then commands the highest
+price. It is not unusual for tourists to pay a large price for this wine
+on the spot, even then not getting the genuine thing, for the space
+where the Cabinet wine grows is very small compared with the quantity of
+wine which is credited to it. Several kinds of red and white wines were
+served, and various kinds of German beer, as well as English and Scotch
+ale. Finally, after seven or eight courses, a single glass of
+champagne--no more--was poured out for each guest. Liquid refreshments,
+however, did not end there, for we afterward adjourned to the library,
+where we found a roaring wood fire in a vast stone chimney-place, where
+cigars, liqueurs of many kinds, and finally coffee and tea with rum were
+served. There was no music.
+
+
+
+
+CHOPIN, HENSELT, AND THALBERG
+
+
+I had always looked forward to taking lessons of Chopin at some period
+during my sojourn in Europe, but this was not accomplished, on account
+of his death, which took place in Paris on October 17, 1849. Neither did
+I ever hear him play. One of Dreyschock's anecdotes about him is
+interesting as well as instructive, for it conveys an idea of one of the
+principal characteristics of his style. Dreyschock told me that, a few
+years before, Chopin gave a recital of his own compositions in Paris,
+which he, Dreyschock, attended in company with Thalberg. They listened
+with delight throughout the performance, but on reaching the street
+Thalberg began shouting at the top of his voice.
+
+"What's the matter?" asked Dreyschock, in astonishment.
+
+"Oh," said Thalberg, "I've been listening to _piano_ all the evening,
+and now, for the sake of contrast, I want a little _forte_."
+
+Dreyschock spoke of Chopin's extremely delicate and exquisite playing,
+but said that he lacked the physical strength to produce forte effects
+by contrast in accordance with his own ideas. This is illustrated by
+another anecdote which I heard many years afterward from Korbay. A young
+and robust pianist had been playing Chopin's "Polonaise Militaire" to
+the composer, and had broken a string. When, in confusion, he began to
+apologize, Chopin said to him, "Young man, if I had your strength and
+played that polonaise as it should be played, there wouldn't be a sound
+string left in the instrument by the time I got through."
+
+The distinguishing characteristic of Chopin's piano-playing was his
+lovely musical and poetic tone, his warm and emotional coloring, and his
+impassioned utterance. In those days one was not afraid to play with a
+great deal of sentiment, although pianists who were capable of doing
+this poetically were rare. In modern times it has become the fashion to
+ridicule any tendency toward emotional playing and to extol the
+intellectual side beyond its just proportion. It seems to me that there
+should be a happy combination and a delicate and well-proportioned
+adjustment between the temperamental and intellectual, with a slight
+preponderance of the former.
+
+An anecdote of Adolf Henselt, also related to me by Dreyschock, is
+entertaining as well as suggestive, especially to pianoforte-players,
+who are constantly troubled with nervousness when playing before an
+audience. Henselt, whose home was in St. Petersburg, was in the habit of
+spending a few weeks every summer with a relative who lived in Dresden.
+Dreyschock, passing through that city, called on him one morning, and
+upon going up the staircase to his room, heard the most lovely tones of
+the pianoforte imaginable.
+
+He was so fascinated that he sat down at the top of the landing and
+listened for a long time. Henselt was playing repeatedly the same
+composition, and his playing was also specially characterized by a warm
+emotional touch and a delicious legato, causing the tones to melt, as it
+were, one into the other, and this, too, without any confusion or lack
+of clearness. Henselt was full of sentiment, but detested
+"sentimentality." Finally, for lack of time, Dreyschock was obliged to
+announce himself, although, as he said, he could have listened for
+hours. He entered the room, and after the usual friendly greeting said,
+"What were you playing just now as I came up the stairs?" Henselt
+replied that he was composing a piece and was playing it over to
+himself. Dreyschock expressed his admiration of the composition, and
+begged Henselt to play it again. Henselt, after prolonged urging, sat
+down to the pianoforte and began playing again, but, alas! his
+performance was stiff, inaccurate, and even clumsy, and all of the
+exquisite poetry and unconsciousness of his style completely
+disappeared. Dreyschock said that it was quite impossible to describe
+the difference; and this was simply the result of diffidence and
+nervousness, which, as it appeared, were entirely out of the player's
+power to control. Pianoforte-players frequently experience this state of
+things. The only remedy is freedom from self-consciousness, which can
+best be achieved by earnest and persistent mental concentration.
+
+
+
+
+ANTON SCHINDLER, "AMI DE BEETHOVEN"
+
+
+After finishing my studies with Dreyschock, I went to Frankfort, not to
+study under any particular master, but in order to enjoy the opera and
+the musical life there. Moreover, two or three of my old Boston friends
+were temporarily settled there, pursuing their musical studies.
+
+Anton Schindler, one of the well-known musical characters of the day,
+and who had been Beethoven's most intimate friend during the latter
+years of the great composer's life, lived at Frankfort, and, being
+members of the same club, the B�rger Verein, I often enjoyed the
+pleasure of his society, and heard much concerning Beethoven. Schindler
+had written a life of Beethoven, and was naturally very proud of his
+close association with the great master. During his residence in Paris,
+some years previous to the time of which I am writing, he caused to be
+printed on his visiting-cards, "Anton Schindler, Ami de Beethoven."
+
+He worshiped his idol's memory, and was so familiar with his music that
+the slightest mistake in interpretation or departure from Beethoven's
+invention or design jarred upon his nerves--or possibly he made a
+pretense of this. He held all four-hand pianoforte arrangements of works
+designed and composed for orchestra as abominations. Extreme
+sensitiveness is a r�le sometimes assumed by men in no wise remarkable,
+in order to enhance their own importance in the eyes of others.
+Schindler's attitude as to the undesirability of orchestral pianoforte
+arrangements will meet with the approval of many, but he certainly
+carried his sensitiveness in regard to the interpretation of Beethoven's
+works to amusing extremes.
+
+[Illustration: Autograph of Anton Schindler]
+
+Every winter a subscription series of orchestral concerts was given in
+Frankfort, each program of which included at least one symphony. The
+concerts took place in a very old stone building called the "Museum,"
+and on the occasion here referred to the symphony was Beethoven's "No.
+5, C Minor." It so happened that, owing to long-continued rains and
+extreme humidity, the stone walls of the old hall were saturated with
+dampness, in fact, were actually wet. This excess of moisture affected
+the pitch of the wood wind-instruments to such a degree that the other
+instruments had to be adjusted to accommodate them. Schindler, it was
+noticed, left the hall at the close of the first movement. This seemed a
+strange proceeding on the part of the "Ami de Beethoven," and when later
+in the evening he was seen at the B�rger Verein and asked why he had
+gone away so suddenly, he replied gruffly, "I don't care to hear
+Beethoven's 'C Minor Symphony' played in the key of B minor."
+
+
+
+
+SCHINDLER AND SCHNYDER VON WARTENSEE
+
+
+Another story current in Frankfort at this time further illustrates
+Schindler's peculiarity. Among the noted musicians living in Frankfort
+was a theoretician, Swiss by birth, named Schnyder von Wartensee, who
+was of considerable importance in his day. Schindler and Von Wartensee
+had lived in Frankfort, but had never met each other, although common
+friends had at various times made ineffectual efforts to bring them
+together. They were both advanced in years, and, as it seemed, ought to
+have been genial companions. Possibly the failure to arrange a meeting
+had been due to Wartensee's being older than Schindler, and thus in a
+position to expect the latter to call first, while Schindler, being "Ami
+de Beethoven," felt it beneath his dignity to make the first move.
+However, some time previous to my arrival another plan for an interview
+was contrived, and as so many previous ones had failed the outcome of
+this was watched with interest.
+
+By the exercise of considerable diplomatic tact Schindler was persuaded
+to agree to call upon Wartensee and to fix a time for the visit. The
+friends of the gentlemen had all been looking forward with much interest
+to the result of this meeting, hoping thereby to hear a great many
+musical reminiscences, and a committee was appointed to watch Schindler
+and make sure that he kept the appointment. After a while the committee
+returned to the B�rger Verein and reported that they had seen him almost
+reach Wartensee's house, then pause for a moment, and suddenly turn and
+hurry away. Later Schindler himself came in, and being questioned
+concerning the interview, exclaimed, "Bah! as I got near the house I
+heard them [Wartensee and his wife] playing a four-handed piano
+arrangement of the 'Eroica.'"
+
+
+
+
+FIRST LONDON CONCERT
+
+
+In January, 1853, my stay in Frankfort was brought to an end by a letter
+from Sir Julias Benedict, asking me to come to London to play at one of
+the concerts of the Harmonic Union at Exeter Hall. I accepted the
+engagement, and made my first appearance in London under Benedict's
+conductorship, playing Weber's "Concertst�ck." An account having been
+published in a London paper of the very delightful celebration, in 1899,
+of my seventieth birthday by my pupils, past and present, and by many of
+my friends, I received an inquiry from a lady living in London, asking
+whether I was the same William Mason whom she had heard in Exeter Hall
+nearly half a century ago!
+
+I accepted only one other engagement to play in public, though I
+remained near London for more than two months, just to look about.
+
+I was much impressed with the extent to which Mendelssohn's influence
+prevailed in English matters musical. I met a great many excellent
+musicians there, especially several fine organists; but a large
+majority, both in their ideas and in their style of playing and
+composition, were nothing but Mendelssohns in "half-tone," and to some
+extent this is still true of England.
+
+
+
+
+WITH LISZT IN WEIMAR
+
+
+After my London visit I was obliged to return to Leipsic to transact
+some business, and I decided to call on Liszt in Weimar en route. My
+intention was to make another effort to be received by him as a pupil,
+my idea being, if he declined, to go to Paris and study under some
+French master.
+
+I reached Weimar on the 14th of April, 1853, and put up at the Hotel zum
+Erbprinzen. At that time Liszt occupied a house on the Altenburg
+belonging to the grand duke. The old grand duke, under whose patronage
+Goethe had made Weimar famous, was still living. I think his idea was to
+make Weimar as famous musically through Liszt as it had been in
+literature in Goethe's time.
+
+Having secured my room at the Erbprinzen, I set out for the Altenburg.
+The butler who opened the door mistook me for a wine-merchant whom he
+had been expecting. I explained that I was not that person. "This is my
+card," I said. "I have come here from London to see Liszt." He took the
+card, and returned almost immediately with the request for me to enter
+the dining-room.
+
+I found Liszt at the table with another man. They were drinking their
+after-dinner coffee and cognac. The moment Liszt saw me he exclaimed,
+"Nun, Mason, Sie lassen lange auf sich warten!" ("Well, Mason, you let
+people wait for you a long time!") I suppose he saw my surprised look,
+for he added, "Ich habe Sie schon vor vier Jahren erwartet" ("I have
+been expecting you for four years"). Then it struck me that I had
+probably wholly misinterpreted his first letter to me and what he said
+when I called on him during the Goethe festival. But nothing was said
+about my remaining, and though he was most affable, I began to doubt
+whether I would accomplish the object of my visit.
+
+
+
+
+ACCEPTED BY LISZT
+
+
+When we rose from the table and went into the drawing-room, Liszt said:
+"I have a new piano from �rard of Paris. Try it, and see how you like
+it." He asked me to pardon him if he moved about the room, for he had to
+get together some papers which it was necessary to take with him, as he
+was going to the palace of the grand duke. "As the palace is on the way
+to the hotel, we can walk as far as that together," he added.
+
+I felt intuitively that my opportunity had come. I sat down at the piano
+with the idea that I would not endeavor to show Liszt how to play, but
+would play as simply as if I were alone. I played "Amiti� pour Amiti�,"
+a little piece of my own which had just been published by Hofmeister of
+Leipsic.
+
+[Illustration: LISZT IN MIDDLE LIFE]
+
+"That's one of your own?" asked Liszt when I had finished. "Well, it's a
+charming little piece." Still nothing was said about my being accepted
+as a pupil. But when we left the Altenburg, he said casually, "You
+say you are going to Leipsic for a few days on business? While there you
+had better select your piano and have it sent here. Meanwhile I will
+tell Klindworth to look up rooms for you. Indeed, there is a vacant room
+in the house in which he lives, which is pleasantly situated just
+outside the limits of the ducal park."
+
+I can still recall the thrill of joy which passed through me when Liszt
+spoke these words. They left no doubt in my mind. I was accepted as his
+pupil. We walked down the hill toward the town, Liszt leaving me when we
+arrived at the palace, telling me, however, that he would call later at
+the hotel and introduce me to my fellow-pupils. About eight o'clock that
+evening he came.
+
+After smoking a cigar and chatting with me for half an hour, Liszt
+proposed going down to the caf�, saying, "The gentlemen are probably
+there, as this is about their regular hour for supper." Proceeding to
+the dining-room, we found Messrs. Raff, Pruckner, and Klindworth, to
+whom I was presented in due form, and who received me in a very
+friendly manner.
+
+I had no idea then, neither have I now, what Liszt's means were, but I
+learned soon after my arrival at Weimar that he never took pay from his
+pupils, neither would he bind himself to give regular lessons at stated
+periods. He wished to avoid obligations as far as possible, and to feel
+free to leave Weimar for short periods when so inclined--in other words,
+to go and come as he liked. His idea was that the pupils whom he
+accepted should all be far enough advanced to practise and prepare
+themselves without routine instruction, and he expected them to be ready
+whenever he gave them an opportunity to play. The musical opportunities
+of Weimar were such as to afford ample encouragement to any
+serious-minded young student. Many distinguished musicians, poets, and
+literary men were constantly coming to visit Liszt. He was fond of
+entertaining, and liked to have his pupils at hand so that they might
+join him in entertaining and paying attention to his guests. He had
+only three pupils at the time of which I write, namely, Karl Klindworth
+from Hanover, Dionys Pruckner from Munich, and the American whose
+musical memories are here presented. Joachim Raff, however, we regarded
+as one of us, for although not at the time a pupil of Liszt, he had been
+in former years, and was now constantly in association with the master,
+acting frequently in the capacity of private secretary. Hans von B�low
+had left Weimar not long before my arrival, and was then on his first
+regular concert-tour. Later he returned occasionally for short visits,
+and I became well acquainted with him. We constituted, as it were, a
+family, for while we had our own apartments in the city, we all enjoyed
+the freedom of the two lower rooms in Liszt's home, and were at liberty
+to come and go as we liked. Regularly on every Sunday at eleven o'clock,
+with rare exceptions, the famous Weimar String Quartet played for an
+hour and a half or so in these rooms, and Liszt frequently joined them
+in concerted music, old and new. Occasionally one of the boys would
+take the pianoforte part. The quartet-players were Laub, first violin;
+St�rr, second violin; Walbr�hl, viola; and Cossmann, violoncello. Before
+Laub's time Joachim had been concertmeister, but he left Weimar in 1853
+and went to Hanover, where he occupied a similar position. He
+occasionally visited Weimar, however, and would then at times play with
+the quartet. Henri Wieniawski, who spent some months in Weimar, would
+occasionally take the first violin. My favorite as a quartet-player was
+Ferdinand Laub, with whom I was intimately acquainted, and I find that
+the greatest violinists of the present time hold him in high estimation,
+many of them regarding him as the greatest of all quartet-players. We
+were always quite at our ease in those lower rooms, but on ceremonial
+occasions we were invited up-stairs to the drawing-room, where Liszt had
+his favorite �rard. We were thus enjoying the best music, played by the
+best artists. In addition to this there were the symphony concerts and
+the opera, with occasional attendance at rehearsal. Liszt took it for
+granted that his pupils would appreciate these remarkable advantages and
+opportunities and their usefulness, and I think we did.
+
+
+
+
+THE ALTENBURG
+
+
+Liszt's private studio, where he wrote and composed, was at the back of
+the main building in a lower wing, and may easily be distinguished in
+the picture by the awnings over the windows. I was not in this room more
+than half a dozen times during my stay in Weimar, and one of these I
+remember as the occasion of Liszt's playing the Beethoven "Kreutzer
+Sonata" with Remenyi, the Hungarian violinist, and giving him a lesson
+in conception and style of performance. Remenyi was a violinist of fine
+musical talent, but not a classicist, his style being after the fashion
+of the class represented by Ole Bull. He was, as is well known, a
+genuine Hungarian, thoroughly at home in the musical characteristics of
+his native country. He was unconsciously disposed to color and mark the
+music of all composers with Hungarian peculiarities, and this habit gave
+rise to a story that sometimes he added to the concluding strain of the
+theme in the slow movement of the "Kreutzer Sonata" the peculiar
+Hungarian termination as a final ornament. This story probably
+originated in a spirit of fun. It was, nevertheless, so characteristic
+of Remenyi that it obtained wide circulation.
+
+[Illustration: Musical notation]
+
+The picture gives a very good view of the house as it appeared in
+1853-54. In the nearest corner of the building were the two large rooms
+on the ground floor to which reference has already been made, of which
+we boys had the freedom at all times, and where strangers were
+unceremoniously received. The F�rstin Sayn-Wittgenstein had apartments,
+I think, on the _bel �tage_ with her daughter, the Prinzessin Marie.
+Any one who was to be honored with an introduction to them was taken to
+a reception-room up-stairs; adjoining this was the dining-room. This
+print is from a water-color painted for me by my friend Mr. Thomas Allen
+of Boston. It is copied from a photograph of the original,--a
+water-color by Carl Hoffman,--which Mr. Hoffman painted expressly for
+his friend Mr. James M. Tracy, a former pupil of Liszt, who is now a
+professional pianist and teacher in Denver, Colorado, and to whom I am
+indebted for permission to publish it here. Mr. Tracy writes me that it
+has been published before, but without his permission.
+
+We boys saw little of the Wittgensteins, and I remember dining with them
+only once. I sat next to the Princess Marie, who spoke English very
+well, and it may have been due to her desire to exercise in the language
+that I was honored with a seat next to her. Rubinstein met her when he
+was at Weimar (I shall have more to tell of his visit later), and
+composed a nocturne which he dedicated to her. When he came to this
+country in 1873 he told me that he had met her again some years later at
+the palace in Vienna, but that she had become haughty, and had not been
+inclined to pay much attention to him. There are many Wittgensteins in
+Russia. When I was in Wiesbaden in 1879-80 I saw half a dozen Russian
+princes of that name. There was but one Rubinstein.
+
+Liszt had the pick of all the young musicians in Europe for his pupils,
+and I attribute his acceptance of me somewhat to the fact that I came
+all the way from America, something more of an undertaking in those days
+than it is now. I became very well acquainted with those whom I have
+mentioned, especially with Klindworth and Raff, and before many days we
+were all "Dutzbr�der."
+
+[Illustration: THE ALTENBURG, LISZT'S HOUSE AT WEIMAR]
+
+The first evening Raff, whom I had previously never heard of, struck me
+as being rather conceited; but when I grew to know him better, and
+realized how talented he was, I was quite ready to make allowance for
+his little touch of self-esteem. We became warm friends, dining together
+every day at the table d'h�te, and after dinner walking for an hour or
+so in the park. Nineteen years later I went abroad again and visited
+Raff at the Conservatory in Frankfort. He interrupted his lessons the
+moment that he heard I was there, came running down-stairs, threw his
+arms around my neck, and was so overjoyed at seeing me that I felt as if
+we were boys once more at Weimar. Of the pupils and of the many
+musicians who came to Weimar to visit Liszt at that time,--"die goldene
+Zeit" (the Golden Age), as it is still called at Weimar,--I think
+Klindworth and I are the only survivors. Klindworth is one of the most
+distinguished teachers in Europe, and taught for many years at the
+Conservatory in Moscow. He is now in Potsdam.
+
+
+
+
+HOW LISZT TAUGHT
+
+
+What I had heard in regard to Liszt's method of teaching proved to be
+absolutely correct. He never taught in the ordinary sense of the word.
+During the entire time that I was with him I did not see him give a
+regular lesson in the pedagogical sense. He would notify us to come up
+to the Altenburg. For instance, he would say to me, "Tell the boys to
+come up to-night at half-past six or seven." We would go there, and he
+would call on us to play. I remember very well the first time I played
+to him after I had been accepted as a pupil. I began with the "Ballade"
+of Chopin in A flat major; then I played a fugue by Handel in E minor.
+
+After I was well started he began to get excited. He made audible
+suggestions, inciting me to put more enthusiasm into my playing, and
+occasionally he would push me gently off the chair and sit down at the
+piano and play a phrase or two himself by way of illustration. He
+gradually got me worked up to such a pitch of enthusiasm that I put all
+the grit that was in me into my playing.
+
+I found at this first lesson that he was very fond of strong accents in
+order to mark off periods and phrases, and he talked so much about
+strong accentuation that one might have supposed that he would abuse it,
+but he never did. When he wrote to me later about my own piano method,
+he expressed the strongest approval of the exercises on accentuation.
+
+
+
+
+"PLAY IT LIKE THIS"
+
+
+While I was playing to him for the first time, he said on one of the
+occasions when he pushed me from the chair: "Don't play it that way.
+Play it like this." Evidently I had been playing ahead in a steady,
+uniform way. He sat down, and gave the same phrases with an accentuated,
+elastic movement, which let in a flood of light upon me. From that one
+experience I learned to bring out the same effect, where it was
+appropriate, in almost every piece that I played. It eradicated much
+that was mechanical, stilted, and unmusical in my playing, and developed
+an elasticity of touch which has lasted all my life, and which I have
+always tried to impart to my pupils.
+
+At this first lesson I must have played for two or three hours. For some
+reason or other Raff was not present, but Klindworth and Pruckner were
+there. They lounged on a sofa and smoked, and I remember wondering if
+they appreciated the nice time they were having at my ordeal. However,
+not many days afterward came my opportunity to light a cigar and lounge
+about the room while Liszt put them through their paces.
+
+Two or three hours is not a long time for a professional musician to
+practise, and I had often spent many more hours at the piano, but never
+under such strong incitement. I was exceedingly tired afterward, and
+actually felt stiff the next day, as if I had performed some very
+arduous physical work. Liszt heard of this, and turned it into a joke,
+telling people that at the time set for the next lesson I appeared at
+the Altenburg with my hand in a sling, and said that I had strained my
+wrist while hunting, and would be unable to play. I think this is _non �
+ver e ben trovato_, as I have no recollection of it.
+
+
+
+
+LISZT IN 1854
+
+
+The best impression of Liszt's appearance at that time is conveyed by
+the picture which shows him approaching the Altenburg. His back is
+turned; nevertheless, there is a certain something which shows the man
+as he was better even than those portraits in which his features are
+clearly reproduced. The picture gives his gait, his figure, and his
+general appearance. There is his tall, lank form, his high hat set a
+little to one side, and his arm a trifle akimbo. He had piercing eyes.
+His hair was very dark, but not black. He wore it long, just as he did
+in his older days. It came almost down to his shoulders, and was cut off
+square at the bottom. He had it cut frequently, so as to keep it at
+about the same length. That was a point about which he was very
+particular.
+
+
+
+
+HIS FASCINATION
+
+
+As I remember his hands, his fingers were lean and thin, but they did
+not impress me as being very long, and he did not have such a remarkable
+stretch on the keyboard as one might imagine. He was always neatly
+dressed, generally appearing in a long frock-coat, until he became the
+Abb� Liszt, after which he wore the distinctive black gown. His general
+manner and his face were most expressive of his feelings, and his
+features lighted up when he spoke. His smile was simply charming. His
+face was peculiar. One could hardly call it handsome, yet there was in
+it a subtle something that was most attractive, and his whole manner had
+a fascination which it is impossible to describe.
+
+I remember little incidents which are in themselves trivial, but which
+illustrate some character-trait. One day Liszt was reading a letter in
+which a musician was referred to as a certain Mr. So-and-so. He read
+that phrase over two or three times, and then substituted his own name
+for that of the musician mentioned, and repeated several times, "A
+_certain_ Mr. Liszt, a _certain_ Mr. Liszt, a _certain_ Mr. Liszt,"
+adding: "I don't know that that would offend me. I don't know that I
+should object to being called 'a _certain_ Mr. Liszt.'" As he said this
+his face had an expression of curiosity, as though he were wondering
+whether he really would be offended or not. But at the same time there
+was in his face that look of kindness I saw there so often, and I really
+believe he would not have felt injured by such a reference to himself.
+There was nothing petty in his feelings.
+
+
+
+
+LISZT'S INDIGNATION
+
+
+On one occasion, however, I saw Liszt grow very much excited over what
+he considered an imposition. One evening he said to us: "Boys, there is
+a young man coming here to-morrow who says he can play Beethoven's
+'Sonata in B Flat, Op. 106.' I want you all three to be here." We were
+there at the appointed hour. The pianist proved to be a Hungarian, whose
+name I have forgotten.
+
+He sat down and began to play in a conveniently slow tempo the bold
+chords with which the sonata opens. He had not progressed more than half
+a page when Liszt stopped him, and seating himself at the piano, played
+in the correct tempo, which was much faster, to show him how the work
+should be interpreted. "It's nonsense for you to go through this sonata
+in that fashion," said Liszt, as he rose from the piano and left the
+room.
+
+The pianist, of course, was very much disconcerted. Finally he said, as
+if to console himself: "Well, he can't play it through like that, and
+that's why he stopped after half a page."
+
+This sonata is the only one which the composer himself metronomized, and
+his direction is M.M. [Illustration: quarter-note] = 138. A less rapid
+tempo, [Illustration: quarter-note] = 100 or thereabouts, would seem to
+be more nearly correct, but the pianist took it at a much slower rate
+than even this.
+
+When the young man left I went out with him, partly because I felt sorry
+for him, he had made such a fiasco, and partly because I wished to
+impress upon him the fact that Liszt could play the whole movement in
+the tempo in which he began it. As I was walking along with him, he
+said, "I'm out of money; won't you lend me three louis d'or?"
+
+A day or two later I told Liszt by the merest chance that the hero of
+the Op. 106 fiasco had tried to borrow money of me. "B-r-r-r! What?"
+exclaimed Liszt. Then he jumped up, walked across the room, seized a
+long pipe that hung from a nail on the wall, and brandishing it as if it
+were a stick, stamped up and down the room in almost childish
+indignation, exclaiming, "Drei louis d'or! Drei louis d'or!" The point
+is, however, that Liszt regarded the man as an artistic impostor. He had
+sent word to Liszt that he could play the great Beethoven sonata, not an
+inconsiderable feat in those days. He had been received on that basis.
+He had failed miserably. To this artistic imposition he had added the
+effrontery of endeavoring to borrow money from some one whom he had met
+under Liszt's roof.
+
+
+
+
+OBJECTS TO MY EYE-GLASSES
+
+
+I have mentioned that Liszt was careful in his dress. He was also
+particular about the appearance of his pupils. I remember two instances
+which show how particular he was in little matters. I have been
+near-sighted all my life, and when I went to Weimar I wore eye-glasses,
+much preferring them to spectacles. Eye-glasses were not much worn in
+Germany at that time, and were considered about as affected as the mode
+of wearing a monocle. The Germans wore spectacles. I had not been in
+Weimar long when Liszt said to me: "Mason, I don't like to see you
+wearing those glasses. I shall send my optician to fit your eyes with
+spectacles."
+
+I hardly thought that he was serious, and so paid no attention to him.
+But, sure enough, about a week later there was a knock at my door, and
+the optician presented himself, saying he had come at the command of
+Dr. Liszt to examine my eyes and fit a pair of spectacles to them. As I
+was evidently to have no say in the matter, I submitted, and a few days
+later I received two pairs, one in a green and one in a red case. I
+thought them extremely unbecoming, but I was very particular to put them
+on whenever I went to see Liszt.
+
+Not long afterward Liszt went to Paris, and when we called to see him
+after his return, and he was talking about his experiences there, he
+said casually: "By the way, Mason, I find that gentlemen in Paris are
+wearing eye-glasses now. In fact, they are considered quite _comme il
+faut_, so I have no objection to your wearing yours." As he did not ask
+me to send him the spectacles, I kept them, and have them to this day.
+
+Klindworth, Pruckner, and I had played the Bach triple concerto in a
+concert at the town hall, and had been requested to repeat it at an
+evening concert at the ducal palace. An hour before the ducal carriage
+arrived to take me to the concert, a servant came from the Altenburg
+with a package which he said Liszt had requested him to be sure to
+deliver to me. On opening it, I found two or three white ties. It was a
+hint to me from Liszt that I most dress suitably to play at court.
+
+This incident shows the care that Liszt bestowed on little things
+relating to the customs and amenities of social life. He evidently sent
+the ties as a precautionary measure. Possibly he was not sure whether
+Americans were civilized enough to wear white ties with evening dress,
+and was afraid I might appear in a red-white-and-blue one. Seriously,
+however, it was very kind of him to think of a little thing like this.
+
+
+
+
+A MUSICAL BREAKFAST
+
+
+Before I went to Weimar I had not been of a very sociable disposition.
+At Weimar I had to be. Liszt liked to have us about him. He wished us to
+meet great men. He would send us word when he expected visitors, and
+sometimes he would bring them down to our lodgings to see us. In every
+way he tried to make our surroundings as pleasant as possible. It would
+have been strange if, under such circumstances, we had not derived some
+benefit from our intercourse with our great master and his visitors.
+
+I shall always recall with amusement a breakfast which, at Liszt's
+request, Klindworth and I gave to Joachim and Wieniawski, the
+violinists, then, of course, very young men, and to several other
+distinguished visitors. Liszt had been entertaining them for several
+days. We knew that it was about time for him to bring them down to see
+one of us. So I was not surprised when he turned to me one evening and
+said, "Mason, I want you and Klindworth to give us a breakfast
+to-morrow." I asked him what we should have. "Oh," he replied, "some
+_Semmel_ [rolls], caviar, herring," etc.
+
+The next morning Liszt and his visitors came. I remember looking out of
+my window and watching them cross the ducal park, over the long
+foot-path which ended directly opposite the house where Klindworth and I
+lived. It had been raining, and the path was slippery, so that their
+footsteps were somewhat uncertain.
+
+The breakfast passed off all right. When he had finished, Liszt said,
+"Now let us take a stroll in the garden." This garden was about four
+times as large as the back yard of a New York house, and it was
+unflagged and, of course, muddy from the rain of the previous night.
+Never shall I forget the sight of Liszt, Joachim, Wieniawski, and our
+other distinguished guests "strolling" through this garden, wading in
+mud two inches deep.
+
+
+
+
+LISZT'S PLAYING
+
+
+Time and again at Weimar I heard Liszt play. There is absolutely no
+doubt in my mind that he was the greatest pianist of the nineteenth
+century. Liszt was what the Germans call an _Erscheinung_--an
+epoch-making genius. Taussig is reported to have said of him: "Liszt
+dwells alone upon a solitary mountain-top, and none of us can approach
+him." Rubinstein said to Mr. William Steinway in the year 1873: "Put all
+the rest of us together and we would not make one Liszt." This was
+doubtless hyperbole, but nevertheless significant as expressing the
+enthusiasm of pianists universally conceded to be of the highest rank.
+There have been other great pianists, some of whom are now living, but I
+must dissent from those writers who affirm that any of these can be
+placed upon a level with Liszt. Those who make this assertion are too
+young to have heard Liszt other than in his declining years, and it is
+unjust to compare the playing of one who has long since passed his prime
+with that of one who is still in it. In the year 1873 Rubinstein told
+Theodore Thomas that it was fully worth while to make a trip to Europe
+to hear Liszt play; but he added: "Make haste and go at once; he is
+already beginning to break up, and his playing is not up to the
+standard of former years, although his personality is as attractive as
+ever."
+
+In March, 1895, Stavenhagen and Remenyi were dining at my house one
+evening, and the former began to speak in enthusiastic terms of Liszt's
+playing. Remenyi interrupted with emphasis: "You have never heard Liszt
+play--that is, as Liszt used to play in his prime"; and he appealed to
+me for corroboration, but, unhappily, I never met Liszt again after
+leaving Weimar in July, 1854.
+
+The difference between Liszt's playing and that of others was the
+difference between creative genius and interpretation. His genius
+flashed through every pianistic phrase, it illuminated a composition to
+its innermost recesses, and yet his wonderful effects, strange as it
+must seem, were produced without the advantage of a genuinely musical
+touch.
+
+I remember on one occasion Schulhoff came to Weimar and played in the
+drawing-room of the Altenburg house. His playing and Liszt's were in
+marked contrast. He has been mentioned in an earlier chapter as a
+parlor pianist of high excellence. His compositions, exclusively in the
+smaller forms, were in great favor and universally played by the ladies.
+
+Liszt played his own "B�n�diction de Dieu dans la Solitude," as pathetic
+a piece, perhaps, as he ever composed, and of which he was very fond.
+Afterward Schulhoff, with his exquisitely beautiful touch, produced a
+quality of tone more beautiful than Liszt's; but about the latter's
+performance there was intellectuality and the indescribable
+impressiveness of genius, which made Schulhoff's playing, with all its
+beauty, seem tame by contrast.
+
+I was not surprised to hear from Theodore Thomas what Rubinstein had
+told him concerning Liszt's "breaking up," for as far back as the days
+of "die goldene Zeit" it had seemed to me that there were certain
+indications in his playing which warranted the belief that his
+mechanical powers would begin to wane at a comparatively early period in
+his career. There was too little pliancy, flexion, and relaxation in his
+muscles; hence a lack of economy in the expenditure of his energies.
+
+He was aware of this, and said in effect on one occasion, as I learned
+indirectly through either Klindworth or Pruckner: "You are to learn all
+you can from my playing, relating to conception, style, phrasing, etc.,
+but do not imitate my touch, which, I am well aware, is not a good model
+to follow. In early years I was not patient enough to 'make haste
+slowly'--thoroughly to develop in an orderly, logical, and progressive
+way. I was impatient for immediate results, and took short cuts, so to
+speak, and jumped through sheer force of will to the goal of my
+ambition. I wish now that I had progressed by logical steps instead of
+by leaps. It is true that I have been successful, but I do not advise
+you to follow my way, for you lack my personality."
+
+In saying this Liszt had no idea of magnifying himself; but it was
+nevertheless genius which enabled him to accomplish certain results
+which were out of the ordinary course, and in a way which others, being
+differently constituted, could not follow. His advice to his pupils was
+to be deliberate, and through care and close attention to important,
+although seemingly insignificant, details to progress in an orderly way
+toward a perfect style.
+
+Notwithstanding this caution, and falling into the usual tendency of
+pupils to imitate the idiosyncrasies and mannerisms, even faults or weak
+points, of the teacher, some of the boys, in their effort to attain
+Lisztian effects, acquired a hard and unsympathetic touch, and thus
+produced mere noise in the place of full and resonant tones.
+
+Before going to Weimar I had heard in various places in Germany that
+Liszt spoiled all of those pupils who went to him without a previously
+acquired knowledge of method and a habit of the correct use of the
+muscles in producing musical effects. It was necessary for the pupil to
+have an absolutely sure foundation to benefit by Liszt's instruction. If
+he had that preparation Liszt could develop the best there was in him.
+
+There is danger of unduly magnifying the importance of a mere mechanical
+technic. In Liszt's earlier days he inclined in this direction, and
+wrote the "�tudes d'Ex�cution Transcendante." I remember his saying to
+his pupils one day, when these were the subject of our conversation,
+that having completed them, his interest in that direction had ceased
+and he wrote no more. Moreover, he added, "I expected that some day a
+pianist would appear who would make this subject his specialty, and
+would accomplish difficulties that were seemingly impossible to
+perform." It has been said of Liszt that he worshiped this kind of
+technic. I think the assertion does him injustice. A friend of mine who
+visited him in Weimar about the year 1858 wrote that Liszt, speaking of
+one of his pupils, said: "What I like about So-and-so is that he is not
+a mere 'finger virtuoso': he does not worship the keyboard of the
+pianoforte; it is not his patron saint, but simply the altar before
+which he pays homage to the idea of the tone-composer." A perfect
+technic is more than a wonderful power of prestidigitation, or facility
+in the manipulation of an instrument. It implies qualities of mind and
+heart which are essential to an all-round musical development and the
+ability to give them adequate expression.
+
+
+
+
+LISZT AND PIXIS
+
+
+In his concertizing days Liszt always played without the music before
+him, although this was not the usual custom of his time; and in this
+connection I remember an anecdote told to me by Theimer, one of
+Dreyschock's assistant teachers. Pixis was an old-fashioned player of
+considerable reputation in his day, and was the composer of
+chamber-music, besides pianoforte pieces. Among other works of his was a
+duo for two pianofortes. While this composition was yet in manuscript it
+was played in one of the concerts of Pixis with the assistance of Liszt.
+Pixis, knowing Liszt's habit of playing from memory, requested him on
+this occasion at least to have the music open before him on the
+piano-desk, as he himself did not like to risk playing his part without
+notes, and he felt it would produce an unfavorable impression on the
+public if Liszt should play from memory while he, the composer, had to
+rely on his copy. Liszt, as the story goes, made no promise one way or
+the other. So when the time came the pianists walked on the stage, each
+carrying his roll of music. Pixis carefully unrolled his and placed it
+on the piano-desk. Liszt, however, sat down at the piano, and, just
+before beginning to play, tossed his roll over behind the instrument and
+proceeded to play his part by heart. Liszt was young at that time,
+and--well--somewhat inconsiderate. Later on he very rarely played even
+his own compositions without having the music before him, and during
+most of the time I was there copies of his later publications were
+always lying on the piano, and among them a copy of the "B�n�diction de
+Dieu dans la Solitude," which Liszt had used so many times when playing
+to his guests that it became associated with memories of Berlioz,
+Rubinstein, Vieuxtemps, Wieniawski, Joachim, and our immediate circle,
+Raff, B�low, Cornelius, Klindworth, Pruckner, and others. When I left
+Weimar I took this copy with me as a souvenir, and still have it; and I
+treasure it all the more for the marks of usage which it bears. I also
+have a very old copy of the Handel "E Minor Fugue," which was given to
+me by Dreyschock and which I studied with him and afterward with Liszt.
+Dreyschock had evidently used this same copy when he studied the fugue
+under Tomaschek. It has penciled figures indicating the fingering, made
+by both Dreyschock and Liszt. A few years ago I missed this valuable
+relic for a while, and was much grieved by my loss. Fortunately it was
+discovered in the ash-barrel at the back of the house. Shades of
+Tomaschek, Dreyschock, and Liszt!
+
+
+
+
+LISZT CONDUCTING
+
+
+In his conducting Liszt was not unerring. I do not know how far he may
+have progressed in later years, but when I was in Weimar he had very
+little practice as a conductor, and was not one of the highest class. He
+conducted, however, and with good results on certain important
+occasions, such as, for instance, when "Lohengrin" was produced.
+
+On account of his strong advocacy of Wagner and modern music generally,
+he had many enemies, as was to be expected of a man of his prominence.
+If perchance a mishap occurred during his conducting there were always
+petty critics on hand to take advantage of the opportunity and to
+magnify the fault.
+
+One of these occasions happened at the musical festival at Karlsruhe in
+October, 1853, while he was conducting Beethoven's "Ninth Symphony." In
+a passage where the bassoon enters on an off beat the player made a
+mistake and came in on the even beat. This error, not the conductor's
+fault, occasioned such confusion that Liszt was obliged to stop the
+orchestra and begin over again, and the little fellows made the most of
+this royal opportunity to pitch into him.
+
+
+
+
+LISZT'S SYMPHONIC POEMS--REHEARSING "TASSO"
+
+
+When Liszt first began his career as an orchestral composer two parties
+were formed, one of which predicted success, the other disaster. The
+latter asserted that he was too much of a pianist and began too late in
+life for success in this direction. Even in Weimar, in his own
+household, so to speak, opinions were divided. I remember one of my
+fellow-pupils saying that he did not think it was his forte. Raff had
+pretty much the same opinion, and I inclined to agree with them. Liszt
+was in earnest, however, and availed himself of every means of
+preparation for the work. Frequently upon his request the best
+orchestral players came to the Altenburg, and he asked them about their
+instruments, their nature, and whether certain passages were idiomatic
+to them. About the time I came to Weimar to study with him he had nearly
+finished "Tasso," and before giving it the last touches he had a
+rehearsal of it, which we attended. We went to the theater, and he took
+the orchestra into a room which would just about hold it. Imagine the
+din in that room! The effect was far from musical, but to Liszt it was
+the key to the polyphonic effects which he wished to produce.
+
+
+
+
+EXTRACTS FROM A DIARY
+
+
+As an illustration of some of the advantages of a residence at Weimar
+almost _en famille_ with Liszt during "die goldene Zeit," a few extracts
+from my diary are presented, showing how closely events followed one
+upon another:
+
+"Sunday, April 24, 1853. At the Altenburg this forenoon at eleven
+o'clock. Liszt played with Laub and Cossmann two trios by C�sar Franck."
+
+This is peculiarly interesting in view of the fact that the composer,
+who died about ten years ago, is just beginning to receive due
+appreciation. In Paris at the present time there is almost a C�sar
+Franck cult, but it is quite natural that Liszt, with his quick and
+far-seeing appreciation, should have taken especial delight in playing
+his music forty-seven years ago. Liszt was very fond of it.
+
+"May 1. Quartet at the Altenburg at eleven o'clock, after which
+Wieniawski played with Liszt the violin and pianoforte 'Sonata in A' by
+Beethoven."
+
+"May 3. Liszt called at my rooms last evening in company with Laub and
+Wieniawski. Liszt played several pieces, among them my 'Amiti� pour
+Amiti�.'"
+
+"May 6. The boys were all at the Hotel Erbprinz this evening. Liszt came
+in and added to the liveliness of the occasion."
+
+"May 7. At Liszt's, this evening, Klindworth, Laub, and Cossmann played
+a piano trio by Spohr, after which Liszt played his recently composed
+sonata and one of his concertos. In the afternoon I had played during my
+lesson with Liszt the 'C Sharp Minor Sonata' of Beethoven and the 'E
+Minor Fugue' by Handel."
+
+"May 17. Lesson from Liszt this evening. Played Scherzo and Finale from
+Beethoven's 'C Sharp Minor Sonata.'"
+
+"May 20, Friday. Attended a court concert this evening which Liszt
+conducted. Joachim played a violin solo by Ernst."
+
+"May 22. Went to the Altenburg at eleven o'clock this forenoon. There
+were about fifteen persons present--quite an unusual thing. Among other
+things, a string quartet of Beethoven was played, Joachim taking the
+first violin."
+
+"May 23. Attended an orchestral rehearsal at which an overture and a
+violin concerto by Joachim were performed, the latter played by
+Joachim."
+
+"May 27. Joachim Raff's birthday. Klindworth and I presented ourselves
+to him early in the day and stopped his composing, insisting on having a
+holiday. Our celebration of this event included a ride to Tiefurt and
+attendance at a garden concert."
+
+"May 29, Sunday. At Liszt's this forenoon as usual. No quartet to-day.
+Wieniawski played first a violin solo by Ernst, and afterward with Liszt
+the letter's duo on Hungarian airs."
+
+"May 30. Attended a ball of the Erholung Gesellschaft this evening. At
+our supper-table were Liszt, Raff, Wieniawski, Pruckner, and Klindworth.
+Got home at four o'clock in the morning."
+
+"June 4. Dined with Liszt at the Erbprinz. Liszt called at my rooms
+later in the afternoon, bringing with him Dr. Marx and lady from Berlin,
+also Raff and Winterberger. Liszt played three Chopin nocturnes and a
+scherzo of his own. In the evening we were all invited to the Altenburg.
+He played 'Harmonies du Soir, No. 2,' and his own sonata. He was at his
+best and played divinely."
+
+"June 9. Had a lesson from Liszt this evening. I played Chopin's 'E
+Minor Concerto.'"
+
+"June 10. Went to Liszt's this evening to a bock-beer soir�e. The beer
+was a present to Liszt from Pruckner's father, who has a large brewery
+in Munich."
+
+"Sunday, June 12. Usual quartet forenoon at the Altenburg. 'Quartet, Op.
+161,' of Schubert's was played, also one of Beethoven's quartets."
+
+The last entry may not seem to be particularly important, but it may be
+as well not to end the quotations from a musical diary with a reference
+to a bock-beer soir�e.
+
+
+
+
+OPPORTUNITIES
+
+
+The period covered by these extracts was chosen at random, and they give
+a fair idea of the many musical opportunities which were constantly
+recurring throughout the entire year.
+
+Ferdinand Laub, the leader of the quartet, was about twenty-one years of
+age, and already a violinist of the first rank.
+
+Wieniawski and Joachim, young men of the age of twenty-two and nineteen
+years respectively, were among the most welcome visitors to Weimar.
+Joachim, already celebrated as a quartet-player, was regarded by some as
+the greatest living violinist. The playing of Wieniawski appealed to me
+more than that of any other violinist of the time, and I remember it now
+with intense pleasure.
+
+
+
+
+BRAHMS IN 1853
+
+
+On one evening early in June, 1853, Liszt sent us word to come up to the
+Altenburg next morning, as he expected a visit from a young man who was
+said to have great talent as a pianist and composer, and whose name was
+Johannes Brahms. He was to come accompanied by Eduard Remenyi.
+
+The next morning, on going to the Altenburg with Klindworth, we found
+Brahms and Remenyi already in the reception-room with Raff and Pruckner.
+After greeting the newcomers, of whom Remenyi was known to us by
+reputation, I strolled over to a table on which were lying some
+manuscripts of music. They were several of Brahms's yet unpublished
+compositions, and I began turning over the leaves of the uppermost in
+the pile. It was the piano solo "Op. 4, Scherzo, E Flat Minor," and, as
+I remember, the writing was so illegible that I thought to myself that
+if I had occasion to study it I should be obliged first to make a copy
+of it. Finally Liszt came down, and after some general conversation he
+turned to Brahms and said: "We are interested to hear some of your
+compositions whenever you are ready and feel inclined to play them."
+
+
+
+
+NERVOUS BEFORE LISZT
+
+
+Brahms, who was evidently very nervous, protested that it was quite
+impossible for him to play while in such a disconcerted state, and,
+notwithstanding the earnest solicitations of both Liszt and Remenyi,
+could not be persuaded to approach the piano. Liszt, seeing that no
+progress was being made, went over to the table, and taking up the first
+piece at hand, the illegible scherzo, and saying, "Well, I shall have to
+play," placed the manuscript on the piano-desk.
+
+We had often witnessed his wonderful feats in sight-reading, and
+regarded him as infallible in that particular, but, notwithstanding our
+confidence in his ability, both Raff and I had a lurking dread of the
+possibility that something might happen which would be disastrous to our
+unquestioning faith. So, when he put the scherzo on the piano-desk, I
+trembled for the result. But he read it off in such a marvelous way--at
+the same time carrying on a running accompaniment of audible criticism
+of the music--that Brahms was amazed and delighted. Raff thought, and so
+expressed himself, that certain parts of this scherzo suggested the
+Chopin "Scherzo in B Flat Minor," but it seemed to me that the likeness
+was too slight to deserve serious consideration. Brahms said that he had
+never seen or heard any of Chopin's compositions. Liszt also played a
+part of Brahms's "C Major Sonata, Op. 1."
+
+
+
+
+DOZING WHILE LISZT PLAYED
+
+
+A little later some one asked Liszt to play his own sonata, a work which
+was quite recent at that time, and of which he was very fond. Without
+hesitation, he sat down and began playing. As he progressed he came to a
+very expressive part of the sonata, which he always imbued with extreme
+pathos, and in which he looked for the especial interest and sympathy of
+his listeners. Casting a glance at Brahms, he found that the latter was
+dozing in his chair. Liszt continued playing to the end of the sonata,
+then rose and left the room. I was in such a position that Brahms was
+hidden from my view, but I was aware that something unusual had taken
+place, and I think it was Remenyi who afterward told me what it was. It
+is very strange that among the various accounts of this Liszt-Brahms
+first interview--and there are several--there is not one which gives an
+accurate description of what took place on that occasion; indeed, they
+are all far out of the way. The events as here related are perfectly
+clear in my own mind, but not wishing to trust implicitly to my memory
+alone, I wrote to my friend Klindworth,--the only living witness of the
+incident except myself, as I suppose,--and requested him to give an
+account of it as he remembered it. He corroborated my description in
+every particular, except that he made no specific reference to the
+drowsiness of Brahms, and except, also, that, according to my
+recollection, Brahms left Weimar on the afternoon of the day on which
+the meeting took place; Klindworth writes that it was on the morning of
+the following day--a discrepancy of very little moment.
+
+Brahms and Remenyi were on a concert tour at the time of which I write,
+and were dependent on such pianos as they could find in the different
+towns in which they appeared. This was unfortunate, and sometimes
+brought them into extreme dilemma. On one occasion the only piano at
+their disposal was just a half-tone at variance with the violin. There
+was no pianoforte-tuner at hand, and although the violin might have been
+adapted to the piano temporarily, Remenyi would have had serious
+objections to such a proceeding. Brahms therefore adapted himself to the
+situation, transposed the piano part to the pitch of the violin, and
+played the whole composition, Beethoven's "Kreutzer Sonata," from
+memory. Joachim, attracted by this feat, gave Brahms a letter of
+introduction to Schumann. Shortly after the untoward Weimar incident
+Brahms paid a visit to Schumann, then living in D�sseldorf. The
+acquaintanceship resulting therefrom led to the famous article of
+Schumann entitled "Neue Bahnen," published shortly afterward (October
+23, 1853) in the Leipsic "Neue Zeitschrift f�r Musik," which started
+Brahms on his musical career. It is doubtful if up to that time any
+article had made such a sensation throughout musical Germany. I remember
+how utterly the Liszt circle in Weimar were astounded. This letter was
+at first, doubtless, an obstacle in the way of Brahms, but as it
+resulted in stirring up great rivalry between two opposing parties it
+eventually contributed much to his final success.
+
+
+
+
+"LOHENGRIN" FOR THE FIRST TIME IN LEIPSIC
+
+
+Liszt never questioned Wagner's sincerity. He considered "Lohengrin"
+Wagner's greatest work up to the time at which it was composed. It was
+dedicated to Liszt, and, as Raff told me, the good man could not
+conceive that Wagner would dedicate anything but his best and greatest
+to his friend and champion, such was Liszt's faith in the struggling
+composer whose cause he had made his own.[1]
+
+On the occasion of the first performance of a Wagner opera in any
+neighboring town, a delegation from Weimar was apt to be on hand for the
+purpose of making propaganda; and this was the case on Saturday, January
+7, 1854, when the opera of "Lohengrin" was given in Leipsic for the
+first time.
+
+We boys were demonstrative claqueurs, and almost always succeeded in
+making a sensation, especially in a town like Leipsic, where we had
+acquaintances among the Conservatory students and could get them to help
+us.
+
+The general public and a large majority of the musicians were not at
+all favorably disposed toward Wagner's music in those days, and in this
+connection a remark of Joachim Raff made to me in 1879-80, on the
+occasion of my second visit to Germany, was significant. Raff had been
+in earlier years, perhaps, the most ardent of all pioneers in the Wagner
+cause. A quarter of a century had elapsed since I had seen Raff, and
+naturally one of my first questions was, "Raff, how is the Wagner
+cause?" "Oh," said he, "the public have gone 'way over to the other
+extreme. You know how hard it was to force Wagner upon them twenty-five
+years ago, and now they go just as much too far the other way and are
+unreasonable in their excessive homage." "Well," I replied, "I suppose
+the matter will find its level and be adjusted as time passes on."
+
+After the performance of "Lohengrin," which, by the way, was successful,
+the whole Liszt party, by invitation, went to supper at the house of the
+concertmeister, Ferdinand David. Quite a number of other guests were
+present. Among them I remember with pleasure my Boston friends and
+fellow-townsmen Charles C. Perkins and J. C. D. Parker, who were
+temporarily located in Leipsic, pursuing their musical studies.
+
+Brahms also was present, and during the evening he played the Andante
+from his "F Minor Sonata, Op. 5."
+
+
+
+
+IN STUTTGART--HOTEL MARQUAND
+
+
+NOT long after my visit to Raff in 1879-80 I went on a pleasure trip to
+Stuttgart, and on account of old associations stopped at the Hotel
+Marquand. One of the objects of my visit was to meet again my old Weimar
+fellow-pupil Dionys Pruckner, at that time eminent among the staff of
+pianoforte teachers in the famous Stuttgart Conservatory of Music.
+Alighting at the hotel, I was impressed with the marks of consideration
+shown to me by the hotel porter. He was so very attentive that I was
+somewhat puzzled. The explanation was apparent the next day when he
+respectfully inquired if I was the kapellmeister of New York! He had
+read the name and address on one of my trunks and jumped at conclusions.
+I told him that I was not that individual, and explained that in New
+York no such office existed, although the title might be with propriety
+applied to the conductor of the Philharmonic Society. However, the idea
+found a lodgment in his head, quite to my advantage, as evidenced by the
+many attentions he paid to me throughout my stay.
+
+
+
+
+THE SCHUMANN "FEIER" IN BONN, 1880
+
+
+Over a quarter of a century elapsed after my first meeting with Brahms
+before I saw him again, and then the meeting occurred at Bonn on the
+Rhine, on May 3, 1880. He was there, in company with Joachim and other
+artists, to take part in the ceremonies attendant on the unveiling of
+the Schumann _Denkmal_.
+
+There were also musical performances, and at a morning recital of
+chamber-music the program consisted solely of Schumann's works, vocal
+and instrumental, with the addition of the Brahms "Violin Concerto,"
+played by Joachim. The concluding number was Schumann's "Piano Quartet
+in E Flat Major, Op. 47," Brahms playing the piano part, and Joachim,
+Heckmann, and Bellman playing respectively violin, viola, and
+violoncello.
+
+
+
+
+BRAHMS'S PIANOFORTE-PLAYING
+
+
+The pianoforte-playing of Brahms was far from being finished or even
+musical. His tone was dry and devoid of sentiment, his interpretation
+inadequate, lacking style and contour. It was the playing of a composer,
+and not that of a virtuoso. He paid little if any attention to the marks
+of expression as indicated by Schumann in the copy. This was especially
+and painfully apparent in the opening measures of the first movement.
+This introductory passage is marked, "Sostenuto assai," followed by the
+main movement marked, "Allegro ma non troppo." Instead of accommodating
+himself to the quiet and subdued nature of the introduction, the
+pianist quite ignored Schumann's esthetic directions, and began with a
+vigorous attack, which was sustained throughout the movement. The
+continued force and harshness of his tone quite overpowered the stringed
+instruments. As an ensemble the performance was not a success.
+
+On going home to dinner, and learning that Brahms was stopping at the
+hotel, I gave my card to the porter, with instructions to deliver it to
+Brahms as soon as he came in. When about half-way through the table
+d'h�te the porter entered and said that Brahms was in the outer hall,
+waiting to see me. He was very cordial. At the moment I had quite
+forgotten that I had met him at David's house in Leipsic, so I said:
+"The last time I met you was in Weimar on that very hot day in June,
+1853; do you remember it?"
+
+"Very well indeed, and I am glad to see you again. Just now my time is
+very much engaged, but we are going up the river on a picnic this
+afternoon--Joachim and others; will you come along? We are going to a
+summer restaurant on the Rhine, where they have excellent beer, and it
+will be _ganz gem�tlich_."
+
+I regretted extremely that I had to forego the pleasure of this
+excursion, and fully realized the opportunity I was losing; but my
+party--there were four of us, my wife and I and two children--had
+previously arranged our plans, and in order to make connections we were
+obliged to go on to Cologne that day.
+
+Here was a companion-piece to the disappointment occasioned by my having
+to forego the pleasure and profit of a foot-tramp through the Tyrol with
+Richard Wagner, as already related in these "Memories." But so the Fates
+ordained.
+
+Partly on account of the untoward Weimar incident, and partly for the
+sake of his own individuality, I took a peculiar interest in Brahms. His
+work is wonderfully condensed, his constructive power masterly. By his
+scholarly development of themes through augmentation, diminution,
+inversion, imitation, and other devices, he seems to be introducing new
+thematic material, while the fact is, as will be seen on close
+investigation, that he is presenting the original theme in varied form
+and shape, and gradually unfolding and expanding its possibilities to
+the uttermost. In other words, his treatment is exhaustive and complete.
+In his later piano compositions this is readily apparent, and as these
+pieces are short, and at the same time complete in form, they furnish
+excellent opportunities to the student for analytical studies. In all
+that relates to the intellectual faculty Brahms is indisputably a
+master. I find this to be the consensus of opinion among intelligent
+musicians. But there are differences of opinion as regards his emotional
+susceptibilities, and it is just this fact that prevents many from fully
+accepting him. The emotional and intellectual should be in equipoise in
+order to attain the highest results, but in the music of Brahms the
+latter seems to predominate. In sympathetic and affectionate treatment,
+so far as relates to his piano composition, he does not compare with
+Chopin.
+
+
+
+
+A HISTORICAL ERROR CORRECTED
+
+
+I have read in a recent number of a musical magazine the following
+sentence: "We have seen with what ardor the first compositions of this
+serious young man [Brahms] were greeted by Schumann and Liszt."
+
+I have already mentioned the fact that all of the published accounts of
+the first meeting of Liszt and Brahms were far from accurate, and in
+fact convey an impression directly opposite to the truth; and the
+foregoing statement, according to my belief, is just as far from being
+in accordance with the facts. I am quite sure that Liszt was not
+enthusiastic about Brahms at the time of the first interview in Weimar
+heretofore described, and the letter received from my friend Karl
+Klindworth, in Berlin, sustains me in this belief. Liszt was of too
+kindly a disposition to treasure up animosity against Brahms on account
+of the mishap on that occasion; but the fact that Brahms was put forward
+by the anti-Wagnerites as their champion may possibly have influenced
+him somewhat. A coolness also sprang up between Joachim and Liszt,
+although during my stay in Weimar the violinist had been welcomed so
+frequently at the Altenburg. During the entire career of Brahms he and
+Joachim were close friends.
+
+
+
+
+MORE ABOUT LISZT'S WONDERFUL SIGHT-READING
+
+
+Liszt's playing of the Brahms scherzo was a remarkable feat, but he was
+constantly doing almost incredible things in the way of reading at
+sight. Another instance of his skill in this direction occurs to me and
+is well worthy of mention.
+
+Raff had composed a sonata for violin and pianoforte in which there were
+ever-varying changes in measure and rhythm; measures of 7/8, 7/4, 5/4,
+alternated with common and triple time, and seemed to mix together
+promiscuously and without regard to order. Notwithstanding this apparent
+disorder, there was an undercurrent, so to speak, of the ordinary 3/4 or
+4/4 time, and to the player who could penetrate the rhythmic mask the
+difficulty of performance quickly vanished. Raff had arranged with Laub
+and Pruckner that they should practise the sonata together, and then, on
+a favorable occasion, play it in Liszt's presence. So on one of the
+musical mornings at the Altenburg these gentlemen began to play the
+sonata. Pruckner, of sensitive and nervous organization, found the
+changes of measure too confusing, especially when played before company,
+and broke down at the first page. Another and yet a third attempt was
+made, but with the like result. Liszt, whose interest was aroused,
+exclaimed: "I wonder if I can play that!" Then, taking his place at the
+instrument, he played it through at sight in rapid tempo and without the
+slightest hesitation. He had intuitively divined the regularity of
+movement which lay beneath the surface.
+
+
+
+
+LISZT'S MOMENTS OF CONTRITION
+
+
+Deep beneath the surface there was in Liszt's organization a religions
+trend which manifested itself openly now and then, and there were
+occasions upon which his contrition displayed itself to an inordinate
+degree. Joachim Raff, long his intimate friend and associate, told me
+that these periods were sometimes of considerable duration, and while
+they lasted he would seek solitude, and going frequently to church,
+would throw himself upon the flagstones before a _Muttergottesbild_, and
+remain for hours, as Raff expressed it, so deeply absorbed as to be
+utterly unconscious of events occurring in his presence.
+
+[Illustration: AUTOGRAPH OF VIEUXTEMPS]
+
+Rubinstein also told me that on one occasion he had been a witness of
+such an act on the part of Liszt. One afternoon at dusk they were
+walking together in the cathedral at Cologne, and quite suddenly
+Rubinstein missed Liszt, who had disappeared in a mysterious way. He
+searched for quite a while through the many secluded nooks and corners
+of the immense building, and finally found Liszt kneeling before a
+_prie-dieu_, so deeply engrossed that Rubinstein had not the heart to
+disturb him, and so left the building alone.
+
+
+
+
+PETER CORNELIUS
+
+
+Sometime, I think late, in 1853 Peter Cornelius, nephew of the
+celebrated painter of that name, and composer of the comic opera "The
+Barber of Bagdad," came to Weimar and was added to the Altenburg circle.
+He was well known and highly esteemed by musicians, and as he was always
+cheery and bubbling over with musical enthusiasm, I at once became very
+fond of him as a friend, and later on paid due homage to his decided
+talent as a composer. As an illustration of how easy it is to underrate
+the abilities of a new acquaintance the following incident is both
+interesting and instructive. In October, 1853, or thereabouts, quite a
+large musical festival took place in Karlsruhe, which was under the
+general direction of Liszt, who also conducted the orchestra. It goes
+without saying that under the management of Liszt a number of selections
+from the Wagner operas were played, and one of these happened to be the
+bridal chorus from "Lohengrin." Wagner at that time was an entirely new
+experience to Cornelius, and after the concert, while speaking to Liszt
+of the beauty of Wagner's music, he instanced this bright and pretty
+melody, emphasizing its beauty as though it were the special object of
+his admiration. We boys, while we recognized the beauty of the bridal
+march and its fitness for the place in which it occurs, were apt to
+coddle ourselves upon our superior knowledge of Wagner, and would have
+saved our enthusiasm for the more completed and distinctly Wagnerian
+characteristics. The enthusiasm of Cornelius for the purely melodic
+phrases of Wagner, which were in no wise characteristic of his genius,
+rather led us to look down upon the musical perceptions of Cornelius--or
+perhaps I should speak only for myself and give these as my personal
+impressions; but it was not long before his great talent was duly
+recognized and acknowledged, at least by musicians. Cornelius was a
+charming fellow, and I enjoyed his society because he was so
+enthusiastically and intensely musical.
+
+
+
+
+SOME FAMOUS VIOLINISTS
+
+
+I have already mentioned in these papers my meeting with Joachim in
+Leipsic in the year 1849. He was then about eighteen years of age and
+already famous as a violinist. He was of medium height, had broad, open
+features, and a heavy shock of dark hair somewhat like that of
+Rubinstein. I had a letter of introduction to him, which I presented a
+short time after my arrival in Leipsic, and received immediately a
+return call from him. He was kind and affable, and easy to become
+acquainted with, but owing to diffidence on my part I did not improve
+the opportunity as I should have done, a circumstance which I now much
+regret. He played the Mendelssohn concerto in one of the Gewandhaus
+concerts within a month of my arrival at Leipsic, and I heard him then
+for the first time, and was much impressed by his beautiful performance.
+Subsequently, when in Weimar, I had the pleasure of meeting him on many
+occasions, for he was in the habit of going there not infrequently, and
+would sometimes take part in the Altenburg private musicales, as well as
+in the public concerts at the theater.
+
+During the year 1845-46 I heard and became well acquainted with three
+famous violinists, Vieuxtemps, Ole Bull, and Sivori, who came to Boston
+and played many times both in public and in private. They were all great
+players, each having his special individuality. Vieuxtemps and Ole Bull
+I met several times in later years, and became familiar with their
+playing. Vieuxtemps came to Weimar and played both in private and in
+public. His playing was wonderfully precise and accurate, every tone
+receiving due attention, and his phrasing was delightful. Scale and
+arpeggio passages were absolutely clean and without a flaw. He was
+certainly a player of exquisite taste, and he still preserved his
+characteristics when I heard him years later, in 1853 at Weimar, and in
+1873 at New York. Ole Bull came to Boston a year or so after Vieuxtemps.
+He was a born violinist, and developed after his own fashion and nature,
+in the manner of a genius. Vieuxtemps was the result of scientific
+training and close adherence to well-founded principles. Ole Bull, on
+the other hand, was a law unto himself, and burst out into full blossom
+without showing the various degrees of growth. He did not realize the
+importance of close attention to detail while in the course of
+development.
+
+Sivori was of the gentle, poetic, and graceful class of players. Beauty
+and grace rather than self-assertion characterized his style. Ernst,
+whom I heard in Homburg in the year 1852, was a player of great
+intensity of feeling, and was regarded as the most fervent violinist of
+his time. Joachim's style impressed me as classical and rather reserved,
+and while I enjoyed and admired it, there was present no feeling of
+enthusiasm. Wilhelmj, with his broad and noble style, was certainly most
+impressive. Henri Wieniawski had a musical organization of great
+intensity, and this, combined with his perfect technic, made his playing
+irresistible. Ferdinand Laub, for some reason not so well known to the
+general public as he should be, is generally conceded by the most
+distinguished violinists to have been the greatest of all
+quartet-players. Laub was concertmeister during the whole period of my
+stay in Weimar, and was an intimate friend of mine. It will be
+remembered that at that time Bernhard Cossmann was the violoncellist of
+the Weimar string quartet. I owe many delightful moments of musical
+enjoyment to his exquisitely poetical and refined playing. The last time
+I met him was at his own house in Frankfort. His wife and children
+were present, and being thus quite _en famille_, we played together, for
+the sake of old times, the piano and violoncello sonata of Beethoven in
+A major.
+
+[Illustration: AUTOGRAPH OF OLE BULL]
+
+There are many others whom I am prevented by lack of space from
+mentioning; but I must not omit the name of my friend Adolf Brodsky, a
+violinist of the first rank, and a man of great nobility of character.
+His playing is broad, intelligent, and thoroughly musical, whether as
+soloist or as first violin in chamber quartet music. Sometimes I have
+heard him in the privacy of my own home, where, feeling entire freedom
+from restraint, he has thrown himself intensely into his music, to my
+thorough and complete musical satisfaction.
+
+
+
+
+REMENYI
+
+
+I have already had something to say of Eduard Remenyi, the Hungarian
+violinist who accompanied Brahms to Weimar in 1853. He was a talented
+man, and was esteemed by Liszt as being, in his way, a good violinist.
+He remained at Weimar after Brahms left there, and I became intimately
+acquainted with him. He was very entertaining, and so full of fun that
+he would have made a tiptop Irishman. He was at home in the Gipsy music
+of his own country, and this was the main characteristic of his playing.
+He had also a fad for playing Schubert melodies on the violin with the
+most attenuated pianissimo effects, and occasionally his hearers would
+listen intently after the tone had ceased, imagining that they still
+heard a trace of it.
+
+Not long before leaving Weimar I had some fun with him by asking if he
+had ever heard "any bona-fide American spoken." He replied that he did
+not know there was such a language. "Well," said I, "listen to this for
+a specimen: 'Ching-a-ling-a-dardee, Chebung cum Susan.'" I did not meet
+him again until 1878, twenty-four years after leaving Weimar. I was
+going up-stairs to my studio in the Steinway building when some one
+told me that Remenyi had arrived and was rehearsing for his concerts in
+one of the rooms above. So, going up, I followed the sounds of the
+violin, gave a quick knock, opened the door, and went in. Remenyi looked
+at me for a moment, rushed forward and seized my hand, and as he wrung
+it cried out: "Ching-a-ling-a-dardee, Chebung cum Susan!" He had
+remembered it all those years.
+
+
+
+
+SOME DISTINGUISHED OPERA-SINGERS
+
+
+My concert-playing and teaching have naturally made me more interested
+in instrumental than in vocal music. Moreover, the principal celebrities
+who came to visit Liszt during my sojourn at Weimar were composers and
+instrumentalists. For that reason I met but few distinguished
+opera-singers during my stay abroad. However, I heard the best of them
+in opera or concert.
+
+In Boston, about the year 1846-47, the Havana Italian Opera gave a
+season at the Howard Athen�um of that city, and created considerable
+interest. They gave, I think for the first time in this country, Verdi's
+"Ernani," which was received with great favor. The principal soprano was
+Mme. Fortunata Tedesco, who was afterward at the Grand Op�ra in Paris
+from 1851 to 1857. The tenor was Signore Perelli, who had an
+exceptionally fine voice. Both of these singers had well-trained voices
+and were well supported by chorus and orchestra. As this was my first
+experience in opera, it produced a deep and lasting impression.
+
+The opera season in Leipsic in the year 1852, beginning about the 1st of
+February and continuing up to the 1st of May, was notable, for it
+afforded the opportunity of hearing in quick succession three singers of
+world-wide reputation: Henriette Sontag, Johanna Wagner, and De la
+Grange.
+
+
+
+
+HENRIETTE SONTAG
+
+
+[Illustration: Autograph of Henriette Sontag]
+
+The singer of whom I have the liveliest impression is Henriette Sontag,
+whom I heard in Leipsic on her first appearance after she had been
+twenty years in retirement. The interest I took in the occasion was much
+increased by the fact that I had a seat next to Moscheles, who was very
+communicative, and gave me an interesting history of his long
+acquaintance with Sontag, whom he had heard at her last appearance, I
+think, before her retirement. He was naturally on the _qui vive_, and
+impatiently waited for the opera to begin. Like many of her other old
+admirers who were in the theater, he was full of expectancy mingled with
+dread of possible failure. She appeared as _Maria_ in Donizetti's "Fille
+du R�giment" In this part the voice of the singer is heard before she
+appears on the stage, and as soon as Moscheles heard Sontag's voice
+trilling behind the scenes, he exclaimed with delight, "It is Sontag!
+Nobody I have heard since she left the stage could do that! She is the
+same Henriette!"
+
+Some of the r�les in which I heard her were _Amina_ in "Sonnambula,"
+_Martha_ in the opera of that name, _Susan_ in "The Marriage of Figaro,"
+and _Rosina_ in "The Barber of Seville." I enjoyed the lovely feminine
+quality of her voice and manner. There was something peculiarly charming
+and womanly about her. She sang with unfailing ease and grace, her voice
+being so flexible that it sounded like the trilling of birds. The most
+difficult roulades and cadences were given with absolute accuracy and
+rhythm. It was simply fascinating.
+
+
+
+
+JOHANNA WAGNER
+
+
+During the month of March of the same year, Johanna Wagner, niece of
+Richard Wagner, sang in several operas. Among those in which I heard her
+were Bellini's "Romeo and Juliet," as _Romeo_; "Fidelio," as _Leonora_
+or _Fidelio_; and "Iphigenia in Aulis," by Gluck, as _Iphigenia_. Here
+indeed she was a contrast to Sontag, and in these parts she seemed to me
+quite unapproachable. Her voice was large and full, and her acting most
+dramatic. Like all the German singers whom I heard, she lacked the
+nicety of detail, the clear and beautiful phrasing, characteristic of
+the Italians I had heard in Boston. But when I grew to know the German
+method, I began to admire it, not so much for the actual singing itself
+as for the combination of qualities that entered into it--the artistic
+earnestness, the acting, and the musicianship.
+
+
+
+
+MME. DE LA GRANGE
+
+
+It was my experience that the Germans themselves greatly admired singing
+of the Italian school, for when, following Sontag and Wagner, Mme. de la
+Grange came the next month and sang an engagement in Leipsic (April and
+May, 1852), the management doubled the prices, and, notwithstanding
+this, the house was crowded every time she sang. She was in her prime,
+and one of the finest singers I ever heard. Her style was brilliant and
+dazzling, but never lacking in repose. Her high tones were clear and
+musical, without any trace of shrillness, and in the most rapid passages
+the tones were never slurred or confused, but distinct and in perfect
+rhythmic order. The r�les in which she most appealed to me were as
+_Queen of the Night_ in "The Magic Flute," by Mozart, and _Rosina_ in
+"The Barber of Seville," by Rossini. But she also sang both parts of
+_Isabella_ and _Alice_ in Meyerbeer's "Robert the Devil" in the most
+admirable manner.
+
+
+
+
+"DER VEREIN DER MURLS"
+
+
+Liszt was the head and front of the Wagner movement; but except when
+visitors came to Weimar and were inveigled into an argument by Raff, who
+was an ardent disciple of the new school, there was but little
+discussion of the Wagner question. Pruckner started a little society,
+the object being to oppose the Philistines, or old fogies, and uphold
+modern ideas. Liszt was the head and was called the Padishah (chief),
+and the pupils and others, Raff, B�low, Klindworth, Pruckner, Cornelius,
+Laub, Cossmann, etc., were "Murls." In a letter to Klindworth, then in
+London, Liszt writes of Rubinstein: "That is a clever fellow, the most
+notable musician, pianist, and composer who has appeared to me among the
+modern lights--with the exception of the Murls. Murlship alone is
+lacking to him still." On the manuscript of Liszt's "Sonate" he himself
+wrote, "F�r die Murlbibliothek."
+
+
+
+
+THE WAGNER CAUSE IN WEIMAR
+
+
+My admiration for Wagner did not go to the extreme of Liszt's and of my
+fellow-pupils'. Liszt rarely expressed his opinion of Wagner, because he
+took it for granted that everybody knew it, and he was not a
+controversialist. I know that he considered those people who refused to
+follow Wagner as old fogies, and my colleagues used to twit me for not
+being as enthusiastic as they were. Certain passages in his operas have
+always given me great musical enjoyment and delight, but here and there
+are crudities which, as it seemed to me, were unpardonable in a great
+composer. Under these circumstances I could not pose as a genuine Murl,
+although this fact did not disturb the genial and fraternal relations
+which existed between my colleagues and me; and on occasion also I was
+equal to the best of them in exercising the specialty of a genuine Murl
+claqueur.
+
+I think that Wagner will always rank among the greatest composers, but
+will not always remain as pre�minent as he is now in the popular
+estimation. Some of his compositions are wonderfully intricate, although
+musical, but at times his faults appear and disturb the balance of
+things in such a way that the music loses the effect of spontaneity and
+becomes forced.
+
+In the Weimar days the general objection of the "old fogies" was that
+his music lacked melody. Doubtless by melody they meant the little tunes
+of the anti-Wagner period; but the fact is that Wagner has contributed
+his share to increasing the scope of melody and enlarging its
+boundaries. It may be that he has gone too far in this direction and has
+completely obliterated all limitations, thus approaching dangerously
+near confusion. It was said that he had no melody, but his scores are
+full of it. There are sometimes so many melodies in combination, each
+exercising its individuality and proceeding independently, that the
+"tune effect" is obscured and lost in the crowd of accompanying tunes.
+But to me Wagner's melody seems restless. It comes on suddenly and
+progresses without periods of repose. There is almost constant motion,
+which produces a feeling of unrest. A sentence must have its commas,
+semi-colons, and periods, and punctuation is as necessary in music as it
+is in letters.
+
+I have never quite understood just what it is in Wagner's music that so
+fascinates many people whom I know to be unmusical.
+
+
+
+
+RAFF IN WEIMAR
+
+
+Of my Weimar comrades, Joachim Raff, it is hardly necessary to say,
+became the most distinguished. My first impression of him was not wholly
+favorable. He was hard to become acquainted with and not disposed to
+meet one half-way. He was fond of argument, and if one side was taken
+he was very apt to take the other. He liked nothing better than to get
+one to commit himself to a proposition and then to attack him with all
+his resources, which were many. Upon better acquaintance, however, one
+found a kind heart and faithful friend whose constancy was to be relied
+on. He was very poor, and there were times when he seemed hardly able to
+keep body and soul together. Once he was arrested for debt. The room in
+which he was confined, however, was more comfortable, if anything, than
+his own. He had a piano, a table, music-paper, and pen and ink sent
+there. How this was accomplished I do not know, but I think Liszt must
+have had a hand in it. Raff enjoyed himself composing and playing, and
+we saw to it that he had good fare. The episode made little impression
+on him: so long as he could compose he was happy. However, the matter
+was compromised, and in a short time he returned to his own lodgings. He
+was a hard worker and composed incessantly, with only a brief interval
+for dinner and a little exercise. We habitually sat together, and
+afterward usually took a short walk. I enjoyed his conversation
+exceedingly and derived much profit from it.
+
+At about five o'clock in the afternoon, looking out of my window, I
+would frequently see Raff coming over the path leading through the park,
+with a bundle of manuscript under his arm. He liked to come and play to
+me what he had composed. His playing was not artistic, because he paid
+little attention to it, and he did not attempt to elaborate or finish
+his style.
+
+He composed very rapidly, and many of his compositions do not amount to
+much. He could not get decent remuneration for good music, and he had to
+live; therefore he wrote many pieces that were of the jingling sort,
+because his publishers paid well for them. Sometimes, however, he turned
+out a composition which was really worthy, and among his works are
+symphonies, sonatas, trios, and chamber-music which gained him
+reputation. His symphony "Im Walde" is well known in the musical world,
+and his "Cavatina" for violin, although not a piece of importance, is
+one of the most popular and effective violin solos and exists in various
+arrangements. At times he was much dejected, and there was a dash of
+bitterness in his disposition. I think he felt that, being obliged to
+turn out music for a living, he would never attain the rank to which his
+talents entitled him.
+
+In promoting the cause of Wagner, Raff did considerable work for which
+Liszt got the credit. I think that at one time Raff acted as Liszt's
+private secretary; but he had decided ideas of his own, and knew how to
+express them. Being generally in close accord with Liszt, and having a
+ready pen, he rendered great assistance in promulgating the doctrines of
+the new school by means of essays, brochures, and newspaper articles. Of
+course much that he wrote was based upon suggestions made by Liszt. Raff
+was a tower of strength in himself, while at the same time acting as
+Liszt's mouthpiece in the Wagner propaganda.
+
+
+
+
+DR. ADOLF BERNHARD MARX
+
+
+When Dr. Adolf B. Marx of Berlin was in Weimar in June, 1853, it was by
+invitation of Liszt for the purpose of bringing out a new oratorio which
+he had just composed. As usual on such occasions, we gave him a warm
+reception, and Liszt arranged a midday dinner at the Hotel zum
+Erbprinzen, at which some eight or ten guests were present. In the
+afternoon we all attended a rehearsal of the oratorio, which lasted from
+four o'clock until eleven o'clock P.M. According to my present
+recollections, the work did not have a brilliant success. I was reminded
+of this event by the receipt of the following letter in March, 1901,
+from an old friend, Mr. Adolph Stange, who happened to be present on the
+occasion:
+
+
+SUWALKI, POLAND, RUSSIA,
+
+24 January, 1901.
+
+     DEAR DR. MASON: When you wrote your "Memories of a Musical Life,"
+     July-October, 1900, of Century Illustrated Monthly Magazine, you
+     probably did not have any presentiment that there is in a distant
+     country, far from you, somebody who only by one day younger than
+     yourself (born January 25, 1829) will be reading with the greatest
+     interest your excellent and truthful description of different
+     musical celebrities and authorities. Being myself for many years a
+     pupil of Gerke and of Henselt in St. Petersburg, I had been with
+     many of the eminent men you name personally acquainted; with
+     Moscheles and Rubinstein I had more often and more intimate
+     relations, and my delight was naturally great in reading your true
+     and graphic account of some of my former musical friends. It is
+     indeed with a feeling of admiration and gratitude that I am now
+     addressing these lines to its author. Your interesting description
+     of your stay at Weimar in 1853 gave me special pleasure, as in that
+     same year, in May, June, and July, I had also been with Liszt in
+     Weimar, and I remember you, dear Dr. Mason, perfectly, as well as
+     Klindworth, Pruckner, the two Wieniawskis, Winterberger, Raff, and
+     others; they are all living in my memory. That period of my youth
+     is full of the most beautiful and noble impressions.
+
+     Your account of that incomparable meister we both, I dare say,
+     equally admire, awakened in me Liszt's greatness as artist, and
+     still more, if I may say so, the greatness of his nature and
+     character, so richly endowed with so many generous and noble
+     instincts; and I recall with delight to my mind our pleasant walks
+     in the Schlossgarten, where we visited Klindworth in his modest
+     apartments; the supper at the Hotel zum Erbprinzen, where Liszt
+     wished to get acquainted with the card-game "preference," which I
+     had to show him; our visits to the Schloss, in the ground floor of
+     which we listened to Liszt's divine playing and afterward got
+     invited to dine up-stairs with the Princess Wittgenstein and her
+     charming daughter. I believe you had already left Weimar when
+     Professor Adolf Marx came from Berlin to visit Liszt and brought
+     with him the score of his new oratorio. Marx wished to say a few
+     words about its performance to Liszt before the first rehearsal,
+     but was much disappointed, as he told me, not to find an
+     appropriate moment to speak with the meister, whose attention was
+     constantly taken up by his pupils. On the day of the rehearsal,
+     Marx, who was sitting next to me, again expressed his regret at not
+     having found an opportunity to talk the matter over with Liszt.
+     Shortly after the rehearsal had commenced I felt several times
+     Marx's elbows, which, giving way to his enthusiasm, came in close
+     and sensible contact with mine. At last he exclaimed: "Liszt
+     guesses my most secret thoughts and intentions in my own
+     composition!" ...
+
+     Let me, dear Dr. Mason, assure you what real and intense enjoyment
+     I experienced by the perusal of your "Musical Memories," and beg
+     to thank you from all my heart for giving me the possibility of
+     recalling once over again those dear and ever-present reminiscences
+     of a bygone but ever-delightful time in my life. It is seldom one
+     can read in a biography a description like yours, which expresses
+     in a few words, with so much reality, truthfulness, and
+     impartiality, the characteristics of a whole series of well-known
+     artists. Finally, you will ask: "Stranger, who art thou?" I will
+     not, like _Lohengrin_, make a mystery of it, but answer your
+     question: I wanted to become what you are now! After my return from
+     Weimar, however, where I had been for a time Liszt's pupil, I
+     entered into Russian state service, remaining, nevertheless, during
+     my whole life, though a dilettante, a great and fervent admirer of
+     that art, and a real artist in my heart. I sign, with veneration to
+     your person, Dr. Mason, and have the honor to remain,
+
+Yours very truly,
+
+ADOLPH STANGE.
+
+
+
+
+BERLIOZ IN WEIMAR
+
+
+[Illustration: Autograph of Hector Berlioz]
+
+Hector Berlioz came to Weimar occasionally, and I remember particularly
+one of his visits, which took place in May, 1854. He was famous as
+an orchestral conductor, and I saw him in this capacity in a concert the
+program of which consisted exclusively of his own compositions. These
+were especially attractive on account of their magnificent orchestral
+coloring. In this regard he was certainly wonderful, and produced many
+gorgeous effects. His masterly skill and intelligence in the treatment
+and development of his themes were also everywhere apparent. Every
+detail received careful attention, and the result was admirable.
+
+Not long afterward he gave a similar concert in the Leipsic Gewandhaus
+Hall, on which occasion the Weimar contingent was of course present.
+There was no need of our services as claqueurs, however, for the hall
+was crowded and the audience demonstrative.
+
+Schubert was spontaneous and inspired, and thus stands in contrast to
+Berlioz. Melody gushed from Schubert at such a rate, and musical ideas
+crowded upon each other so rapidly, that he did not take time to work up
+his compositions. There are a few which he elaborated with care, but
+they are the exceptions, and emphasize the general spontaneity of his
+work. If he had constructive power,--and certain passages in his work
+show that he had,--he nevertheless failed to make adequate use of it.
+His music is charming and delightful on account of its melodious
+freshness and na�vet�. It appeals directly to the heart. The only
+drawback is his servile adherence to conventionalities, such, for
+instance, as the old method of invariably repeating every section of a
+movement.
+
+Beethoven stands as the model of constructive power and emotional
+expression in happy equipoise. Both the head and the heart are
+satisfactorily employed, and in his orchestral treatment they find full
+expression. This is true of all of his concerted works; but his weak
+point is manifested in his pianoforte compositions, especially in the
+sonatas, which are not idiomatic of the instrument for which they were
+written. It is not intended to find fault with the music _per se_. It is
+simply to say that his ideas are all orchestrally conceived, and as
+they are not in the nature of the pianoforte, that instrument is
+inadequate to their true expression. The sonatas are not pianistic,
+idiomatic--_klavierm�ssig_. Had he written them for orchestra, we would
+have had thirty-two symphonies.
+
+Chopin's compositions are the very essence and consummation of the
+piano, and he is, therefore, the pianoforte composer _par excellence_.
+On the other hand, his orchestral work is weak and incompetent, as, for
+example, the accompaniment to his concertos and some other pieces.
+
+Schumann is at home in both directions. He is polyphonic in orchestral
+treatment, and at the same time thoroughly pianistic. Without suggesting
+comparisons, his music is _musical_ and complete. Beethoven's is heroic.
+
+
+
+
+ENTERTAINING LISZT'S "YOUNG BEETHOVEN"
+
+
+Liszt sometimes left Weimar for a few days in order to be present at or
+to conduct music festivals. On one of these occasions, early in June,
+1854, I remained alone at home on account of slight illness. As
+Klindworth had gone to London for concert-playing and
+pianoforte-teaching, I had moved into a suite of rooms in the Hotel zum
+Erbprinzen. As a matter of interest to pianists I here note the fact
+that these identical rooms had been occupied by Hummel several years
+previously.
+
+On the afternoon of the day on which Liszt left with his cort�ge the
+head waiter came to me, saying that a young man who had just arrived was
+in the caf� inquiring for Liszt and seemed disappointed on learning of
+his absence. "I told him," said the waiter, "that you were the only one
+of the family here. Will you see him?" I assented, and in a few moments
+he ushered in a young man about twenty-four years of age, of strong
+features and with a great shock of dark hair, who introduced himself as
+Anton Rubinstein. I explained to him that Liszt had gone away for three
+or four days to conduct a festival, that I could not say precisely when
+he would return; but in the meantime, if I could make him feel at home,
+I should be very glad.
+
+After some conversation he asked me to play. I remember very well how he
+looked sitting on the sofa, and the position of the piano in the room. I
+played, but he did not. I had a suspicion that he was inveigling me into
+playing without any intention of allowing me to take his measure. He sat
+there like a gruff Russian bear; or perhaps my imagination helped to
+produce this impression.
+
+Rubinstein was already quite well known as a child prodigy, but of
+course not nearly so famous as he afterward became. I do not recollect
+paying him very much attention during Liszt's absence, but, then, he did
+not allow me--he was rambling about all the time; nor did I hear him
+play before Liszt came back. When Liszt returned, Rubinstein was
+immediately invited to take up his residence on the Altenburg. I
+remember that there, one afternoon, he played many of his own
+compositions. His playing was full of rush and fire, and characterized
+by strong emotional temperament. He had a big technic and reveled in
+dash and fire. Those who heard Mark Hambourg here during the winter of
+1899-1900 can form a very good idea of Rubinstein's personal appearance
+at the time of which I write, and also his very pronounced style of
+playing. His early touch lacked the mellow and tender beauty of tone
+which distinguished it in later years.
+
+
+
+
+RUBINSTEIN'S OPPOSITION TO WAGNER
+
+
+Rubinstein's well-known dislike of Wagner, it seems to me, was
+temperamental in a large degree, and it was quite natural that he was
+not in agreement with him. Doubtless Chopin would not have approved of
+Wagner's music, whatever he might have thought of his method. The
+melodies of Chopin and Rubinstein are full of sentiment and well
+defined, and their compositions run in entirely opposite channels from
+those of Wagner, whose music is a vast sensuous upheaval, which
+proceeds uninterruptedly from the beginning of an act to the end.
+
+All musicians have a good deal of self-esteem. Rubinstein had his own
+way of composing, which corresponded to his musical temperament. He had
+to write everything just as it suited his musical ear, and he could not
+conceive of any one else having as fine a musical ear as he. At all
+events, he never stopped long enough to find out if any one else had.
+Few musicians do. Liszt was fond of Rubinstein, and used to call him the
+"young Beethoven," on account of a certain fancied resemblance he bore
+to the great composer. He also recognized Rubinstein's great ability as
+a pianist, although I think that as a player he rated Tausig much
+higher. Many years after I left Weimar a relative of mine met Liszt in
+Rome. She had a short time previous to this heard Rubinstein in concert,
+and was in a state of great enthusiasm about his playing, and so
+expressed herself to Liszt. His sole comment was, "Have you ever heard
+Tausig?" The inference was that those who had heard Rubinstein and not
+Tausig had missed hearing the greater of the two. I think Liszt regarded
+Tausig as the best of all his pupils.
+
+As I have said once before in these pages, I never saw Liszt after
+leaving Weimar in July, 1854. I occasionally received letters from
+him--several of them quite long and exceedingly entertaining. One of
+these (the original in French) is reproduced here because it is
+characteristic of his pleasantry and good humor:
+
+     MY DEAR MASON: Although I do not know at what stage of your
+     brilliant artistic peregrinations these lines will reach you, I
+     feel assured that you are not ignorant that I am very, very
+     sincerely and affectionately obliged to you for keeping me in kind
+     remembrance, a fact to which the musical journals which you have
+     sent me bear good witness. The "Musical Gazette" of New York has in
+     particular given me genuine satisfaction, not alone on account of
+     the agreeable and flattering things concerning me personally which
+     it contains, but furthermore because this journal seems to me to
+     inculcate an excellent and superior direction of opinion in your
+     country. As you know, my dear Mason, I have no other self-interest
+     than to serve the good cause of art so far as is possible, and
+     wherever I find men who are making conscientious efforts in the
+     same direction, I rejoice and am strengthened by the good example
+     which they give me. Be so good as to present to your brother, the
+     head editor of the "Musical Review", as I suppose, my very sincere
+     thanks and compliments. If he would like to receive some
+     communication from Weimar upon matters of interest which occur in
+     the musical world of Germany, I will willingly have them sent to
+     him through the medium of Mr. Pohl, who, by the way, does not live
+     any longer at Dresden, where the numbers of the "Musical Gazette"
+     were addressed by mistake, but at Weimar in the Kaufstrasse. His
+     wife, one of the best harpists that I know, stands among the
+     virtuosos of our "Chapelle", and is an important factor in the
+     representation of the opera, as also in concerts.
+
+     Apropos of concerts, in a few days I will send you the program of a
+     series of symphonic performances, which ought to have been
+     established here several years ago, and to which I consider it an
+     honor and a duty to give definite encouragement from the year 1855.
+
+     I expect Berlioz toward the end of January. We shall then hear his
+     trilogy "L'Enfance du Christ", of which you already know "La Fuite
+     en Egypte". To this he has added two other short oratorios, "Le
+     Songe d'Herode" and "L'Arriv�e � Sa�s".
+
+     The dramatic symphony "Faust" (in four parts, with solos and
+     choruses) will also be given in full during his stay here.
+
+     In regard to visits from artists who have been personally agreeable
+     to me during the last month, I would name Clara Schumann and
+     Litolff.
+
+     In Brendel's journal, "Neue Zeitschrift", you will find an article
+     signed with my name, on Mme. Schumann, whom I have again heard with
+     that sympathy and absolute admiration which her talent compels.
+
+     As for Litolff, I confess that he has made a very vivid impression
+     on me. His fourth concerto symphony (manuscript) is a very
+     remarkable composition, and he played it in so masterly a manner,
+     with such verve, with such boldness and certainty, that I derived
+     intense pleasure from it.
+
+     If there was a little of the quadruped in the amazing execution of
+     Dreyschock (and this comparison should not vex him; is not the lion
+     classed among quadrupeds as well as the poodle?), in that of
+     Litolff, there is certainly something _winged_; moreover, he has
+     all the superiority over Dreyschock that a biped having ideas,
+     imagination, and sensibility has over another biped which imagines
+     itself possessed of all this wealth--often very embarrassing!
+
+     Do you continue your familiar intercourse with the Old Cognac in
+     the New World, my dear Mason? Let me again commend _measure_ to
+     you, an essential quality for musicians. In truth, I am not too
+     well qualified to extol the _quantity_ of this _quality_, for, if I
+     remember rightly, I have often employed tempo rubato when I was
+     giving my concerts (work which I would not begin again for anything
+     in the world), and even quite recently I have written a long
+     symphony in three parts, called "Faust" (without text or vocal
+     parts), in which the _horrible_ measures 7/8, 7/4, 5/4 alternate
+     with common time and 3/4. By virtue of which I conclude that you
+     should be satisfied with 7/8 of a little bottle of old cognac in
+     the evening, and never exceed five quarts!
+
+     Raff, in his first volume of "Wagner Frage", has thoroughly
+     realized something like _five quarts_ of doctrinal sufficiency, but
+     that is an unadvisable example to copy in a critical matter, and
+     above all in the matter of cognac and other spirits!
+
+     My dear Mason, excuse these bad jokes, justified only by my good
+     intentions; that you may bear yourself valiantly, physically and
+     morally, is the most cordial wish of
+
+                      Your very friendly affectionate
+                                      F. LISZT.
+
+
+ WEIMAR, December 14, 1854.
+
+     You did not know Rubinstein in Weimar?[2] He spent some time here,
+     and was conspicuously different from the opaque mass of self-styled
+     _composer-pianists_ who do not even know what it is to play the
+     piano, still less with what fuel it is necessary to heat one's self
+     in order to compose, so that with what they lack in talent for
+     composition they fancy themselves pianists, and vice versa.
+
+     Rubinstein will publish forthwith about fifty
+     compositions--concertos, trios, symphonies, songs, light pieces,
+     etc., which deserve notice.
+
+     Laub has left Weimar. Ed. Singer takes his place in our orchestra.
+     The latter gives much pleasure here, and is pleased himself also.
+
+     Cornelius, Pohl, Raff, Pruckner, Schreiber, and all the new school
+     of the new Weimar send you their friendliest greetings, to which I
+     add a hearty _shake-hand_.
+
+                                 F. L.
+
+Other letters received from Liszt are perhaps not very important, but
+with one exception never having been published before, they are printed
+in the Appendix.
+
+[Illustration: Autograph of Ferdinand Laub]
+
+Pupils of Liszt and Thalberg and their pupils in search of an
+entertaining diversion may amuse themselves by tracing their
+musical pedigree back to Bach, Mozart, and Beethoven, and thus lay claim
+to very distinguished ancestry, as shown in the following table:
+
+    Liszt, Franz, born Oct. 22, 1811.
+    Czerny, Carl, born Feb. 21, 1791.
+    Beethoven, Ludwig van, born Dec. 16, 1770.
+    Neefe, Christian G., born Feb. 5, 1748.
+    Hiller, Johann A., born Dec. 25, 1728.
+    Homilius, G. A., born Feb. 2, 1714.
+    Bach, Johann Sebastian, born March 21, 1685.
+    Thalberg, Sigismond, born Jan. 7, 1812.
+    Hummel, J. N., born Nov. 14, 1778.
+    Mozart, Wolfgang A., born Jan. 27, 1756.
+
+If there be any whose pride is not sufficiently nourished by this
+display, they may go still further and show, by authentic records, a
+descent through Bach from Josquin Desprez, the most eminent
+contrapuntist of the Netherlands school, who lived about 1450-1521.
+
+During the winter of 1879-80, which I spent at Wiesbaden on account of
+ill health, I received a very cordial invitation to visit Liszt at
+Weimar some time in July, and made plans to do so, which were
+frustrated, however, through unforeseen circumstances. B�low, when on
+his first visit here, in 1875, told me that the old charm had entirely
+passed away. The "Golden Time" was among the things that were.
+
+The last message I had from Liszt was brought to me by Mr. Louis
+Geilfuss of Steinway & Sons, who met Liszt in one of the streets of
+Bayreuth only a few days before his death, which occurred somewhat
+unexpectedly on July 31, 1886.
+
+
+
+
+AT WORK IN AMERICA
+
+
+When I returned from Europe in 1854 my parents had moved from Boston,
+and were living at Orange, New Jersey.
+
+On landing in New York, I hurried to Boston, and went immediately to the
+house of Mr. Webb. This had been my constant purpose ever since the time
+I left America in 1849. In due course Miss Webb and I became engaged,
+and were married on March 12, 1857.
+
+My first enterprise after returning from Germany was a concert tour.
+This I believe to have been the first exclusively pianoforte recital
+tour ever undertaken in this country. Gottschalk, who was here at that
+time, had traveled about giving concerts, but he was never without a
+singer or associate of some kind.
+
+In 1863 I had attended a recital given in Frankfort, Germany, by
+Ferdinand Hiller, the program of which consisted exclusively of his own
+compositions, concluding with a free improvisation on themes suggested
+by the audience. My recitals were fashioned after this, only I played
+very few of my own pieces. The programs were somewhat similar to those
+of the present time, ranging from Beethoven and Chopin to Liszt. At that
+time Bach's name, according to my recollection, was never seen on a
+pianoforte-recital program. A large number of these compositions, such
+as Liszt's "Twelfth Rhapsody" and Chopin's "Fantasie Impromptu," were
+played for the first time in this country at these concerts.
+
+
+
+
+TOURING THE COUNTRY
+
+
+My friend Oliver Dyer managed the tour. My brothers Daniel and Lowell
+were at this time booksellers and publishers in New York, under the
+firm-name of Mason Brothers, and Mr. Dyer was connected with them in
+business. He was a man of action, and possessed good literary ability.
+He had lived for a time in Washington as reporter of speeches made in
+Congress, and later on he was connected with Robert Bonner on the
+"Ledger".
+
+He arranged a pamphlet in which he set forth and doubtless embellished
+the facts connected with my sojourn in Germany and the favor with which
+my playing had been received. When, in the course of our tour, we
+arrived at a town where a lecture was to be given,--not an uncommon
+occurrence,--he would take down the lecture stenographically and write
+notices of it for the local papers. The editors appreciated this favor,
+and were so kindly disposed toward us that they would print any advance
+notices he chose to write about me. In what he wrote of me, however, I
+was not willing to have him go to extremes, though he would frequently
+slip something into the paper without my knowledge, leaving me to find
+fault with him the next day.
+
+All along the route it was difficult to persuade people that an
+entertainment of pianoforte-playing exclusively could be made
+interesting. They had never heard of such a thing, and insisted that
+there ought to be some singing for the sake of variety. We stopped in
+Albany, Troy, Utica, and many other places on the way to Chicago, where
+I gave two concerts, one of which took place on New Year's eve. After
+the concert I attended a large reception given in a private residence. I
+remember being struck by the fact, as it seemed to me, that there were
+so many young ladies at this reception, and I asked the hostess if there
+were no married ladies in Chicago. "Why, Mr. Mason," she replied, "there
+are only two or three unmarried ladies in the room." At that period
+Chicago was full of young men who had come from the Eastern States,
+principally New England. After staying in Chicago for two or three years
+and getting well started in business they would get married, many of
+them going to their native places for their brides. This accounted for
+the youthful appearance of the assemblage, and illustrates in part the
+very rapid growth of Chicago.
+
+Up to the time we arrived in Chicago we had rainy weather constantly,
+and partly on this account we were out of pocket. Dyer was for going
+back to New York by the quickest route. I said: "No; I am going back
+through the same towns, and shall give concerts in every one of them. If
+the people liked my playing well enough they will come again and bring
+their neighbors. If they did not like it, I shall soon find it out." As
+it turned out, I had much larger audiences all the way home.
+
+
+
+
+"YANKEE DOODLE" AND "OLD HUNDRED"
+
+
+Copying the custom of Ferdinand Hiller, I used to close my concerts by
+an improvisation upon themes suggested by the audience. All sorts of
+themes were put into the hat--from Mozart, Beethoven, "Jordan is a hard
+road to travel," "We won't go home till morning," and many negro
+melodies. I had a faculty of developing a subject in such a way as to
+hold my audience.
+
+One night somebody sent up the request that I should play simultaneously
+"Old Hundred" with one hand and "Yankee Doodle" with the other. This I
+did, merely to show that even two such dis-similar melodies could be
+played together in a musical way. There was a good deal of applause, but
+also considerable hissing from the religions element, so I made a speech
+explaining that I meant no disrespect to "Old Hundred" by placing it in
+such close connection with "Yankee Doodle," and that the melody which
+had to a certain extent been adopted as a national air was on that
+account worthy of being played with any hymn.
+
+Fifteen years later, in 1870, George F. Root, who had assisted my father
+in his musical convention work in the East, but who had settled in
+Chicago and was doing the same kind of pioneer work in the West, was
+holding a summer musical convention in South Bend, Indiana. He wished to
+introduce piano as well as vocal teaching, and invited me to take
+charge of the piano classes. It was a fearfully hot summer, and during
+the month I was in South Bend the temperature was continuously close to
+100�. Toward the close of the season concerts were given, and it was so
+hot that in lieu of a dress-coat I wore a linen duster, cut off at the
+waist.
+
+At the last concert I received a request from two or three people to
+play "Yankee Doodle" with one hand and "Old Hundred" with the other.
+Possibly they had heard me do so in 1855. Remembering my experience
+then, I made a few remarks, in which I told them that some little
+feeling had been created fifteen years before by my doing the same
+thing, but that--and here I got a little mixed--in playing "Yankee
+Doodle" with "Old Hundred" I did not intend any disrespect to "Yankee
+Doodle." At this the audience began to laugh. Schuyler Colfax, who was
+then Vice-President of the United States, was on the stage behind me,
+and I could hear him chuckling. I thought to myself, "Well, I have made
+some funny mistake, though I don't know what it is, so I won't go back
+and try to correct it."
+
+Afterward Mr. Colfax, who was a noted speaker, told me that whenever he
+made a _lapsus linguae_, if it amused the audience he never attempted to
+correct it.
+
+On my return from this concert tour to New York, I established the
+series of chamber-music concerts which, begun as an experiment,
+continued thirteen years. I also settled down as a teacher. While I had
+returned from Weimar with the full intention of continuing my career as
+a piano-virtuoso, and while my concert tour had been promising enough, I
+found that the public demanded a constant repetition of pieces to which
+it happened to take a liking, and I knew that I should soon weary of
+playing the same things over and over again. Moreover, I felt that from
+my father I had inherited a certain capacity for giving instruction, and
+that the chamber-music concerts and engagements with the Philharmonic
+and at other concerts in New York and elsewhere would serve to keep up
+my practice as a virtuoso.
+
+
+
+
+SETTLING DOWN TO TEACH
+
+
+In 1855 I accepted as pupils some four or five young ladies who were
+being educated at a fashionable boarding-school in New York. One of
+these girls was very bright and intelligent but without special musical
+talent. She was extremely averse to application in study, and the
+problem for me was to invent some way by which mental concentration
+could be compelled, for from the moment she sat down to the piano to
+practise she was constantly looking at the clock to see if her
+practice-hour was up. After a little study I found that in playing a
+scale up one octave and back, without intermission, in 9/8 time, there
+are necessarily nine repetitions of the scale before the initial tone
+falls again on the first part of the measure. Thus,
+
+[Illustration: musical notation]
+
+and so on until another accent falls upon the initial C. Such an
+exercise is called a rhythmus, and the repetitions compel mental
+concentration just as surely as the addition of a column of figures
+does. I found that if the compass was extended four octaves, thus, from
+
+[Illustration: musical notation]
+
+the nine repetitions of the scale would require from three to four
+minutes if played at a moderate rate of speed. I saw at once that a
+state of mental concentration could not be avoided by the pupil, and
+that in this exercise lay a basic principle. I gave the exercise to my
+pupil. The result was that when the next lesson-hour came around and I
+asked her how she found the new exercise, she exclaimed: "How do I like
+it? Why, you have played a pretty trick on me! It took me nearly an hour
+to accomplish it; but I like it. Why did you not give it to me before!"
+"Because," I said, "I invented it simply in order to compel your
+attention to your work." Following up the principle of grouping the
+tones, I applied the rhythmic process not only to all sorts of scale
+passages, but included in the treatment arpeggios, broken chords,
+octaves, and in fact all passages idiomatic of the pianoforte. The work
+of amplification was readily accomplished, and the result was a complete
+method in which for the first time, so far as I am aware, scientific
+rhythmic treatment was elaborated. This "Accentual Treatment of
+Exercises," as I called the system, was first published in the Mason &
+Hoadley Method, New York, 1867. The importance of accentual treatment is
+now recognized in every modern method.
+
+The idea of starting a series of matin�es of chamber-music occurred to
+me. I wished especially to introduce to the public the "Grand Trio in B
+Major, Op. 8," by Johannes Brahms, and to play other concerted works,
+both classical and modern, for this kind of work interested me more than
+mere piano-playing. So I asked Carl Bergmann, who was the most noted
+orchestral conductor of those days, and thus well acquainted with
+musicians, to get together a good string quartet. This he accomplished
+in a day or two, and made me acquainted with Theodore Thomas, first
+violin; Joseph Mosenthal, second violin; and George Matzka, viola,
+Bergmann himself being the violoncellist. We very soon began rehearsing,
+and our first concert, or rather matin�e, took place in Dodworth's Hall,
+opposite Eleventh street, and one door above Grace Church in Broadway.
+The program was as follows:
+
+    Tuesday, November 27, 1855
+
+    1. Quartet in D Minor, Strings        _Schubert_
+
+    2. Romance from Tannh�user,
+    "Abendstern"                           _Wagner_
+
+    3. Pianoforte Solo, Fantasie Impromptu,
+    Op. 66 (first time)                    _Chopin_
+    Deux Pr�ludes, D flat and G,
+    Op. 24                                 _Heller_
+
+    4. Variations Concertante for
+    Violoncello and Piano, Op. 17        _Mendelssohn_
+
+    5. "Feldw�rts flog ein V�glein"       _Nicolai_
+
+    6. Grand Trio in B Major, Op. 8,
+    Piano, Violin, and Cello (first
+    time)                                  _Brahms_
+
+It will be observed that we started out with a novelty, Brahms's Trio,
+which was played then for the first time in America. I repeated it in
+Boston a few weeks later with the assistance of some members of the
+Mendelssohn Quintet Club. It received appreciation on both occasions and
+was listened to attentively, but without enthusiasm. The newspapers
+spoke well of it in general, but there were some who regarded it as
+constrained and unnatural. The vocal pieces were inserted in deference
+to the prevailing idea of the period that no musical entertainment could
+be enjoyed by the public without some singing. We quickly got over that
+notion, and thenceforth, with rare exceptions, our programs were
+confined to instrumental music.
+
+It was my purpose in organizing these concerts to make a point of
+producing chamber-work, which had never before been heard here,
+especially those of Schumann and other modern writers.
+
+
+
+
+THEODORE THOMAS AT TWENTY
+
+
+The organization as originally formed would probably have remained
+intact during all the years the concerts lasted had it not become
+apparent almost from the start that Theodore Thomas had in him the
+genius of conductorship. He possessed by nature a thoroughly musical
+organization and was a born conductor and leader.
+
+Before we had been long together it became apparent that there was more
+or less friction between Thomas and Bergmann, who, being the conductor
+of the Germania and afterward of the Philharmonic orchestras, also a
+player of long experience and the organizer of the quartet, naturally
+assumed the leadership in the beginning. The result was that Bergmann
+withdrew after the first year, and Bergner, a fine violoncellist and
+active member of the Philharmonic Society, took his place. The
+organization was then called the Mason and Thomas Quartet, and so styled
+it won a wide reputation throughout the country. I should say in passing
+that Bergmann was an excellent though not a great conductor.
+
+[Illustration: THE MASON-THOMAS QUARTET
+
+MATZKA, MOZENTHAL, BERGNER, THOMAS, MASON]
+
+From the time that Thomas took the leadership free and untrammeled,
+the quartet improved rapidly. His dominating influence was felt and
+acknowledged by us all. Moreover, he rapidly developed a talent for
+making programs by putting pieces into the right order of sequence, thus
+avoiding incongruities. He brought this art to perfection in the
+arrangement of his symphony concert programs.
+
+Our viola, Matzka, was also an excellent musician, and for many years
+the first viola of the Philharmonic orchestra. Mosenthal, who played
+second violin, achieved a wide reputation as composer and conductor, in
+which latter capacity he did splendid work for the Mendelssohn Glee
+Club. He was also one of the best teachers of piano and violin in New
+York.
+
+
+
+
+THOMAS AS CONDUCTOR
+
+
+Thomas's fame as a conductor has entirely overshadowed his earlier
+reputation as a violinist. He had a large tone, the tone of a player of
+the highest rank. He lacked the perfect finish of a great violinist,
+but he played in a large, quiet, and reposeful manner. This seemed to
+pass from his violin-playing into his conducting, in which there is the
+same sense of largeness and dignity, coupled, however, with the artistic
+finish which he lacked as a violinist. He is a very great conductor, the
+greatest we have ever had here, not only in the Beethoven symphonies and
+other classical music, but in Liszt, Wagner, and the extreme moderns.
+Why should he not conduct Wagner as well as anybody else, or better?
+Everything is large about Wagner, and everything is large about Thomas.
+His rates of tempo are in accord with those of the most celebrated
+conductors whom I heard fifty years ago. In modern times the tendency
+has been toward an increased rate of speed, and this detracts in large
+measure from the impressiveness of the works, especially those of
+Mozart, Beethoven, Von Weber, and others.
+
+That the skilful orchestral conductor does not rely solely upon the ear
+but sometimes receives assistance from the eye in his work is
+illustrated by an experience of Theodore Thomas which he related while
+dining at my house some two years since. On one occasion, when a benefit
+concert was tendered to him, the orchestra was increased to jubilee
+dimensions, and I think there were sixteen violoncello-players, with
+other instruments in due proportion. During the final rehearsal Mr.
+Thomas became aware of some imperfections, probably of phrasing, and
+traced the error to the violoncellists, but could not at first detect
+the individual whose fault it was. On closer scrutiny he observed that
+one of them was bowing in the wrong way, and thus obscuring the
+phrasing.
+
+The newspapers, in reviewing the concert, mentioned this incident as
+illustrating the wonderfully sensitive ear of the conductor, whereas on
+this occasion, at least, the eye was the detective agent.
+
+It is possible, however, for a trained ear to detect errors in mere
+manipulation, and I am reminded by one of my former pupils that, having
+taken advantage, during one of his lessons, of my momentary absence in
+an adjoining room, to play a passage according to his own ideas of
+proper technic, he was astonished to hear me call out to him that he had
+used the wrong finger in striking one of the keys.
+
+That Thomas had entire confidence in himself was shown in the outset of
+his career. One evening, as he came home tired out from his work, and
+after dinner had settled himself in a comfortable place for a good rest,
+a message came to him from the Academy of Music, about two blocks away
+from his house in East Twelfth street. An opera season was in progress
+there. The orchestra was in its place, and the audience seated, when
+word was received that Ansch�tz, the conductor, was ill. The management
+had not provided against that contingency, and was in a position of much
+embarrassment. Would Thomas come to the rescue? He had never
+conducted opera, and the work for the evening's performance was an opera
+with which he was unfamiliar. Here was a life's opportunity, and Thomas
+was equal to the occasion. He thought for a moment, then said, "I will."
+He rose quickly, got himself into his dress-suit, hurried to the Academy
+of Music, and conducted the opera as if it were a common experience. He
+was not a man to say, "Give me time until next week." He was always
+ready for every opportunity.
+
+[Illustration: THEODORE THOMAS
+
+ABOUT TWENTY-FOUR YEARS OLD]
+
+On Christmas day, 1900, a friend presented me with a calendar for the
+year 1901. It has a leaf for each day of the year. The calendar
+evidently required much labor in preparation, and necessitated
+correspondence with many friends at home as well as abroad, and many are
+the cordial responses that were received. The result is a daily pleasure
+and surprise. The leaf for February 11, 1901, the day of my present
+writing, has reference to the third concert of chamber-music, eighth
+season of Mason and Thomas, which took place on Tuesday evening,
+February 10, 1862:
+
+
+     Tuesday, February 10, 1862
+
+     The third soir�e of Mason and Thomas had the following program:
+
+     Quartet, C Major, No. 2                 _Cherubini_
+     Piano Trio, D Major, Op. 70, No. 1      _Beethoven_
+     Quartet, A Major, Op. 41, No. 3         _Schumann_
+
+     A program as interesting and fresh to-day as thirty-eight years
+     ago. The weather was very cold,--below zero,--and during the largo
+     of the trio the gas gave out. We continued playing for some time,
+     but finally had to stop. The "Geister" [the composition here
+     referred to is called by the Germans the "Geister Trio"] did not
+     assist us! Do you remember the fact?
+
+     Es ist schon lange her.
+
+     THEODORE THOMAS.
+
+
+
+
+KARL KLAUSER, MUSICAL DIRECTOR AT MISS PORTER'S SCHOOL
+
+
+Through Mosenthal our quartet became acquainted with Mr. Karl Klauser,
+who was an active and enthusiastic musician of thorough education, and
+who has accomplished a great deal of useful work both as a compiler and
+teacher of classic and modern compositions. Mr. Klauser is a native of
+St. Petersburg, born of German parents; he came to New York in 1850, and
+was engaged as musical director in Miss Porter's famous school for young
+ladies in 1855, a post which he filled with credit and ability for many
+years. He was enthusiastically fond of chamber-music, and frequently
+attended the rehearsals of our quartet; and it was through him that we
+were induced to give recitals in Farmington six months after our
+beginning in New York. On Thursday, June 26, 1856, our program was as
+follows:
+
+   String Quartet in E flat, No. 4                               _Mozart_
+   Trio, Piano, Violin, and Violoncello, G Minor, Op. 15, No. 2  _Rubinstein_
+   Variations from Quartet No. 5                                 _Beethoven_
+   Also solos for pianoforte and for violoncello.
+
+On the following day another recital was given, with an entire change of
+program.
+
+At that time one of the undergraduates of the school was a young girl
+who is now the wife of a distinguished lawyer of New York, and is
+herself prominent in good works. Not long ago I received from her the
+following very agreeable letter about the early Farmington days:
+
+     MY DEAR DR. MASON: I am glad to hear that you are to share your
+     pleasant "Memories" with your friends. I hope, in looking back to
+     the happy times when you were young, you will not forget your
+     annual visits to dear old Farmington; for if you do not remember
+     them in words, many old admirers will wonder how you could fail to
+     make much of occasions so precious to them.
+
+     As one of Miss Porter's girls, who can now live over again the
+     coming to town of William Mason, Theodore Thomas, J. Mosenthal, G.
+     Matzka, F. Bergner, and the long-looked-for chamber-concerts, I
+     feel sure that in all of your generous giving of a God-given
+     genius, you never gave more real pleasure than you gave those
+     school-girls and teachers hungry for a taste of life outside the
+     school, and for good music, the best of all company. You were then
+     to them what you only hoped to be after years of hard work,--great
+     men in your profession,--and they could not have dressed with more
+     care or been more excited if they had been going to listen with
+     royalty to the greatest of the old masters.
+
+     Among the choicest of my pictures of Farmington days is that of the
+     girls in white and dainty pinks and greens and blues, with flowers
+     to wear and flowers to throw to you, almost dancing down that
+     beautiful street on a summer day to "the concert," and in the
+     foreground a quaint dark figure whom all the girls remember on
+     festive occasions as bearing the burden of her choice with a New
+     England sense of propriety at war with her keen sympathy with all
+     that is natural in young people, and with the pride in her
+     good-looking family which made her blind to their youthful follies.
+     That was long ago when we were giddy girls, but the verdict of our
+     heads and hearts was a true one.
+
+     Sure that your memories, dear Dr. Mason, must be bright in the
+     sunlight of so many warm friendships, I am listening to the music
+     of long ago.
+
+     March 31, 1901.
+
+
+
+
+LOUIS MOREAU GOTTSCHALK
+
+
+I knew Gottschalk well, and was fascinated by his playing, which was
+full of brilliancy and bravura. His strong, rhythmic accent, his vigor
+and dash, were exciting and always aroused enthusiasm. He was the
+perfection of his school, and his effects had the sparkle and
+effervescence of champagne. He was as far as possible from being an
+interpreter of chamber or classical music, but, notwithstanding this,
+some of the best musicians of the strict style were frequently to be
+seen among his audience, among others Carl Bergmann, who told me that he
+always heard Gottschalk with intense enjoyment. He first made his mark
+through his arrangement of Creole melodies. They were well defined
+rhythmically, and he played them with absolute rhythmic accuracy. This
+clear definition in his interpretation contributed more than anything
+else to the fascination which he always exerted over his audience. He
+did not care for the German school, and on one occasion, after hearing
+me play Schumann at one of the Mason-Thomas matin�es, he said: "Mason, I
+do not understand why you spend so much of your time over music like
+that; it is stiff and labored, lacks melody, spontaneity, and na�vet�.
+It will eventually vitiate your musical taste and bring you into an
+abnormal state."
+
+Although an enthusiastic admirer of Beethoven symphonies and other
+orchestral works, he did not care for the pianoforte sonatas, which he
+said were not written in accordance with the nature of the instrument.
+It has been said that he could play all of the sonatas by heart; but I
+am quite sure that Mr. Richard Hoffman, who was his intimate friend,
+will sustain me in the assertion that such was not the fact.
+
+I have known Mr. Hoffman for more than fifty years, having met him for
+the first time in the year 1847 or thereabout. His playing is still
+characterized by precision, accuracy, and clearness in phrasing, with an
+excellent technic, combined with repose. I have many times enjoyed his
+artistic interpretations, and I heard him with great pleasure not a long
+while ago, on the occasion of his fiftieth anniversary as a teacher in
+this country.
+
+Returning to Gottschalk, a funny thing happened one day. At the time of
+which I write, forty-five years ago, William Hall & Sons' music-store
+was in Broadway, corner of Park Place, and was a place of rendezvous for
+musicians. Going there one day, I met Gottschalk, who, holding up the
+proof-sheet of a title-page which he had just received from the printer,
+said: "Read that!" What I read was, "The Latest Hops," in big block
+letters after the fashion of an outside music title-page. "What does
+this mean?" I asked. "Well," he replied, "it ought to be 'The Last
+Hope,' but the printer, either by way of joke or from stupidity, has
+expressed it in this way. There is to be a new edition of my 'Last
+Hope,' and I am revising it for that purpose."
+
+[Illustration: Autograph of Moreau Gottschalk]
+
+I have in my autograph-book a letter of his, undated, but written in the
+late fifties:
+
+     MY DEAR M.: If you have nothing to do, come and spend the evening
+     with me on Sunday next. No formality. Smoking required, impropriety
+     allowed, and complete liberty, with as little music as possible.
+     I was going to mention that we will have a glass of wine and
+     chicken salad.
+
+    Your friend,
+    GOTTSCHALK.
+    149 East Ninth Street.
+
+
+
+
+PROPAGANDA FOR SCHUMANN'S MUSIC
+
+
+Gottschalk's remark about my liking for Schumann's music was at that
+time echoed by others, for when I returned from Germany and found
+Schumann virtually unknown here, I made it my mission to introduce his
+music into this country--a labor of love in which I was afterward
+greatly aided by the quartet concerts and by my teaching. Shortly after
+my return from Germany I went to Breusing's, then one of the principal
+music-stores in the city,--the Schirmers are his successors,--and asking
+for certain compositions by Schumann, I was informed that they had his
+music in stock, but as there was no demand for it, it was packed away in
+a bundle and kept in the basement. Pretty soon, however, my pupils
+began calling for Schumann's pieces, and Schumann moved up from the
+cellar to the main floor. His music was expensive, because it was
+published in sets, and if a pupil wanted to buy one of the "Novellettes"
+or "Kinderscenen," it was necessary to purchase the whole collection.
+After a while, however, some of the music-dealers began to publish a
+number of the pieces separately. This had the effect in some measure of
+opening up the sale of his music to pupils and amateurs.
+
+
+
+
+SIGISMOND THALBERG
+
+
+Thalberg's playing was characterized by grace, elegance, and perfection
+of finish in detail. His style was suave, courteous, and aristocratic.
+Being a pupil of Hummel, who had in turn taken lessons of Mozart for two
+years, it was quite within the line of descent that he should have
+acquired the extremely smooth legato touch of those masters. As
+distinguished from any pianist-composer up to his time, his specialty
+was the surrounding of a melody with arabesques and ornamental passages
+of scales and arpeggios played with rapidity, clearness, and brilliancy.
+Parish Alvars, the harpist, had originated this device, and Thalberg
+adapted it to the pianoforte, for which instrument it was better suited
+and more effective than on the harp.
+
+The important influence of the upper-arm muscles in the production of
+powerful and resonant tones seems to have been but little known in those
+days. Leopold de Meyer's constant use of these, as noted elsewhere, was
+apparently unconscious and instinctive.
+
+Thalberg's octave-playing was not altogether elastic and free from
+rigidity, for in long-continued and rapid octave passages a close
+observer would have noticed a contraction of his facial muscles and a
+compression of the lips, which would have been avoided under the
+conditions of properly devitalized upper-arm muscles and loose wrists.
+
+Shortly after his arrival in our country he went by invitation to my
+brother's house in West Orange, New Jersey, on a visit of some weeks.
+This afforded an opportunity which was not neglected, and as a result I
+became well acquainted with him and his method of practice. In this way
+he was virtually one of my best teachers, although no regular lessons
+were received from him. Moreover, in several of his concerts I played
+with him his duo for two pianofortes on themes from "Norma," and these
+were occasions of great artistic profit. One learned much, also, from
+hearing him practise. His daily exercises included scale and arpeggio
+passages played at various rates of speed and with different degrees of
+dynamic force. These were always put into rhythmic form, and the
+measures, sometimes in triple and sometimes in quadruple time in many
+varieties, were invariably indicated by means of accentuation. Dynamic
+effects, such as crescendos and diminuendos, also received due
+attention. In short, as it seems to me, he made it a point--as well in
+the cultivation and development of physical technic as in his
+public performances--to play _musically_ at all times.
+
+[Illustration: Autograph of Sigismond Thalberg]
+
+Thalberg's technic seemed to be confined mainly to the finger, hand,
+wrist, and lower-arm muscles, but these he used in such a deft manner as
+to draw from his instrument the loveliest tones. He was altogether
+opposed to the high-raised finger of some of the modern schools, and in
+his work entitled "L'Art du Chant applique au Piano" he cautions
+students against this habit. The same advice had been previously given
+by Carl Czerny in his "Letters on the Art of Playing the Pianoforte,"
+namely: "Do not strike the keys from too great a height, as in this case
+a thud will accompany the tone."
+
+Thalberg adds: "Gew�hnlich arbeitet man zu viel mit den Fingern und zu
+wenig mit dem Geiste" ("Generally one works too much with the fingers
+and too little with the intelligence").
+
+This is reasonable advice, for a touch which starts off simply for
+strength and mechanical development, separate from other traits, becomes
+eventually so obstinately fixed and determined that its influence will
+dominate and stand constantly in the way of poetic and musical
+development. In this connection it is well to remember and apply the
+proverb: "An ounce of prevention is worth a pound of cure."
+
+He was very fond of his grand pianofortes, both of which were made by
+�rard of Paris. One of these instruments was drawn upon a much larger
+scale than had previously been made by this or, so far as I know, by any
+other manufacturer. The tone was powerful and of a lovely musical
+character. Thalberg's idea was that the better the instrument the
+greater the advantage afforded the virtuoso, not only for public
+playing, but as well for the purpose of practice and musical development
+I remember his telling me that a fine instrument even suggested ideas to
+the composer and furthered his work. An experience of many years has
+proved to me the soundness of his theory and the importance of its
+practical application.
+
+The not uncommon assertion that "any piano will do for a beginner" is
+wrong in principle. How absurd to assert that any associates will do
+for children in the beginning! It is just at this tender age when
+impressions are so easily received that the best musical advantages
+should be afforded. What can be better adapted to the cultivation of a
+musical ear than the constant presence of musical tones of the highest
+quality and purity? The ear requires close musical companionship in
+order to promote corresponding development.
+
+The cultivation of a physical technic is important, indeed
+indispensable, but it should not precede or be separated from musical
+companionship. Its development should at all stages be surrounded by a
+musical atmosphere in which its adaptability to the expression of
+poetical ideas may be developed. The heart and head should be closely
+united.
+
+
+
+
+PEDAL AND PEDAL SIGNS--WHY NOT DISPENSE WITH THE LATTER?
+
+
+Prolonged or organ tones are not possible on the pianoforte. From the
+moment the hammer strikes the string the tone begins to diminish in
+volume and soon fades away. One of the chief arts of the pianist is to
+sustain a tone throughout the full value of the note which represents
+it, and this is accomplished either by steady pressure on the key or by
+the use of the open pedal, frequently misnamed the loud pedal. The use
+of the word "loud" in this connection is illogical and misleading. The
+word "open" is much better, because this pedal, when pressed, causes the
+dampers to be raised from the strings, thus leaving them open, and so
+prolonging the tones. Furthermore, the open pedal is constantly used in
+the softest and most delicate passages. Its mission is simply to prolong
+the tones, whether loud or soft. In either case the tone dies rapidly
+away, and the pianist, sensitively aware of this, and feeling the
+necessity of keeping up the volume of sound, is led unconsciously to
+anticipate or take the next tone a little before its due time. The
+effect of this process in continuation is to produce a feeling of unrest
+on the part of the hearer, and is fatal to repose. On this account
+Thalberg earnestly recommends to piano-students that "the tones
+invariably be held throughout their absolute or exact value" (see "L'Art
+du Chant"). Tones can be sustained, so far as this is possible on the
+pianoforte, in two ways, namely, by means of the open pedal or by
+holding down the keys firmly during the exact value represented by the
+notes. How can this value be determined? Solely through the medium of
+the ear. "The proof of the pudding is in the eating." The proof of
+musical sounds, as to quality and duration, is in the listening.
+
+This being granted, it seems to follow that all signs, such as "Ped.,"
+*, or [** two check marks], etc., should be discarded as being even
+worse than useless, for when pupils pay careful attention to them they
+are apt to be guided solely by the eye. They press down the pedal at the
+sign "Ped.," and release it at the following asterisk (*), doing this in
+a merely perfunctory way, and hence they either fail to produce a true
+legato effect or err in the opposite direction of an over-legato, which
+results in a confusion of sounds. This may be best avoided by
+practising on an instrument of fine musical quality and beautiful
+singing tone, which promotes the habit of listening attentively, and
+thus contributes in the highest degree to the development and training
+of the ear.
+
+It is true that musical temperament is inborn, and those who possess it
+have native insight, and hence develop with rapidity. There are,
+however, very many who are not "to the manner born." Such are obliged to
+acquire habits through persistent and persevering effort. All travel the
+same road, but the genius flies while the less gifted plods along.
+However, for the benefit and consolation of the latter, I remind them
+that the tortoise left the hare asleep and won the race. The ear should
+be cultivated for music, the eye for painting, the mind in both; and the
+heart especially in music, because the latter is the "language of the
+emotions."
+
+A little pedal study from my work entitled "Touch and Technic" (Part IV,
+page 18), will serve to illustrate what I mean. It is on an elementary
+plane and can easily be accomplished by a beginner with a little care
+and ordinary perseverance.
+
+[Illustration: PEDAL STUDY FOR THE PIANOFORTE
+
+(_To be played throughout with one finger_)]
+
+It is to be played with only one finger, and the tones of the melody
+must receive special emphasis so as to stand out clearly, and they must
+be sustained by means of the open pedal throughout the exact length of
+time represented by the notes. The crescendo and diminuendo must be
+observed according to direction, and as a help to this effect the soft
+pedal may be used simultaneously, either all of the time or
+occasionally, in an experimental way and according to fancy. This
+promotes the faculty of judgment and leads to individuality, a very
+desirable result.
+
+The melody is on the middle line and the accompaniment on the outer
+lines. The melody must predominate in power, and must be sustained
+throughout the exact value of its representative notes, which are mostly
+dotted halves, viz.: [Illustration: dotted quarter-note]. This is
+accomplished by firmly pressing the open pedal, the finger in the
+meanwhile playing the accompaniment. Thus the tone is sustained solely
+by means of the pedal. Carefully observe the effects of crescendo < and
+diminuendo >. Play strictly in time.
+
+In the final measure still continue the pedal pressure after the C in
+the treble has been played. There are now four tones sounding together.
+Now replace the finger, silently and without striking, on the melody key
+E. While still pressing this key raise the foot from the pedal. This
+leaves the E sounding alone. Hold down the key until the tone has quite
+died away.
+
+
+
+
+RUBINSTEIN AND THE AUTOGRAPH-HUNTER
+
+
+One afternoon I accompanied Rubinstein from his hotel to Steinway Hall,
+where he was to give a recital. Just outside of the stage-entrance were
+two young ladies, one of whom stepped forward and, handing me a sheet of
+paper and a pencil, begged me to ask Rubinstein for his autograph, and
+to leave it for her in the dressing-room, so that she could get it
+after the recital. I told her that Rubinstein did not like writing
+autographs; that he was a man of kindly disposition, but sometimes acted
+from impulse; nevertheless, I would see what could be done. So,
+following Rubinstein up-stairs to the retiring-room, I handed him the
+writing materials, stating the young lady's request.
+
+He took them, saying nothing, but walked with an air of determination to
+the window, opened it, and threw them into the street "Mason," he said,
+"I don't like your country. People pry too much into private affairs."
+He then went on to speak of newspaper writers who had interviewed him
+and ingeniously beguiled him into speaking of many things which
+concerned solely his own personality, and the next day published all of
+these things in detail. He said: "There is absolutely no privacy in this
+country." "Rubinstein," I said, "I can quite appreciate your position,
+and understand why you should have come to such conclusions, but I am
+sure that upon due reflection you will realize that you are doing us an
+injustice. You have been incessantly occupied during your sojourn here,
+have hurried from place to place, given concerts with hardly any
+intermission, and naturally have had no time to see people in their
+homes. You have not been able to judge of our domestic life or to mingle
+in society and study our habits." He admitted this at once and made due
+acknowledgment. Wieniawski, who was once with us when a similar
+conversation occurred just before the close of their stay here, said:
+"Mason, I regret extremely that I have not been able to go out to Orange
+to visit you. We have traveled constantly and rushed from place to place
+in order to fulfil concert engagements, so that there has been no time
+for social intercourse. I don't wish you to gather from my apparent
+neglect an idea that Poles are unsociable; on the contrary, I assure you
+we are very fond of social life."
+
+Rubinstein came here with a great reputation, and achieved a good
+success. He had transcendent ability, accompanied, however, by certain
+limitations. By nature impulsive and excitable, he often lost
+self-control, and in consequence he frequently anticipated his climax.
+He was like a general who excelled in a brilliant sortie, but who had
+not the dogged persistence necessary to a long-sustained battle, and at
+the critical points he was constantly losing his self-poise. When,
+however, he did effect a climax, it was apt to be a great one, a
+jubilee. Liszt, on the other hand, was remarkable for his reserve force
+and for the discretion with which he made use of it; for if, perchance,
+he missed a climax he immediately made preparation for a new one, and
+was always sure to reach the zenith at precisely the right moment.
+
+There were occasions on which Rubinstein played with the most wonderful
+repose, and at such times his playing was musical and poetic in the
+highest degree. This was particularly the case in slow or moderate
+movements characterized by tenderness, affection, and fervor. But in
+the rapid and spirited movements his tendency was to run away and
+finally to lose self-possession--an affliction to which the large
+majority of concert pianists are subject. Violinists and singers are not
+nearly so much so, because they can prolong their tones with steady
+force, or diminish and increase the tone at will. As I have already
+pointed out, the case is different with the pianist, for after the
+piano-key has been struck the tone immediately begins to decrease in
+power, and this incites the player to produce another tone; so he
+proceeds a little too quickly, constantly gaining a little in speed and
+crowding one tone upon the other. The effect is exasperating to the
+listener, who becomes more and more restless, until finally all quiet
+and repose is utterly lost.
+
+The unevenness in Rubinstein's playing I believe to have been wholly due
+to the temperamental moods of a man of extreme artistic sensitiveness.
+He was a thoroughly conscientious artist and worked at the piano
+incessantly many hours a day. I remember his once saying to me: "I
+dislike nothing more than to have people say to me, as they frequently
+do, 'But you do not have to practise, for you are a born genius and get
+everything by nature.' It is provoking to listen to such stuff after
+having worked so hard."
+
+
+
+
+EVOLUTION IN MUSICAL IDEAS BEETHOVEN PIANOFORTE RECITALS
+
+
+No pianist ever dreamed of playing Beethoven's sonatas in public in
+those days. They were reserved for the parlor; and one, or two at most,
+were enough for an evening. The mental absorption of this amount was
+sufficient. Lighter pieces filled out the program. I am quite sure that
+it was B�low who first played several of Beethoven's sonatas
+consecutively at a recital. I learned of this through Anton Rubinstein
+when he was here in 1873. He spoke of it as being an extraordinary
+thing, and added that, as a musician, he could not give it his approval.
+It might be a scientific thing to do, but was certainly not congenial to
+a true musical nature, which required variety. A dinner consisting of
+heavy dishes throughout, without the interspersion of condiments,
+vegetables, and tarts to stir and incite the appetite, would be both
+distasteful and fatal to good digestion. The pieces selected for the
+musical feast should be homogeneously arranged; and so should the
+various courses of the dinner.
+
+However, notwithstanding what Rubinstein said in 1873, I noticed that,
+but a comparatively short time afterward, he also began the practice of
+giving recitals at which he played several sonatas in sequence. It is
+possible that he did this less to gratify his own personal artistic
+tastes than in deference to those of the public who had not his musical
+organization, and so could stand the intensity of the thing while he
+profited by the physical practice.
+
+
+
+
+RUBINSTEIN'S FAVORITE SEAT AT A PIANOFORTE RECITAL
+
+
+Rubinstein, as a listener, was particular as to the location of his seat
+at a concert or recital of pianoforte music, and always sought a place
+in one of the galleries on the left hand, facing the stage. Thus he sat
+in the corner diagonal to the pianoforte, looking over the right
+shoulder of the player.
+
+It is true that even on the ground floor or parterre of a hall this
+position affords a great advantage, and the tones of the pianoforte are
+essentially more full of resonance and musical tone than in any other
+location. This may be accounted for on the theory that the raised lid of
+the instrument deflects the sound in that direction. There is a
+corresponding disadvantage in a position on the opposite side of the
+house, especially if seated on the ground floor near the stage. I have
+frequently tried both of these positions, and always with the same
+result; hence I have learned to make due allowance in judging of the
+pianist. A listener unaware of this difference may seriously err in
+estimating the tone quality of the instrument.
+
+
+
+
+BACH'S "TRIPLE CONCERTO" AND "LES AGR�MENTS"
+
+
+In Bach's time many embellishments were used in playing the clavichord.
+They were all included under the general title _Les Agr�ments_, or, in
+German, _Manieren_. Of these the mordent, almost identical with the
+modern _Pralltriller_, was in most frequent use. It is quite a little
+thing and simple enough, but there are few players who succeed in giving
+it the right snap or rattle, without which its true significance is
+wholly lost. I have already mentioned playing this concerto with
+Klindworth and Pruckner at a court concert in Weimar. While previously
+rehearsing it, Liszt was very particular in his directions, especially
+regarding the mordents, and we did our best to follow them. Moreover,
+Liszt was an authority. He always made thorough investigation of a
+subject before expressing an opinion upon it, and he was very careful to
+give a historically accurate and truthful rendering of these
+old-fashioned ornaments. I afterward found that when three pianists
+came together for the purpose of playing this concerto a good deal of
+time was wasted in discussing the proper way of playing the mordent. It
+was on the program of the Mason-Thomas matin�es in New York more than
+once, and on one occasion we had the assistance of the well-known
+pianists Messrs. Timm and Scharfenberg. There was no friction at that
+time, as the three performers were of one mind.
+
+In May, 1873, Theodore Thomas arranged a grand musical festival in New
+York, of which Rubinstein was the principal attraction. The "Triple
+Concerto" was one of the features of the festival. Rubinstein played the
+first piano, and Mills and I the other two.
+
+The concerto has the accompaniment of a string quartet, which may be
+doubled or increased to the size of a small orchestra if desired. It was
+thought best to have a preliminary rehearsal for the three pianos alone,
+and a time was appointed for our meeting together at my studio in
+Steinway Hall. Mr. Thomas, not being familiar with the concerto, wished
+to be present in order to become acquainted with it, and at the
+appointed time was the first to make his appearance. I told him that
+Rubinstein, not precise in historical methods, would play the mordents
+in accordance with the mood in which he happened to be. "However," I
+continued, "I have an old book by Friedrich Wilhelm Marpurg, published
+in Berlin in 1765, in which he gives written examples of all of the
+_Manieren_. We will show this to Rubinstein and have some fun. But I do
+not propose to waste time in discussions. He can play as he likes, and
+Mills and I will follow suit."
+
+Rubinstein shortly made his appearance, and Mills came a little later. I
+told Rubinstein about my ancient authority, adding that we should be
+spared the tediousness of a discussion as to the manner of playing. "Let
+me see the old book," said Rubinstein. Running over the leaves, he came
+to the illustrations of the mordent. The moment his eyes fell upon them
+he exclaimed: "All wrong; here is the way I play it," and going to the
+piano, he played as follows:
+
+[Illustration: Musical notation]
+
+This is what Marpurg calls a kind of double mordent, or _Doppelschlag_.
+The three keys are struck almost simultaneously, but the middle one only
+is held down, while the upper and lower ones are immediately released,
+thus producing the effect of a turn. The true way of playing the mordent
+is thus:
+
+[Illustration Musical notation]
+
+However, we adopted Rubinstein's way without comment.
+
+[Illustration: Autograph of Anton Rubinstein]
+
+What I have written about Rubinstein and Bach's "Triple Concerto in D
+Minor" recalls to my mind an occasion when I played it with Mr.
+Boscovitz and Mme. Essipoff at the latter's last recital here, I think
+in the year 1876. When, at the rehearsal, we came to discuss the
+mordents, Essipoff exclaimed: "I cannot play those things; show me
+how they are done." After repeated trials, however, she failed to get
+the knack of playing them, as, indeed, so many pianists do, so at the
+recital she omitted them and left their performance to Boscovitz and me.
+I think the effect of the concerto was not marred by the omission. The
+incident just related most not be construed as in any degree a
+disparagement of Mme. Essipoff's playing; as an artist she belongs
+easily in the first rank of women players and her style is charming.
+
+In taking leave of my old book by Marpurg I present a specimen of advice
+which he addresses to pianoforte-students, namely: "In regard to
+deportment and manners [at the pianoforte], one should take care to
+avoid making faces, bobbing the head, snorting, twisting the mouth,
+gritting the teeth, and all such ridiculous things. In the absence of
+the teacher, a pupil who has fallen into such ungainly habits can
+correct them by means of a mirror placed in front on the music-rack."
+The foregoing is as honest a translation from the German as I am able to
+make. Daring a half-century's experience in pianoforte-teaching I do not
+remember a single case among my pupils of one who stood in need of this
+advice.
+
+
+
+
+A SIGNIFICANT AUTOGRAPH FROM RUBINSTEIN
+
+
+Just before leaving Weimar I had asked Rubinstein to write in my
+autograph-book, and he immediately complied.
+
+The theme, which he wrote in the key of E flat major, is characteristic
+of him. It is strong and has a vigorous upward movement. It suggests the
+young man just starting out in life, with the vitality and courage of
+early manhood. It is dated "Weymar, le 5. Juin, 1854."
+
+I did not see Rubinstein again until 1873, the year of his visit to this
+country. Happening in his room one day with my book, the idea occurred
+to me of asking him to write in it again, under his former signature.
+For some reason he was averse to doing so, but finally consented. At a
+glance the second theme seems like the first, but on examination the
+difference will appear. He has transposed the theme to E flat minor, and
+its character is entirely changed. The young man has reached the summit
+of the hill and realizes that he is now upon the descent. The allegro
+maestoso of former years has changed to an adagio, and, as Rubinstein
+aptly writes, it is "not the same."
+
+An autograph written for me by Joachim Raff is also interesting. On the
+night before I left Weimar, June 25, 1854, Raff and I had supper at the
+Erbprinz together, and as the evening wore on we somehow got into a
+heated discussion about _Zukunftsmusik_, taking opposite sides. However,
+as a matter of course, we made up before parting. He had previously
+written his musical autograph in the book, but now he added a kind
+thought to speed me on my way, namely: "That he may live well, work
+well, and soon return to Weimar music. Mitternachtscheide."
+
+
+
+
+RUBINSTEIN, PADEREWSKI, AND "YANKEE DOODLE"
+
+
+Not long before Rubinstein's departure for Europe he wrote a large
+number of variations on "Yankee Doodle," and meeting me shortly
+afterward, he informed me of the fact, and added: "I have inscribed your
+name at the head of the title-page, and they are now in the hands of the
+publisher." He said further, and in a seemingly apologetic tone: "They
+are good, I assure you, and I have taken much pleasure in writing them."
+He played this composition at his farewell concert in New York, and in
+point of fact the variations were very well made; but I think that much
+of his playing at the concert referred to was improvised.
+
+The second season Paderewski was here I sat next to him at a dinner
+given just after his arrival. During conversation he said somewhat
+suddenly: "Mr. Mason, I have just composed a fantasy on 'Yankee Doodle,'
+and have dedicated it to you."
+
+[Illustration: Autograph of I. J. Paderewski]
+
+He looked at me, and thought he saw a curious expression in my
+face,--although I was quite unaware of such a thing,--and continued,
+"You don't like it!" "Oh, I do," I protested, "and esteem the dedication
+as a great honor." "I see you don't," he said. "Well," I replied, "I
+already have one 'Yankee Doodle' from Rubinstein, and was thinking that
+the coincidence of your dedicating me another was very curious, that is
+all. Let me explain to you that 'Yankee Doodle' does not stand in the
+same relation to the United States as 'God Save the Queen' to England,
+'Gott erhalte Franz den Kaiser' to Austria, or the 'Marseillaise' to
+France. 'Yankee Doodle' was written by an Englishman in derision of us."
+I am afraid that my remarks discouraged him, for he never finished the
+composition. He played it to me as far as he had progressed with it, and
+it is certainly the best treatment of the theme I have ever heard. He
+had given it respectability, and, indeed, he told me that he really
+liked the tune.
+
+
+
+
+MEETINGS WITH VON B�LOW
+
+
+Von B�low, who had been a pupil of Liszt a year or two before my time,
+would occasionally return to Weimar from his concert tours, and during
+these visits I became well acquainted with him. In certain ways he was a
+wonderful man. He had an extraordinary memory and remarkable technic. He
+was invariably accurate and precise in his careful observance of rhythm
+and meter by means of proper accentuation, and the clear phrasing
+resulting therefrom made up a good deal for the absence of other
+desirable features, for his playing was far from being impassioned or
+temperamental. His Chopin-playing always impressed me as dry, and his
+Beethoven interpretations lacked warmth and fervency.
+
+I remember he once said to me: "Rubinstein can make any quantity of
+errors during his performance, and nobody is disturbed by it; but if I
+make a single mistake it will be noticed immediately by every one in
+the audience, and the effect will be spoiled."
+
+Personally, Von B�low and I got along very well together. He always made
+kind inquiry for me when he met common friends in Europe, and he once
+presented me with an autograph of Brahms which he valued highly. The
+following letter he wrote me shortly after his arrival in this country,
+in response to an invitation to make me a few days' visit in Orange, New
+Jersey, where I was then residing.
+
+
+BOSTON, October 21, 1875.
+
+     MY DEAR COLLEAGUE: I have just now received your kind note, and
+     although I have not a single moment of leisure, I want to thank you
+     and to tell you how happy I should be to meet you again after
+     nearly a quarter of a century out of sight.
+
+     Alas! it is quite impossible for me to make you a visit before my
+     arrival in New York. I must work very hard in spite of a bad health
+     and a not at all Rubinstein-like constitution.
+
+     As this specimen of cablegrammatical shows, I am unable to express
+     myself in your language without a heap of wrong notes in every
+     line. It was but two years ago, when I made my first appearance in
+     old England (much less sympathetic to me than New England), that I
+     began to stammer the Anglo-Saxon idiom. Please kindly excuse the
+     shortness and weakness of my reply.
+
+     Many thousand most friendly compliments from our common co-pupil
+     Carl Klindworth,[3] whom I saw last summer in Tyrol; we often spoke
+     of you.
+
+     Yours most truly,
+     HANS VON B�LOW.
+
+I know from what Von B�low himself told me that he accepted
+philosophically the trouble between himself and his wife Cosima Liszt,
+and her subsequent marriage to Wagner. Soon after he arrived in New
+York, in 1876, I called on him, and during our conversation I broached
+the subject in a tentative way. I was not sure that his feelings toward
+Wagner were not so hostile that mention of the Bayreuth master would
+have to be avoided, and I thought it just as well to arrive immediately
+at a clear understanding of the matter.
+
+[Illustration: Autograph of Hans von B�low]
+
+"B�low," I said, "you will excuse me if I touch on a rather
+delicate subject. Of course your friends abroad know just what your
+present attitude is toward Wagner; but over here we know little or
+nothing about it. Perhaps you would like to enlighten me. I hope,
+however, I have not touched on a painful subject."
+
+"Not at all," he exclaimed. "What happened was the most natural thing in
+the world. You know what a wonderful woman Cosima is--such intellect,
+such energy, such ambition, which she naturally inherits from her
+father. I was entirely too small a personality for her. She required a
+colossal genius like Wagner's, and he needed the sympathy and
+inspiration of an intellectual and artistic woman like Cosima. That they
+should have come together eventually was inevitable."
+
+
+
+
+EDVARD GRIEG
+
+
+On July 1, 1890, my daughter, sister-in-law, and I were in Bergen,
+Norway, having just returned from a very pleasant trip to the North
+Cape.
+
+Being so near Grieg's home, an hour and a half's drive from Bergen, and
+having received an invitation to visit him, we presented ourselves at
+his "Villa Troldhangen" in the afternoon. The day was bright and lovely,
+and thus we saw Grieg's place under the most favorable aspect. Our
+reception by Mr. and Mrs. Grieg was most hospitable, and we felt
+immediately at home. After half an hour's conversation, we all strolled
+through the beautiful grounds, which in many places are thick with trees
+and shrubs, while here and there are clearings through which the waters
+of the fiord shine bright and clear. The wild flowers, with their rich,
+brilliant colors, were especially attractive; indeed, this is everywhere
+in Norway an attractive feature.
+
+Mr. Grieg is a man of high intelligence and culture, and is thoroughly
+natural and genial. I have very pleasant memories of our cordial
+reception and delightful visit.
+
+
+
+
+RATES OF TEMPO--THE PRESENT TIME COMPARED WITH FIFTY YEARS AGO
+
+
+In recalling Liszt's playing I cannot help noticing the marked
+difference in modern rates of tempo as compared with those which were
+considered authentic fifty years ago. This is noticeable in many of
+Chopin's compositions, especially the larger ones, such as the sonatas,
+ballades, fantasies, etc., with all of which I am very familiar, having
+heard them played not only by Liszt in Weimar, but in other German
+cities, and by artists of the highest rank, many of whom were
+contemporaries and personal friends of Chopin. They all seemed to adopt
+a certain rate of speed, as if in conformity with the composer's
+intention, and it was in agreement with my own intuitions. Dreyschock
+and Liszt had often heard the composer play his own pieces and must
+certainly have been familiar at least with his rates of tempo. I was
+very close to the Chopin day, having been in Germany only a few months
+when he died. Two of my teachers and nearly all of the musicians I had
+met were his contemporaries and had heard him play his own compositions.
+I certainly ought to have the Chopin traditions.
+
+
+
+
+ELECTROCUTING CHOPIN
+
+
+[Illustration: Autograph of Edvard Grieg]
+
+The question is, Should Chopin be played in accordance with the spirit
+of the time in which he lived, should his works be played in the tempo
+in which he played them, or, because electricity has brought about so
+many changes and has enabled us to do so many things much more rapidly
+than formerly, should Chopin's music be electrified, or, as it seems to
+me, electrocuted? I think there is a general tendency to play the rapid
+movements in Chopin, and, in fact, in all composers not of the extreme
+modern type, too fast. To play these movements rapidly and give the
+phrases with absolute clearness, one must have such breadth, command of
+rhythm, and repose in action that he can put the tones together like a
+string of pearls, so that each is rounded into shape, and the
+phrase is a complete and definite series of tones, and not like a lot of
+over-boiled peas, so soft that they all mash together. In too rapid
+playing the effect of speed is lost. The Chopin "Waltz in D Flat Major"
+is often played much too fast. The theme is said to have been suggested
+to the composer by a lap-dog in his room suddenly beginning to chase his
+tail. Whether true or not, the story is suggestive. Destroy the contour
+of that waltz by playing it at too high a rate of speed, and the dog is
+no longer chasing his tail, but dashing aimlessly about the room.
+
+Nor should the tempo be too slow. Slow movements are effective, but
+sufficient animation must prevail to impart life and fervency to the
+music. A stream may flow so sluggishly that the water loses its
+clearness. This is not repose, but stagnation. During the musical season
+of 1899-1900 in New York I heard modern pianists play some of Chopin's
+compositions so slowly that the effect produced upon me was like that
+of a music-box running down. One endures it for a while, but finally is
+wrought up to such a feeling of impatience as to induce the exclamation,
+"Either stop that thing altogether or wind it up."
+
+
+
+
+TEMPO RUBATO
+
+
+In modern times there is also a tendency to excessive use of tempo
+rubato.
+
+I have recently heard the second part, of Chopin's "C Sharp Minor
+Scherzo"--the choral with arpeggio passages--played by a celebrated
+pianist in such a way that, mathematically adjusted, about one measure
+was added to every section of four.
+
+The player was afterward highly extolled on account of his wonderful
+rubato effects. The truth is that he was all the while simply playing
+mathematically out of time. Rubato ("robbed") is a slight modification
+of rhythmic flow in alternation with a corresponding compensation; it is
+like excitement in verbal narrative; it is alternately losing and
+making up, but within judicious bounds, so that in the end the balance
+is preserved. The nature of music is essentially "tune and time"--in
+other words, emotion and intelligence, or heart and head, in loving and
+well-balanced combination. These conditions are absolute and can never
+be violated without disaster. Hence a true rubato must be played in
+time, but accommodatingly.
+
+
+
+
+UNUSUAL PUPILS--TRANSPOSING--POSITIVE AND RELATIVE PITCH
+
+
+I once gave to an intelligent pupil the task of transposing one of
+Bach's inventions into various keys. My directions were that at her next
+lesson she should be prepared to play it successively in three or four
+different keys. As she came to my studio for her lesson but once a
+month, there was ample time for preparation, and she succeeded in
+accomplishing the feat with ease and without error. But, more than this,
+she continued her transposing until she had completed the round of all
+the twelve keys without a mistake--a rare and creditable performance,
+deserving the emulation of all young ladies and gentlemen engaged in the
+study of musical development and the cultivation of pianoforte technic.
+
+Another case is that of a young lady pupil not remarkably musical, but
+who has an ear for positive pitch. By this is meant that she could
+immediately name the pitch of any tone on hearing it sung or played. All
+competent musicians possess the power of relative pitch. I mean by this
+that if a definite pitch is given to one who has a musical ear, the
+pitch of any other tone immediately following or sounding in connection
+will be instantly perceived, and the interval between the two tones--in
+other words, their pitch relationship--at once understood.
+
+[Illustration: THE STUDIO IN THE STEINWAY BUILDING--WEST SIDE]
+
+The power of positive pitch has been regarded by many as a very
+desirable gift, but judging from the experience of the pupil of whom I
+am writing, it would appear to be just the other way. This young
+lady, to whom I had also given the task of transposition into various
+keys, complained, on coming for her next lesson, that the effect upon
+her was very disagreeable, in fact, extremely painful. She explained
+that she was obliged to look at the music on the pianoforte-desk while
+transposing, and that on account of her quick perception of positive
+pitch she heard in companionship both the tones of the original key and
+those of the key to which she was transposing, thus producing a jargon
+and discord which was distressing. This at first seemed very strange to
+me, indeed almost incredible, but not having an ear for positive pitch
+myself, either by nature or through cultivation, I could not judge from
+personal experience, so, having confidence in her sincerity, simply gave
+her assertion credence.
+
+Later on, however, her statement received confirmation through the
+authentic testimony of a German musician and conductor of high eminence.
+At the time this gentleman came to our country, somewhat over fifteen
+years ago, the standard of concert pitch was slightly lower in Europe
+than with us. Since then it has been adjusted and is now uniform the
+world over. This discrepancy caused our German friend extreme annoyance,
+for having an acute and delicate perception of positive pitch, it pained
+and confused him to hear the familiar symphonies and other works of the
+great masters played in a higher pitch than that to which he had become
+accustomed. This is, therefore, the penalty for an ear for positive
+pitch.
+
+Some of the greatest musicians have possessed this faculty, notably
+Mozart, but others of equal rank were without it. Of course a musical
+ear of the most delicate sensibility as to relative pitch is common to
+all of them, and this by the grace of God, as the Germans happily
+express it.
+
+Another case is that of a lady having by nature an ear for positive
+pitch, who occasionally attends church with me. She is constantly
+disturbed by the difference of pitch between the tones of the organ and
+the pitch indicated by the notes of the tones in the hymn-book. She
+reasons that either the tones of the organ are above standard pitch or
+else the organist transposes the music. At any rate, the two vary by the
+interval of a semitone.
+
+Theodore Thomas is not only able to detect the disagreement, but at the
+same time perceives whether it is by reason of transposition from the
+original key or on account of the tones of the organ differing from
+standard pitch.
+
+
+
+
+APPLEDORE, ISLES OF SHOALS
+
+
+MY first visit to Appledore was in August, 1863, two of my brothers
+having discovered the island, so to speak, the year before. We were
+enthusiastic fishermen, and during our summer vacation almost lived on
+the ocean. Furthermore, during almost the entire year I was engaged in
+teaching or in public appearances as a concert-player, so that in my
+vacation I detested the very sight or even thought of a pianoforte.
+Appledore afforded an ideal retreat where retirement verging almost on
+oblivion was possible, and thus it happened that I had spent many
+summers there before my musical vocation was brought to light.
+
+A few years later my friend Professor John K. Paine of Harvard
+University also discovered the Shoals, and from that time came year
+after year without intermission. After a year or two he had a piano sent
+down from Boston for the summer and placed in the reception-room in
+Celia Thaxter's cottage. I had the pleasure of Mrs. Thaxter's
+acquaintance, but up to that time simply in a formal way, and beyond a
+call on my arrival and one on taking leave, I had little association
+with her; Professor Paine, however, quickly formed a habit of playing
+Beethoven's sonatas to her, and she very shortly showed a delight in
+music, and especially in Beethoven's sonatas, with which she became
+quite familiar. In the year 1864 Isidor Eichberg accompanied my brothers
+and myself to the island, and that led, still later on, to Mr. Julius
+Eichberg's becoming an habitu� of the island. He brought his violin with
+him, and with Mr. Paine frequently played compositions of Bach for piano
+and violin. Finally I was drawn into the current, and played, with
+Eichberg, Schumann's and other sonatas. As I grew older I gave less time
+to fishing. Moreover, whereas I had formerly spent only a couple of
+weeks or so at the island, I now began to go early in July and stay
+until September, so that in the nature of things I could not fish all
+the time, and gradually formed a habit of playing in Mrs. Thaxter's
+cottage every day from eleven o'clock in the morning until the arrival
+of the boat, about an hour and a half later.
+
+Hers was an interesting and enthusiastic nature, which attracted to her
+many literary and artistic people. She held, in a most charming and
+informal way, what may really be called a salon. The walls of her parlor
+were covered with paintings and pictures of all kinds, many of them the
+work and gifts of personal friends. As she herself expressed it, "a
+beautiful thought was always suggested whenever and wherever she
+looked."
+
+Her love of flowers amounted almost to a passion, and no expenditure of
+time or strength given to garden work was grudged, even when the effort
+of very early rising was involved. And when did garden ever better repay
+the personal love and care of the gardener? Where were ever seen such
+radiant, waving poppies, such hundred-hued pansies, such stately and
+brilliant hollyhocks, and such fragrant sweet peas? And upon entering
+the parlor, it seemed as if one had hardly left the garden, so many and
+so beautiful were the masses of flowers.
+
+As I have said, Mrs. Thaxter was very fond of music, and every morning
+welcomed those of her friends who shared this taste to hear any artist
+who might be on the island.
+
+It was my pleasure, being so much at Appledore, to play a great deal in
+these informal ways. The doors wide open to the sun and salt breezes,
+the people sitting in the room and grouped on the piazza, shaded by its
+lovely vines, the beautiful vistas of gaily colored flowers, sea and sky
+beyond, made a charming and ever-to-be-remembered scene.
+
+Chopin and Schumann were the favorite composers, their compositions
+being constantly requested. After a while I enlarged the repertoire by
+introducing several of Edward MacDowell's smaller works. These found
+immediate favor. Some half-dozen years ago, having become acquainted
+with and thoroughly enthusiastic over the "Sonata Tragica" of this
+composer, I began to play it early in the summer on arriving at the
+Shoals. At first the audience was somewhat reserved in the expression of
+an opinion, but after a few hearings the composition found friends who
+really appreciated and enjoyed it. Being curious to ascertain what
+result a closer acquaintanceship with the work would bring about, and
+wishing to do some missionary work, I formed the resolution of playing
+it once a day during the season, and announced my intention to the
+audience. With but the exception of a few days, the scheme was carried
+out, and with gratifying success, for the "Sonata Tragica" became
+eventually the favorite of the majority, and it was constantly called
+for.
+
+One or two ladies who found it tedious at the outset became thorough
+converts, and finally experienced genuine musical enjoyment from it. On
+the publication of the "Sonata Eroica" a few years later a similar
+result was reached, but not in the same degree as in the case of the
+"Tragica."
+
+This incident is related to illustrate the remarkable effect of musical
+surroundings and the great advantage of living in a musical atmosphere.
+Here were people of intelligence and culture who, under adverse
+circumstances, would not have appreciated the beauty of these
+intellectual works, but who after closer association were led to
+perceive their beauty and who learned to love them.
+
+Sundays were celebrated by the playing of Beethoven's sonatas. Every
+one seemed to look forward to and enjoy these pleasant mornings. Mrs.
+Thaxter was a delightful hostess, and possessed the rare quality of
+bringing out the best in those about her.
+
+During the summer of 1894 Mrs. Thaxter seemed as well and active as
+usual, still working in her garden, still the lively center of her group
+of friends and admirers. One day she did not appear, nor the next, and
+then we heard she had peacefully passed away.
+
+None who were at Appledore then will easily forget that 26th of August,
+nor the day she was buried on her island home.
+
+The funeral service was held in the well-known sitting-room; the address
+was made by her old friend the Rev. Dr. James De Normandie, and, by
+request of her sons, I played Schumann's "Romance in F Sharp," and
+Dvo[^r]�k's "Holy Mount,"
+
+    The tides of Music's golden sea
+    Setting toward Eternity.
+
+When the simple service was over the coffin was followed by her old and
+faithful friends and the island fishermen to the grave by that of her
+father and mother. The long procession of people, through the gray mist,
+winding in and out along the rocky way, the leaden sky and sea, the
+hushed voices of the children, usually ringing out so merrily from rocks
+and hotel piazzas, accentuated the sense of our loss.
+
+At the grave, all lined with bayberry and flowers, the coffin was
+lowered, and each of those present came forward and laid upon it a few
+of the flowers she loved so dearly.
+
+
+
+
+MUSIC IN AMERICA TO-DAY
+
+
+A year or two ago a young lady came to my studio and asked for a single
+lesson. She told me that she had been studying in Germany for some
+years, and named the city, which is one of the well-known musical
+centers. She was then going to the West on her way home, and stopped a
+day over in New York expressly for a lesson from me. I heard her play
+several pieces, and was surprised and pleased with her manner and style.
+She phrased with intelligence and gave due attention to rhythmic
+requirements. Her tone was large, full, and musically resonant, and
+could not have been produced otherwise than through the agency of the
+upper-arm muscles, which were constantly in active use. The flexibility
+and elasticity of hands and wrists were also apparent, and finally the
+evident repose in action of all of these qualities capped the climax. I
+said to her: "My dear young lady, I cannot add to your playing, for it
+is already finished and artistic. I might possibly suggest a different
+rendering in certain parts, but, after all, this would amount only to a
+matter of taste. If you had studied exclusively under my guidance for a
+course of years, and I had succeeded in doing my best, aided by your own
+intelligence and careful practice, I should have sought to bring about
+just the result which you have reached. I think your teacher must be a
+young man." "He is," she replied; "but why?" "Because," I answered, "his
+method is free from the stiffness and rigidity of the old German school.
+Has he, perhaps, a method of his own?" Her immediate reply was, "He uses
+your method." She also told me her teacher's name, which I have now
+unfortunately forgotten. I think this teacher deserves to have more
+pupils!
+
+But the time has gone by when it was necessary for students of the piano
+to go abroad to complete a musical education. There are now teachers of
+the piano of the first rank in all of our principal cities, who secure
+better results with American pupils than foreign teachers do, because
+they have a better understanding of our national character and
+temperament. Such men among my own former pupils are E. M. Bowman in New
+York, S. S. Sanford in New Haven, W. S. B. Matthews and William H.
+Sherwood in Chicago, and many others who are distinguished in their
+profession as teachers, and who have done and are doing much in
+furtherance of sound musical education and in the cultivation of a
+refined, musical taste in America. Our country has also produced
+composers of the first rank, and the names MacDowell, Parker, Kelley,
+Whiting, Paine, Buck, Shelley, Chadwick, Brockway, and Foote occur at
+once to the mind. Enormous progress in the art and science of music has
+been made in America since I began my studies in Germany in the year
+1849. Our teachers meet in great numbers in convention during the summer
+months and in summer schools and classes, and it is difficult to
+overestimate the beneficent results which flow from these assemblies.
+They create a musical atmosphere, in which teachers and pupils live and
+move and have their being. They afford opportunities for the intelligent
+discussion of mooted questions and for the interchange of ideas, and
+lead to a wider dissemination of the best educational methods.
+
+[Illustration: Autograph of Kneisel Quartet]
+
+Harvard, Yale, Columbia, and Princeton all have their chairs of music,
+and doubtless this is true of others of our universities and colleges.
+The city of New York has become one of the great musical centers of the
+world. The Philharmonic Society, the opera season, the Kneisel Quartet,
+and many others of high artistic merit, afford opportunities for the
+gratification of musical taste which are hardly to be excelled
+elsewhere; and the popularity of these and of the countless pianoforte
+recitals and chamber-music concerts bears eloquent testimony to the
+growth of an intelligent musical taste among us. Boston and Chicago have
+their world-renowned orchestras, led by Gericke and Thomas, who are
+passed masters of their art. The cities of Pittsburg, Cincinnati, and
+St. Louis have their orchestras, each under competent leadership. The
+most celebrated artists at home and from abroad are heard in our
+principal cities. The season just closed (1900-01) is in striking
+contrast to those of my early manhood. Among the many prominent pianists
+who have played to us there are some of extraordinary talent, who give
+abundant promise of brilliant future achievement.
+
+Ernst von Dohn�nyi, born at Pressburg, July 27, 1877, is a wonderfully
+talented musical composer and at the same time a pianist whose technic
+is complete, combining as it does the emotional, intelligent, and
+mechanical elements in happy union and adjustment. Von Dohn�nyi has by
+nature as intense, thorough, and complete a musical organization as
+ever came within my experience. He composes with marvelous spontaneity
+and rapidity. His ideas are fresh and original, and their expression and
+elaboration are effected with the freedom of an improvisation, thus in
+no way emphasizing their mechanical setting forth.
+
+He is just completing, in the twenty-fourth year of his age, an
+elaborate symphony in D minor for grand orchestra, the scheme of which
+is as follows: I. Allegro; II. Adagio; III. Scherzo; IV. Intermezzo; V.
+Finale: Introduction, Tema con Variazioni; Fuga.
+
+This is a massive production, apparently the result of inherent
+qualities carried into act by impulse, in other words, of spontaneous
+achievement. It is so instinctive and impulsive that the art of its
+construction hardly occurs to the hearer at first, but as an
+afterthought excites wonder and admiration.
+
+Early in March of the present year (1901), Von Dohn�nyi, his wife, and a
+few other friends, among them Emil Pauer, dined at my house, and during
+the evening Von Dohn�nyi played his symphony on the pianoforte. This
+instrument is naturally quite inadequate to the interpretation of such a
+work, but Von Dohn�nyi's technic is so complete, his tone so massive
+while intensely musical, and his enthusiasm so contagious that we became
+conscious of an ever-increasing interest, steadily growing in intensity.
+The occasion and its experience will not be forgotten by any of those
+present.
+
+A week later the Von Dohn�nyis spent the evening with us just before
+their departure on the following day for Europe, and he played again a
+portion of the work, deepening and confirming the impression made at the
+first hearing. The future of this young man is full of promise. His
+teacher in composition was Hans Koessler in Pesth; his pianoforte
+teacher was Stephen Thom�n of the same city. Later on he had eight
+lessons of Eugen d'Albert in Berlin, after which the latter said to him:
+"You can go on by yourself now; I have taught you all I can."
+
+Leopold Godowsky is a pianist of the first class, but above all he is a
+specialist, and altogether unapproachable in his specialty. His left
+hand is in every respect the equal of his right, and passages of extreme
+intricacy and rapidity come out with an astonishing clearness of detail.
+Nothing in his work, however minute, is slighted, but musical expression
+and finish of execution are above criticism. His specialty is his
+rearrangement and working up of many of Chopin's �tudes in such manner
+that several of the various themes of these are, so to speak,
+intertwined. In some instances three different melodies can be heard
+progressing simultaneously in loving union, with a smoothness, delicacy,
+and accuracy in counterpoint which is simply marvelous. There is never a
+suspicion of haste in his playing, no matter how rapid the rate of
+speed. His manner is full of repose--respectful, earnest, and
+sympathetic; thus there is no suggestion of violence to the composer's
+original production.
+
+I know that among my best friends, whose judgment I esteem, there are
+some who do not hold the same opinion, and who think that the
+composer's work should be left intact. It seems to me, however, that
+much depends upon the manner of treatment. The French proverb runs: "Il
+y a fagots et fagots"; or, in the more homely phrase of dear old Boston,
+"There are beans, and then there are beans." Moreover, the fact that
+these compositions are �tudes (studies), and therefore avowedly for the
+purpose of developing physical technic as well as poetic style, should
+be duly considered in judging of their _raison d'�tre_. Similar
+treatment of the sonatas, ballades, and nocturnes would surely be a
+different thing. Furthermore, the solid and dignified Brahms--one of the
+three B's of B�low's trinity--set an example, by rearranging a rondo by
+Von Weber, which he turns upside down, so to speak, making a bass of
+what in the original is the right-hand part. Brahms has also utterly
+destroyed the charm of Chopin's "�tude in F Minor, Op. 25, No. 2," which
+lies in the very rapid and delicately pianissimo playing of passages of
+triplets in the right hand as against duals in the left. In the original
+these passages are throughout of single tones in both hands, and hence
+can be performed in the most dainty and fascinating manner; but Brahms
+has changed the right hand part to double thirds and; sixths, thus
+completely altering the character of the music, and doing violence to
+the exquisitely light, delicate, and graceful effect of the original
+version. In passing judgment upon the work of Brahms, however, it must
+not be forgotten that he publishes this in company with several other
+arrangements, under the general title, "Studien f�r das Pianoforte,"
+thus indicating that his object is the development of physical technic.
+
+In this connection, I remember Rubinstein's telling me as long ago as
+1873, in the artists' retiring-room during one of his recitals at
+Steinway Hall, that he used in his boyhood's days "to do all sorts of
+things with Chopin's �tudes," as he expressed it, "in order to exercise
+and strengthen the fingers." By way of illustration, he went to an
+upright piano which happened to be in the room, and began playing with
+his left hand alone the right-hand part of the chromatic-scale �tude;
+"Op. 10, No. 2," and this he did with fluency.
+
+Godowsky has played his arrangements to me on several occasions at my
+studio and at home _en famille_, and has invariably produced a state of
+happy good humor which was of long duration and which in large measure
+returns to me as I write.
+
+April 20, 1901. Yesterday evening I attended the farewell concert of
+Ossip Gabrilowitsch, the talented young Russian pianist. He was at his
+best, and proved his right to stand in the front rank of modern
+pianists. His playing throughout of a program of compositions of
+Beethoven, Brahms, Chopin, and Liszt was masterly, combining as it did
+genuine musical quality, intelligence in phrasing, and great brilliancy,
+as well as poetry in interpretation. He is yet a young man and has not
+reached the full climax of his power, and will doubtless show still
+further development in the next few years. Other pianists who have
+played in New York during the season of 1900-01, and who deserve to be
+classed with the highest, are Harold Bauer, who has deservedly won a
+very high reputation through his splendid ability in all styles of piano
+music, and Arthur Friedheim, whose recent concert was brilliant in high
+degree, and who on that occasion gave an interpretation of Liszt's great
+"Sonata in B Minor" which it seems to me was not surpassed by the master
+himself--and I have heard Liszt play this work many times. Richard
+Burmeister also gave a masterly interpretation of this same sonata
+earlier in the season. This is the sonata, by the way, of which mention
+has been made, in the earlier part of these "Memories," as having been
+played by Liszt on the occasion of the first visit of Brahms to Liszt,
+in the year 1853.
+
+We have also had Teresa Carre�o, Adele aus der Ohe, and Fannie
+Bloomfield-Zeisler, all of them of the first rank and established
+reputation. Of these the first-named is a friend of long standing, for
+my first acquaintance with her dates back to the early sixties, when she
+first came to New York as a child prodigy. I well remember the
+impression she made upon me at that time, both from her artistic playing
+and her charming appearance in short dresses and "pantalets," the
+fashion for children of that day. A friendship was immediately begun and
+established, which still continues.
+
+Josef Hofmann, with his tremendous technic and executive skill, has
+given pleasure to many; and Arthur Whiting, Howard Brockway, and Henry
+Holden Huss have ably upheld the reputation of American virtuosos and
+composers.
+
+In bringing these papers to a close, I desire to make my grateful
+acknowledgment to the friends and pupils of many years who united in
+celebrating the seventieth anniversary of my birth by presenting me with
+a beautiful silver loving-cup, which I fondly cherish as an evidence of
+affectionate regard, and which will be ever filled and overflowing with
+loving memories, not alone of those who united in the gift, but of the
+many others whom I have known in the course of an unusually long
+professional career. To one and all I offer my heartfelt thanks.
+
+
+
+
+APPENDIX
+
+
+PART I
+
+
+EARLY LIFE OF LOWELL MASON
+
+     ADDRESS OF WILLIAM S. TILDEN, PRESIDENT OF THE MEDFIELD HISTORICAL
+     SOCIETY, AT CHENERY HALL, MEDFIELD, FRIDAY, JANUARY 8, 1892, THE
+     CENTENNIAL ANNIVERSARY OF THE BIRTH OF DR. LOWELL MASON
+
+
+FELLOW-CITIZENS: Most that has been hitherto said and written has been
+rather concerning the public and professional career of Dr. Mason; and
+we shall doubtless have presented many interesting mementos to-day, in
+letter and address, relating to those things in which he is most
+generally known. What I have to present in this paper will refer
+particularly to his birth, parentage, and early surroundings, of which
+comparatively little has been said.
+
+[Illustration: LOWELL MASON
+
+FROM A DAGUERREOTYPE]
+
+Lowell Mason was of English descent, being in the sixth generation from
+Thomas Mason and Margery Partridge. Thomas, born in England, was the son
+of Robert, who settled in Dedham, from whence he, with his brother
+Robert, came to Medfield in the second year of its settlement. The
+marriage of Thomas Mason and Margery Partridge, April 23, 1653, is the
+first recorded marriage in this old town. He received his house-lot by
+original grant from the town. It was upon North street, where Amos E.
+Mason now lives, the homestead having never been out of the possession
+of the Mason family. Thomas Mason and two of his sons were killed by the
+Indians on that fateful morning in February, 1676, when the town was
+burned. His eldest son was killed the following year, while fighting the
+Indians at the "Eastward" (now Maine), leaving one boy, Ebenezer, who
+was seven years of age only when his father was killed, and who,
+therefore, became the progenitor of the line from which Lowell Mason
+sprang. The son of this Ebenezer, Thomas Mason, left the homestead on
+North street, and settled in the extreme northeast corner of the town,
+at what is now known as the Charles Newell place. He married the
+daughter-in-law of Samuel Sady, who kept a tavern on North street, where
+the Pfaff mansion now stands; and his son Barachias, grandfather of
+Lowell, inherited, through his mother, that place, and settled upon it,
+where he lived with his son Johnson, father of Lowell. There the man
+whose nativity we celebrate to-day was born. The building has been
+preserved, and is, no doubt, the "farm-house," so called, on Adams
+Avenue.
+
+The first twenty years of his life were spent in his native town of
+Medfield; and very little has ever been written about this portion of
+his life, and much of that somewhat incorrectly. His biographers seem to
+have endeavored to add to his fame by magnifying his want of
+opportunities for education and culture in his youth. In a discourse
+upon Mr. Mason's life and labors, the Rev. George B. Bacon, his pastor,
+says: "Mr. Mason had no advantages of education. He was the son of a
+mechanic in a small New England town. He began almost in his cradle that
+fight for a living which left small opportunity for study or culture."
+Another writer says: "He spent twenty years of his life doing nothing
+but playing upon all sorts of musical instruments, and there was no one
+to teach him their use." We feel inclined to believe that these
+statements were half-truths only, and are not a complete statement, by
+any means, of the conditions and pursuits of his youth.
+
+We think it can be shown that while Medfield is proud of having such a
+son, he was fortunate in having such a birthplace. We believe in the
+influence of heredity in genius, but also in the influence of
+environments. He was especially favored in both these respects,
+descending for generations from an honored ancestry and surrounded in
+his youth by educated people of high moral and religious character. His
+parents were in fairly comfortable circumstances, and he was, as is
+usual in such cases, permitted considerable freedom in following the
+promptings of his natural genius, which, springing as he did from a
+musical family, early showed tendency toward that branch of art.
+
+Dr. Holmes says: "If we wish to educate a boy properly, we must begin
+with his grandfather." Barachias Mason was a graduate of Harvard
+University in 1742, but one hundred and fifty years ago. He was a
+schoolmaster, a teacher of singing-schools, and a selectman of the town
+for several years. This certainly is a fair start, on Dr. Holmes's
+principle. His son, Colonel Johnson Mason, Lowell's father, lived with
+him, and inherited the homestead, where he kept a public school for many
+years. He was a merchant. In this pursuit, it seems, young Lowell
+assisted him in his boyhood, as we learn that, on the occasion of his
+narrow escape from drowning in 1806, he was out with a team on business
+for his father, near what is now poor-farm bridge, where he was rescued
+from a watery grave by two boys about his own age after having sunk for
+the third time. Colonel Mason manufactured straw goods to some extent.
+He was also an ingenious mechanic, inventing some useful machines used
+in the straw business of those days. He was town clerk for nineteen
+years, town treasurer, and a member of the legislature; he was a
+musician, a player on musical instruments, particularly the violoncello,
+and, together with his wife, sang in the parish choir for more than
+twenty years. When the musical talent of the town united, on a
+Fourth-of-July occasion in 1840, to supply the music, Colonel Mason
+stood at the head of the basses, although then over seventy years of
+age. He was also a prominent military man, commissioned captain in 1800,
+and lieutenant-colonel in 1803. It will thus be seen that he was one of
+the most intelligent and influential men in the town.
+
+So much for the parentage; now for the neighborhood influences about the
+Mason family. The nearest neighbor was the Rev. Thomas Prentiss,
+minister of the old parish church from 1770 to 1814, and who sent four
+boys to Harvard College, one of whom was of Lowell Mason's own age, a
+schoolmate and playmate. His seatmate in the North School, which he
+attended, and a lifelong friend, was the late Joseph Allen, D.D., of
+Northboro, Massachusetts, who ever said that Lowell Mason was one of the
+best scholars in the school; and the schools of the town being then
+under the supervision of Dr. Prentiss, they were doubtless fairly good
+schools. Ellis Allen, another friend and schoolmate, said that Lowell
+Mason was the most popular and talented, as well as the handsomest,
+young man in town. The next neighbor on the other side was George
+Whitefield Adams (brother of the celebrated historian, Hannah Adams),
+who built organs at his homestead, where Dr. Bent now lives; and,
+without doubt, Lowell was familiar with that instrument, as he was with
+many others--the violin, violoncello, flute, and clarinet particularly.
+He led the Medfield Band in his day, playing the clarinet. Mr. Adams
+went to Savannah in 1812, accompanied by Nathaniel Bosworth of this
+town, and young Mason went with them, journeying the entire distance
+with horse and wagon. Another near neighbor was Amos Albee, a
+schoolmaster and musician of some note in those days, author of "Norfolk
+Collection of Church Music." He assisted Mason in his musical studies,
+as reliable accounts inform us. Libbeus Smith, a relative of the Mason
+family, was also a singing-master here during the early years of this
+century. James Clark, a fine player on the violin, lived in Medfield in
+those days. From these facts it is easy to determine that, though the
+musical advantages of the times would not perhaps satisfy the demands of
+modern culture, yet the place was by no means devoid of influences
+calculated to encourage the special development of a young man musically
+inclined.
+
+Lowell Mason commenced teaching singing-schools when only a boy. He led
+the parish choir when about sixteen years of age, and conducted the
+music at the ordination of Dr. Ranger of Dover in 1812, writing an
+anthem for the occasion, aided, it is said, by his neighbor Amos Albee.
+The Medfield Choir assisted at these ceremonies, Mr. Ellis Allen and his
+wife, from whom this account is obtained, being among them on that day.
+Lowell's two brothers, Johnson and Timothy, were also good musicians,
+and remained prominent in the church choir, both socially and
+instrumentally, for many years after he left Savannah. They became
+musical leaders in Cincinnati and Louisville. The old choir in those
+days was large, and it was made up from the most influential people in
+the town, which is an excellent thing for a church choir. The following
+are some of those who were members of it while young Mason took charge
+of the music: his father and mother, with his two brothers above named;
+Major Fiske, father of the late Captain Isaac Fiske; Captain William
+Peters, grandfather of Mr. William P. Hewins; Captain Wales Plimpton,
+father of Deacon G. L. Plimpton; Oliver Wheelock, a merchant of the
+town; Amos Mason, father of A. E. Mason; Ellis Allen, father of the
+Allen brothers, from whose reminiscences we gather many of these facts.
+The old choir, it will be seen, was highly favored, in a military point
+of view, having a colonel, a major, and two captains. Mr. Mason often
+said, in after years, that there was more musical talent in Medfield
+than in any other town of its size in the State. This we can with
+confidence believe.
+
+It is not, therefore, strange, with his inherited tastes and capacities,
+and surrounded as he was by musical people, that he should devote much
+of his time to music. It was his common practice, tradition tells us, to
+play from the meeting-house steps, summer evenings, upon the flute or
+clarinet, to the young people who would congregate around the
+locality--in this way, doubtless, doing much to contribute to the growth
+of a musical taste among the companions of his youth. The atmosphere of
+liberal culture which characterized his neighborhood aided him in taking
+a more intelligent view of musical matters, without which natural
+abilities, and even special training, produce comparatively meager
+results; and the young person who knows nothing but music cannot expect
+a very high place in public estimation.
+
+That he had much ability as a practical musician is shown by the fact
+that when he went to the South he was able to give entertainments with
+his voice and violoncello alone, which brought him at once to the front
+with the musical public in Savannah; and his tact, executive ability,
+and intelligence gave him a position as teller in a bank. About this
+time the conscious purposes of his life were changed, and the mode of
+life characteristic of his early years gave place to one of deep-seated
+religious convictions. He became a member of the Presbyterian Church in
+Savannah, where he held the position as director of music for many
+years. He was also superintendent of the first Sunday-school ever formed
+in that city.
+
+As an instance of his natural tact and shrewdness, it is related of him
+that while a resident of Savannah he undertook the instruction of a new
+band that was being formed somewhere in that region. On the first
+evening a considerable number of instruments were brought in with which
+he was unacquainted, and some of them, even, he had never heard of. He
+got over this difficulty by telling the owners of them that it would be
+necessary for him to take them all home, that they might be "fixed and
+toned up." When he brought them back, at the next meeting, he had
+mastered them all, and proceeded to give his instructions accordingly.
+
+He had a remarkable degree of personal magnetism, which gave him that
+wonderful control which he possessed over classes and conventions. When
+he taught or lectured, all eyes were upon him, all ears were attentive,
+all wills were moved by his. This, with his natural aptitude for
+teaching, gave him the prominence which he so readily won in the chief
+cities where his mature life was spent. Soon after his return to
+Boston, about 1827, after fifteen years' sojourn in Savannah, he
+attained great popularity as a singing-teacher. He organized a class for
+the well-to-do ladies and gentlemen of Boston who wished to perfect
+themselves in music, the instruction to be by the new method, and
+gratuitous. Five hundred singers attended, and at the close voted him a
+bonus of five dollars each, or twenty-five hundred dollars for the term.
+He was in constant demand as a teacher and director, and it would be
+strange if those who had occupied the field before him, and who were now
+compelled to take a back seat or migrate to "fresh fields and pastures
+new," should not manifest some feeling of opposition. This he had to
+meet, in one form or another, during his twenty-five years' residence in
+Boston. The writers on musical matters during that period show very
+plainly that such was the case, often giving expression to personal
+feeling.
+
+But as a teacher he had no superior, and but few equals, in this
+country; and this not only musically speaking, but pedagogically as
+well. Horace Mann said he would walk fifty miles to see him teach if he
+could not otherwise have that privilege. Secretary Dickinson, of our
+State Board of Education, says: "My first notions of what good teaching
+is were derived from seeing Lowell Mason give a singing-lesson"; and
+this although our honored secretary has no knowledge of musical tones.
+George J. Webb, one of the best musicians in Boston, and himself
+associated with Mr. Mason for many years as a teacher in the Boston
+Academy of Music, said that he had seen him teach hundreds of times, but
+never without astonishment at his wonderful power before a class. Dr.
+George F. Root says that he always became intensely interested in
+listening to Mr. Mason teaching even so simple a thing as the property
+of long and short musical sounds. The writer of this sketch was himself
+a member of the Boston Academy of Music at its latest session in 1851;
+and it is not too much to say that he has never seen any one, from that
+day to this, manifest such ability to hold a large class of teachers
+and musicians to the consideration of the topic under discussion.
+
+He was employed by the State Board of Education to teach music in the
+normal schools and in the teachers' institutes for many years. Through
+his influence singing was introduced into the Boston public schools as a
+regular branch of study, which occurred in 1838. He introduced into this
+country the inductive method of teaching singing, formulating a system
+from the study of Pestalozzi and other eminent European teachers. His
+system to this day molds the instruction, to a great extent, throughout
+the United States. Modifications have been made, but the principles
+which underlie all good elementary instruction in music were undeniably
+first inculcated and placed before the people by him. He had, and still
+has, a wide reputation; but it is not greater than his genius.
+
+While we acknowledge with pride the honor bestowed upon the town of his
+nativity, on the other hand, we think that this "obscure New England
+village" is entitled to some credit for the formative influences which
+sent forth such a son. Some one has said: "The first great requisite to
+a man's amounting to anything is to be well born." He was born of the
+sturdy yeomanry of Medfield. We cannot but think that the influence
+emanating from the men, his neighbors and early counselors, who made the
+old town what it was a hundred years ago, and what it is even down to
+the present, contributes no little to the successful career of him whose
+centennial we celebrate to-day.
+
+
+
+
+PART II
+
+LISZT'S LETTERS
+
+
+     MY DEAR SIR: It will certainly give me great pleasure to see and
+     hear you again at Weimar, but I trust that you will excuse me if I
+     do not accept the proposition you make, that of giving you regular
+     lessons, from which, moreover, I fancy you would have little to
+     gain.
+
+     As for your idea of settling for some time at Weimar, it would be
+     well for me to discuss it a little with you before you carry it
+     out. The distance from Leipsic being so short, it would cause you
+     but little inconvenience to pay me a short visit here, in the
+     course of which it will be easy for me to say exactly what I
+     believe will be best for you.
+
+     Accept, my dear sir, the expression of my feelings of esteem and
+     consideration for you.
+
+     F. LISZT.
+
+     WEIMAR, August 3, 1851.
+
+
+     DEAR MR. MASON: Your welcome letter gives me very hearty pleasure,
+     and I beg you to rest assured of the continuance of my most
+     affectionate feelings for you.
+
+     I often hear of your triumphs in America, and I rejoice to know
+     that your talent is rightly appreciated and praised. Your
+     compositions have not reached me yet, but I am all ready to make
+     them very welcome.
+
+     In a fortnight I start for Weimar. The Tonk�nstler Versammlung is
+     to take place this year at Meiningen, from the 22d to the 25th of
+     August. I shall attend it, as also the Wartburg Jubilee Festival,
+     at which my oratorio "Sainte Elisabeth" will be given on the 28th
+     of August. Perhaps I may meet there Mr. Theodore Thomas and Mr. S.
+     B. Mills, of whom you have spoken to me. The ability of Mr. Thomas
+     I have heard highly praised; I have to thank him particularly for
+     the interest which he takes in my "Po�mes Symphoniques." Those
+     artists who desire to give themselves the trouble of understanding
+     and interpreting my works are separated, by that alone, from the
+     ranks of the commonplace. I, more than any one, owe them gratitude,
+     and I shall not fail to show it to Messrs. Thomas and Mills when I
+     have the pleasure of making their acquaintance.
+
+     The news which reaches me from time to time of musical things in
+     America is usually favorable to the cause of the progress of
+     contemporary art which I am proud to serve and uphold.
+
+     It seems that with you chicanery, blunders, and stupidity of a
+     criticism perverted by ignorance, envy, and venality, exercise less
+     influence than in the Old World. I congratulate you on it. May you
+     successfully follow the noble career of an artist with industry,
+     perseverance, resignation, modesty, and an unshaken faith in the
+     Ideal--such as you showed in Weimar, dear Mr. Mason.
+
+     Your truly affectionate and devoted
+
+    FR. LISZT.
+
+    ROME, July 8, 1867.
+
+
+     DEAR MR. MASON: Mr. Seward has brought me your welcome letter and
+     several of your compositions. These give me double pleasure, for
+     they show that your time at Weimar has not been lost and that you
+     continue to make good use of it elsewhere.
+
+     "L'�tude de Concert, Op. 9," and "Valse Caprice, Op. 17," are
+     distinguished in style and of good effect. I can also sincerely
+     praise the three preludes (Op. 8) and the two ballades, but with
+     some reservation. The first ballade appears to me a trifle
+     curtailed.
+
+     There is a certain something lacking at the beginning and toward
+     the middle (page 7) which is necessary to make the _motif_ stand
+     out again, and the pastorale of the second ballade (page 7) figures
+     there rather as padding--_embarras de richesse!_
+
+     And, since I am criticizing, let me ask why you entitle your "Ah,
+     vous dirai-je Maman," "Caprice Grotesque"? Beyond the fact that the
+     grotesque style should not intrude in music, this title does
+     injustice to the ingenious imitations and harmonies of the piece
+     which is otherwise so charming; it would be more fitting to call it
+     "Divertissement" or "Variazione Scherzose."
+
+     As to the "Method," you do not, of course, expect me to make an
+     exhaustive study of it. I am much too old for that, and it is only
+     in self-defense that I occasionally try the piano--considering the
+     incessant fatigue caused me by the indiscretion of a crowd of
+     people who imagine that nothing can be more flattering to me than
+     to amuse them!
+
+     Nevertheless, in going through your "Method," I find highly
+     commendable exercises, notably the _interlocking passages_ (pages
+     136-142) _and all the accentuated treatment_ > > > > _of
+     exercises_. May your pupils and editors derive thence all the
+     benefit they should.
+
+     A thousand thanks, dear Mr. Mason, and rely on my very affectionate
+     and devoted feelings as of old.
+
+     F. LISZT.
+
+     ROME, May 26, 1869.
+
+
+     It will give me genuine pleasure to see you again, dear Mr. Mason.
+     Next week I return to Weimar and shall remain there as usual till
+     the middle of July.
+
+     Therefore, suit the time of your visit to your own convenience. I
+     beg you to stay for several days at least.
+
+     A thousand affectionate and cordial greetings.
+
+     F. LISZT.
+
+     VIENNA, May 23, 1880.
+
+
+
+
+
+INDEX
+
+
+Allen, Thomas, 95
+
+Altenburg, the, Liszt's studio in, 93;
+  F�rstin Sayn-Wittgenstein at, 94;
+  picture of, 94;
+  Liszt pupils at, 98, 122
+
+Appledore, Isles of Shoals, Mason at, 251-258
+
+
+Bach, "Triple Concerto," 107;
+  "les agr�ments" in, 229;
+  Rubinstein and, 290;
+  Essipoff and, 232
+
+Bauer, 270
+
+Beethoven, first symphonic performance in America, 8, 13, 31;
+  Remenyi and "Kreutzer Sonata," 93;
+  Op. 106, 103, and Liszt plays, 104, 105;
+  "Eroica Symphony," Liszt's contretemps in, 120;
+  Liszt's "Young Beethoven" (Rubinstein), 171
+
+Bellman, 137
+
+Benedict, Sir Julius, 84
+
+"B�n�diction de Dieu dans la Solitude" by Liszt, Mason's copy of, 118
+
+Bergmann, Carl, 193
+
+Berlioz, autograph, 168, 169
+
+Blessner, Mr., violinist, 19
+
+Bloomfield-Zeisler, 270
+
+Boston Academy of Music, 9
+
+Bowman, E. M., 261
+
+Brahms, 127-142;
+  in 1853, 127;
+  first meeting with Liszt, 127-131;
+  MSS. illegible, 127;
+  won't play for Liszt, 128;
+  Liszt plays Op. 4 and part of Op. 1 at sight, 128;
+  Raff on Op. 4 and B.'s reply, 129;
+  dozing while Liszt plays, 129;
+  Liszt annoyed, 130;
+  wrong accounts of first meeting with Liszt, 130 and 141;
+  feat in transposing, 131;
+  and Schumann, 132;
+  Mason's meeting with in Bonn in 1880, 136;
+  pianoforte-playing, Mason's opinion of, 137, and of compositions, 139;
+  Liszt's coolness toward, 142, 194, 267, 268, 270
+
+Brockway, Howard, 261
+
+Brodsky, 151
+
+Buck, Dudley, 261
+
+Bull, Ole, 148, 149;
+  autograph, 150
+
+B�llow, Hans von, 91
+
+B�low, Von, 182, 238-241;
+  letter to Mason, 239;
+  statement about Cosima and Wagner, 240;
+  autograph, 240
+
+Burmeister, Richard, 270
+
+
+Carre�o, Teresa, 270
+
+Chadwick, George W., 261
+
+Chamber-music concerts, Mason's, 193-197
+
+Chickering, Jonas, 19
+
+Chopin, style of playing, 75, 171, 244
+
+Clauss, Wilhelmine, 64
+
+Cornelius, Peter, 145-147
+
+Cossmann, Bernhard, 63, 92, 150
+
+
+David, Ferdinand, 134
+
+Devitalized muscular action, its importance in piano-playing discussed, 20
+
+Diary, Mason's, at Weimar, 122-126
+
+Dodworth's Hall, 194
+
+Dohn�nyi, Ernst von, 263;
+  new symphony, 264
+
+Dreyschock, 65-79;
+  octave-playing, 66;
+  on Chopin's pianoforte-playing, 75, and Henselt, 77
+
+Dyer, Oliver, 184
+
+
+Eichberg, Isidor, 252
+
+Eichberg, Julius, 253
+
+Erard pianoforte, Liszt's, 88, 92
+
+Ernst, 149
+
+
+Fontaine, Mortier de, Beethoven-player, 31
+
+Foote, Arthur, 261
+
+Franck, C�sar, 122
+
+Friedheim, Arthur, 270
+
+
+Gabrilowitsch, 269
+
+Geilfuss, Louis, 182
+
+Godowsky, 265
+
+"Goldene Zeit" at Weimar, 97, 122
+
+Gottschalk, 183, 205-209;
+  "The Latest Hops," 208;
+  Characteristic letter and autograph, 208
+
+Grange, De la, 154, 157
+
+Grieg, 241;
+  autograph, 244
+
+Groenvelt, Mr., violoncellist, 19
+
+
+Handel and Haydn Society, Boston, early repertoire of, 7
+
+Handel's "E Minor Fugue," Mason's copy of, 119, 123
+
+Harvard Musical Association, repertoire of, 1846, 19
+
+Hauptmann, Moritz, 44;
+  passion for baked apples, 45;
+  _Spiegel-Canon_ autograph, 45 and 48;
+  opinion of Lowell Mason's work, 46
+
+Heckmann, 137
+
+"Heinrich, Father," anecdote of, 22
+
+Henselt, 75, and Dreyschock, 77
+
+_Herrmann_, steamer, 27
+
+Hill, Frank, 27
+
+Hoffman, Carl, 95
+
+Hoffman, Richard, 207
+
+Hofmann, Josef, 271
+
+Hummel, 172
+
+Huss, Henry Holden, 271
+
+
+Joachim, 62;
+  autograph, 64, 109, 124, 126, 137;
+  coolness between Liszt and, 142, 147
+
+
+Kelley, Edgar Stillman, 261
+
+Klauser, Karl, 202
+
+Klindworth, Karl, 89, 91, 97, 100, 107, 109, 114, 127, 141
+
+Kneisel Quartet, autograph, 262
+
+Kobb�, Gustav, X
+
+
+Laub, Ferdinand, 63, 92, 126, 150;
+  autograph, 180
+
+Leschetitsky, 70
+
+Liszt, feat of memory, 31-34, 59;
+  Mason a pupil, and reminiscences of, 86-182;
+  in middle life, portrait, 88;
+  method of teaching, 90, 97-101, 114;
+  quartet at the Altenburg, 91, and Remenyi, 93, 152;
+  Liszt pupils, 89, 96;
+  personal appearance, 101;
+  and Beethoven's Op. 106, 103;
+  and the eye-glasses, 106;
+  carefulness in dress, 107;
+  pianoforte-playing, 110-114;
+  touch and own opinion of, 114;
+  warns pupils against, _id._;
+  on technic, 116;
+  and Pixis, 117;
+  as a conductor, 119;
+  rehearsing "Tasso," 121;
+  and Brahms's first meeting, 127-132, 141;
+  and Wagner, 132, 158, 164;
+  Joachim and, 142;
+  sight-reading, 142;
+  contrition, 144;
+  musical intuition, 167;
+  opinion of Tausig, 175;
+  letters to Mason, 179, 181, and 291-296;
+  last message to Mason, 182, 184, 198, 224, 229, 243, 270;
+  "Sainte Elisabeth," 292;
+  "Po�mes Symphoniques," 293;
+  opinion of Mason's compositions, 294
+
+Liszt, Cosima, 240
+
+Lohengrin, 133, 134, 139, 146
+
+
+MacDowell, 255;
+  "Sonata Tragica," 255;
+  "Sonata Eroica," 256, 261
+
+
+Marx, Dr., 165
+
+Mason Brothers, 184
+
+Mason, Lowell, 4;
+  career of, 5-10 and 275 _et seq._;
+  Handel and Haydn Society, 7;
+  introduces music in Boston public schools, 8, 289;
+  musical instruction for the blind, 8;
+  Boston Academy of Music, 9;
+  originates musical conventions, 9;
+  fife and drum serenade to, 25;
+  work praised by Moritz Hauptmann, 46;
+  address on, by William S. Tilden, 275;
+  ancestry of, 276;
+  at Medfield, Mass., 277;
+  portrait, 277;
+  nearly drowned, 279;
+  commences teaching, 282;
+  religious views, 285;
+  tact and shrewdness, 285;
+  magnetism as a teacher, 286
+
+Mason, William, portrait, 1899, frontispiece;
+  ancestry of, 3;
+  born at Boston, 3;
+  early musical training, 10;
+  meets Webster and Clay, 11, 12;
+  portrait as a boy, 12;
+  d�but as pianist, 13;
+  piano lesson, 14, 15;
+  hints on touch, 16-18;
+  plays with Harvard Musical Association, 18;
+  hears Leopold de Meyer, 19;
+  portrait at eighteen, 20;
+  and "Father Heinrich," 22;
+  meets Miss Webb, 26;
+  sails for Bremen, 27;
+  in Paris, 27;
+  meets Meyerbeer, 28;
+  in Hamburg, 31;
+  goes to Leipsic, 31;
+  first meeting with Liszt, 33;
+  arrives at Leipsic, 34;
+  concert of the Euterpe Society changes his
+    high opinion of German musical taste, 34, 35;
+  begins studies with Moscheles, 36;
+  contrasts Schumann and Mendelssohn, 43;
+  calls on Schumann and secures his autograph, 43, 44;
+  contrasts personalities of Wagner and Schumann, 44;
+  pupil of Moritz Hauptmann, 44;
+  of Ernst Friedrich Richter, 48;
+  acquaintance with Albert Wagner, 48;
+  call on Richard Wagner in Z�rich and interview, 48;
+  impressions of Wagner, 50;
+  Wagner writes the dragon motive for him as an autograph, 55;
+  compares Moscheles and Paderewski, 59;
+  first meeting with Joachim and opinion of, 62;
+  hears Schumann's "First Symphony," 63, and pianoforte concerto, 63, 64;
+  comment on, 64;
+  decides to study with Dreyschock in Prague, 65;
+  passport difficulties, 65;
+  opinion of Dreyschock, 66;
+  remarkable pianistic feat of Dreyschock, 67;
+  upper-arm muscles in pianoforte-playing, 69;
+  comment on Leschetitsky's method, 70;
+  acquaintance with Jules Schulhoff, 71;
+  amusing experiences at Prince de Rohan's dinner, 71;
+  goes to Frankfort, 79;
+  meets Beethoven's friend Schindler, 79;
+  London d�but, 84;
+  Mendelssohn's influence in England, 84;
+  again calls on Liszt at Weimar, 86;
+  mistaken for wine agent, 87;
+  plays for Liszt, 88;
+  becomes a pupil of Liszt, 89;
+  dines with the Wittgensteins, 95;
+  acquaintance with Raff and Klindworth, 96;
+  first lesson with Liszt, 98;
+  fatigue after, 100;
+  breakfast to Joachim and Wieniawski, 109;
+  opinion of Liszt's playing, 111;
+  M.'s copy of Liszt's "B�n�diction de Dieu dans la Solitude"
+    and Handel's "E Minor Fugue," 118, 119;
+  attends with Liszt rehearsal of "Tasso," 121;
+  extracts from Weimar diary, 122-125;
+  present at Brahms's first meeting with Liszt and description of, 127;
+  attends Leipsic premi�re of "Lohengrin," 133;
+  supper at Ferdinand David's, 134;
+  "Kapellmeister of New York," 135;
+  meets Brahms at Bonn, 136;
+  opinion of Brahms as pianist and composer, 137-141;
+  acquaintance with Cornelius, 145;
+  reminiscences and opinion of Joachim, Vieuxtemps, Ole Bull, Sivori,
+    Ernst, Wilhelmj, Henri Wieniawski, Laub, Cossmann, and Brodsky, 147-151;
+  acquaintance with Remenyi, 93, 151;
+  reminiscences and opinion of Tedesco, Perelli, Sontag,
+    Johanna Wagner, and De la Grange, 153-158;
+  becomes a "Murl";
+  opinion of Wagner, 159;
+  reminiscences of Raff, 161-164;
+  sees Berlioz conduct, 168;
+  opinion of, 169;
+  opinion of Beethoven, Chopin, and Schumann, 170, 171;
+  entertains Rubinstein at Weimar, 171;
+  compares him with Hambourg, 174;
+  letters from Liszt to, 176, also Appendix, Part II, p. 291 _et seq._;
+  messages from Liszt to, 181, 182;
+  return to America, 183;
+  marriage, 183;
+  concert tour, 183-190;
+  combines "Yankee Doodle" and "Old Hundred," 187;
+  teaching in New York, 191;
+  inaugurates chamber-music concerts, 193;
+  first program, 194;
+  "Mason and Thomas Quartet," 196;
+  concert at Farmington, Conn., 202;
+  reminiscences of Gottschalk, 205, and Schumann's music, 209;
+  describes Thalberg's playing, 210;
+  reminiscences of Rubinstein and opinion of, 221-236;
+  and Von B�low, 238;
+  letter from Von B�low to, 239;
+  meeting with Grieg, 241;
+  discusses piano technic, tempo, pitch, etc., 243-251;
+  studio, 248;
+  at Isles of Shoals, 251-258;
+  opinion of Von Dohn�nyi, 263;
+  Godowsky, 265;
+  Gabrilowitsch, 269;
+  Bauer, 270;
+  Friedheim, 270
+
+Mason-Thomas Quartet, portrait group, 196
+
+Matthews, W. S. B., 261
+
+Matzka, George, 194
+
+Mayer, Carl, 31, 65
+
+Mendelssohn, exaggerated worship of, 37;
+  friendship with Moscheles, 37;
+  thought greater than Beethoven, 37;
+  influence in England, 85
+
+Meyer, Leopold de, Mason's recollections of, 19;
+  beauty of tone, 20;
+  New York concerts and anecdote, 21, 69, 211-215
+
+Meyerbeer, meeting of with William Mason, 28;
+  rehearsing "Le Proph�te", 30
+
+Mills, S. B., 292
+
+Moscheles, 27;
+  autograph, 32;
+  practises Beethoven in secret, 36;
+  opposes his daughter's playing Chopin, 37;
+  intimacy with Mendelssohn, 37;
+  entertains Schumann, anecdote, 42;
+  pianoforte-playing, 57;
+  silver wedding, 61
+
+Mosenthal, Joseph, 194
+
+Mozart, 250
+
+"Murls," the, 158
+
+Musical conventions, origin of, 9
+
+Musical pedigree, 180
+
+Music in America to-day, 259-272
+
+
+Ohe, Adele aus der, 270
+
+
+Paderewski, 60;
+  fantasy on "Yankee Doodle," 236;
+  autograph, 236
+
+Paine, John K., 252, 261
+
+Parker, Horatio W., 261
+
+Parker, J. C. D., 135
+
+"Parsifal," Liszt's tribute to, 133
+
+Pedal, hints on use of, 215-221;
+  study, 219
+
+Perelli, 154
+
+Perkins, Charles C., 135
+
+Philharmonic Society, New York, 262
+
+Pitch, positive, 247;
+  Thomas's ear for, 251
+
+Pixis, 117
+
+Pruckner, Dionys, 89, 91, 100, 107, 114, 125, 135
+
+Pupils, unusual, 246
+
+
+Raff, 89, 91, 96;
+  friendship for Mason, 97, 124, 129, 133;
+  in Weimar, 161-164;
+  Mason's first impression of, 161;
+  poverty, 162;
+  arrested for debt, 162;
+  prison
+  comforts, 162;
+  pianoforte-playing, 162;
+  as a composer, 163;
+  and Wagner propaganda, 134, 142, 144, 164
+
+Remenyi and the "Kreutzer Sonata," 93;
+  Liszt rebukes, 94;
+  on Liszt's playing, 112;
+  visits Liszt with Brahms, 127, 130, 151-153
+
+Rhythmus exercises, 191
+  Moscheles on, 193
+
+Richter, Ernst Friedrich, 48
+
+Rohan, Prince de, 71-75
+
+Rubinstein and Princess Marie Sayn-Wittgenstein, 95;
+  on Liszt's playing, 111;
+  Liszt's contrition, 144;
+  Mason entertains at Weimar in 1854, 171;
+  plays, 173;
+  opposition to Wagner, 174;
+  Liszt's opinion of, 175, 180, 221-236;
+  and the autograph-hunter, 221;
+  opinion of Americans, 222;
+  style of playing, 224;
+  favorite seat, 227;
+  Bach's "Triple Concerto," 230;
+  significant autograph, 232, 234;
+  "Yankee Doodle" variations, 236, 268
+
+
+Sanford, S. S., 261
+
+Sayn-Wittgenstein, F�rstin, 94;
+  Princess Marie, 95
+
+Schindler, Anton, 79;
+  "Ami de Beethoven," 80;
+  autograph, 80;
+  and "Fifth Symphony," 81;
+  persuaded to meet Von Wartensee, 82, and d�nouement, 83
+
+Schlesinger, 33;
+  daughter plays Chopin, 33
+
+Schmidt, Henry, conducts first Beethoven symphony in America, 9, 13-15, 19
+
+Schubert, 125, 169
+
+Schuberth, Julius, 27, 31, 32
+
+Schulhoff, 112
+
+Schumann, his life at Leipsic, 38;
+  autograph, 38;
+  not appreciated, 39;
+  Mason's enthusiasm on hearing S.'s "First Symphony," 40;
+  Mason sends score to Boston, 40;
+  attempts there to play it, 40;
+  Webb's opinion of it, 41;
+  S. laughed at by his publisher's clerks, 41;
+  as a conductor, 41;
+  absent-mindedness, 42;
+  compared with Mendelssohn by Mason, 43;
+  Mason calls on him, 43;
+  second call and autograph, 44;
+  Mason contrasts the personalities of S. and Wagner, 44;
+  a minor concerto, 63; 132, 136, 137, 171, 209
+
+Schumann, Clara, 43;
+  autograph, 44
+
+Shelley, H. R., 261
+
+Sherwood, William H., 261
+
+Sontag, Henriette, and autograph, 154
+
+Stange, Adolph, Weimar reminiscences of, 165-168
+
+Stavenhagen, 112
+
+St�rr, 92
+
+
+"Tasso," Liszt at rehearsal of, 121
+
+Tausig, 175, 176
+
+Tedesco, 154
+
+Tempo, hints on, 243-247;
+  Chopin, electrocuting, 244;
+  rubato, 246
+
+Thalberg, 75;
+  and Chopin, 76, 210;
+  autograph, 212
+
+Thaxter, Celia, 252-258
+
+Theimer, 117
+
+Thomas, Theodore, 111, 194;
+  at twenty, 195;
+  genius of conductorship, 196;
+  Mason and Thomas Quartet, 196;
+  as a violinist, 197;
+  a great conductor, 198;
+  confidence in himself, 200;
+  portrait at twenty-four, 200;
+  contribution to Mason calendar, 202;
+  ear for positive pitch, 251, 292
+
+Timm, Henry C., 58
+
+Tomaschek, 66-70
+
+Tracy, James M., 95
+
+
+Vieuxtemps, autograph, 144, 148
+
+
+Wagner, Albert, 48, 49
+
+Wagner, Johanna, 154, 156
+
+Wagner, Richard, 48;
+  "Wer ist da?" 49;
+  receives William Mason, 49;
+  appearance in 1852, 50;
+  compares Beethoven and Mendelssohn, 51;
+  tribute to Beethoven, 52;
+  lively manner, 54;
+  gives Mason his autograph, 55, 56, 132, 133;
+  Wagner cause in Weimar, 159;
+  Mason on, 159, 179
+
+Walbr�hl, 92
+
+Webb, George James, 8;
+  and Boston Academy of Music, 9;
+  opinion of Schumann, 41
+
+Webb, Miss, 26;
+  engaged and married to William Mason, 183
+
+Weber, Dionysius, 36
+
+Weimar, 86;
+  Mason's reminiscences of Liszt at 86-182
+
+Whiting, Arthur, 261, 271
+
+Wieniawski, Henri, 109, 123, 124;
+  at Weimar, 126, 150, 223
+
+Wilhelmj, 150
+
+
+"Yankee Doodle" and "Old Hundred," Mason asked to combine, 187, 189
+
+       *       *       *       *       *
+
+
+FOOTNOTES:
+
+[1] In a letter written twenty-four years later, in 1878, Liszt says of
+"Parsifal": "The composition of the first act is finished; in it are
+revealed the most wondrous depths and the most celestial heights of
+art."
+
+[2] As I have elsewhere stated, I was the first to meet Rubinstein in
+Weimar, while Liszt was away.
+
+[3] He was at Moscow, being first professor of pianoforte-playing at the
+Conservatory there.
+
+
+
+
+
+
+End of Project Gutenberg's Memories of a Musical Life, by William Mason
+
+*** END OF THIS PROJECT GUTENBERG EBOOK MEMORIES OF A MUSICAL LIFE ***
+
+***** This file should be named 35520-8.txt or 35520-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/5/5/2/35520/
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/35520-8.zip b/35520-8.zip
new file mode 100644
index 0000000..99fee27
--- /dev/null
+++ b/35520-8.zip
diff --git a/35520-h.zip b/35520-h.zip
new file mode 100644
index 0000000..263da69
--- /dev/null
+++ b/35520-h.zip
diff --git a/35520-h/35520-h.htm b/35520-h/35520-h.htm
new file mode 100644
index 0000000..1b4fa30
--- /dev/null
+++ b/35520-h/35520-h.htm
@@ -0,0 +1,6656 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en">
+  <head>
+<meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+<title>
+  The Project Gutenberg eBook of Memories of a Musical Life, by William Mason.
+</title>
+<style type="text/css">
+ p {margin-top:.75em;text-align:justify;margin-bottom:.75em;text-indent:2%;}
+
+.c {text-align:center;text-indent:0%;}
+
+.cb {text-align:center;text-indent:0%;font-weight:bold;}
+
+.hang {text-indent:-2%;margin-left:2%;}
+
+.letra {font-size:200%;font-weight:bold;}
+
+.nind {text-indent:0%;}
+
+.r {text-align:right;margin-right:5%;}
+
+ h1,h2,h3 {margin-top:10%;text-align:center;clear:both;}
+
+ hr.full {width:100%;margin:5% auto 5% auto;border:4px double gray;}
+
+ table {margin-left:auto;margin-right:auto;border:none;text-align:left;}
+
+ body{margin-left:2%;margin-right:2%;background:#fdfdfd;color:black;font-family:"Times New Roman", serif;font-size:medium;}
+
+ ul {list-style-type:none;text-indent:-1em;}
+
+a:link {background-color:#ffffff;color:blue;text-decoration:none;}
+
+  link {background-color:#ffffff;color:blue;text-decoration:none;}
+
+a:visited {background-color:#ffffff;color:purple;text-decoration:none;}
+
+a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;}
+
+.smcap  {font-variant:small-caps;font-size:95%;}
+
+ img {border:none;}
+
+.blockquot {margin:15% 20% 15% 20%;}
+
+.blockquot2 {margin:10% 5% 10% 5%;}
+
+.caption  {font-weight:bold;font-size:small;}
+
+.figcenter   {margin:auto;text-align:center;}
+
+.footnotes  {border:double 6px gray;margin-top:15%;clear:both;}
+
+.footnote   {width:95%;margin:auto 3% 1% auto;font-size:0.9em;position:relative;}
+
+.label  {position:relative;left:-.5em;top:0;text-align:left;font-size:.8em;}
+
+.fnanchor   {vertical-align:30%;font-size:.8em;}
+
+sub {font-size:55%;}
+
+sup {font-size:55%;}
+
+td.big {font-size:large;font-weight:bold;font-variant:small-caps;}
+</style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Memories of a Musical Life, by William Mason
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Memories of a Musical Life
+
+Author: William Mason
+
+Release Date: March 8, 2011 [EBook #35520]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MEMORIES OF A MUSICAL LIFE ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+
+
+
+
+</pre>
+
+<hr class="full" />
+
+<div class="figcenter" style="width: 350px;">
+<a href="images/ill_cover.jpg">
+<img src="images/ill_cover_sml.jpg" width="350" height="550" alt="image of the book&#39;s cover" title="image of the book&#39;s cover" /></a>
+<br />
+</div>
+
+<p>
+<br />
+<br />
+<br />
+</p>
+
+<h1>MEMORIES OF A<br />
+MUSICAL LIFE</h1>
+
+<p>
+<br />
+<br />
+<br />
+<a name="Frontispiece" id="Frontispiece"></a>
+</p>
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/ill_frontispiece.jpg">
+<img src="images/ill_frontispiece_sml.jpg" width="395" height="550" alt="WILLIAM MASON IN 1899" title="WILLIAM MASON IN 1899" /></a>
+<br />
+<span class="caption">WILLIAM MASON IN 1899</span>
+</div>
+
+<p>
+<br />
+<br />
+<br />
+</p>
+
+<div class="figcenter" style="width: 314px;">
+<a href="images/ill_title.png">
+<img src="images/ill_title_sml.png" width="314" height="550" alt="Memories of a
+Musical Life
+by
+William Mason
+NEW YORK
+THE CENTURY CO.
+MCMII" title="title page" /></a>
+</div>
+
+<p>
+<br />
+<br />
+<br />
+</p>
+
+<p class="c">Copyright, 1900, 1901, by<br />
+<span class="smcap">The Century Co.</span><br />
+<i>Published October, 1901.</i><br />
+<span class="smcap">The Devine Press.</span><br />
+</p>
+
+<p>
+<br />
+<br />
+<br />
+</p>
+
+<p class="cb">TO<br />
+MY DAUGHTER<br />
+MINA MASON VAN SINDEREN<br />
+AT WHOSE REQUEST<br />
+THESE MEMORIES<br />
+HAVE BEEN WRITTEN<br />
+</p>
+
+<p><a name="page_vii" id="page_vii"></a></p>
+
+<h3><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h3>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td colspan="2" align="right"><small>PAGE</small></td></tr>
+<tr><td class="big"><br />
+Early Days in New England</td><td align="right" valign="bottom"><a href="#page_003">3</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Lowell Mason's Career</td><td align="right"><a href="#page_007">7</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;First Beethoven Symphony in America</td><td align="right"><a href="#page_008">8</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Musical Conventions</td><td align="right"><a href="#page_009">9</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Early Musical Training</td><td align="right"><a href="#page_010">10</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Webster and Clay</td><td align="right"><a href="#page_011">11</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;First Public Appearance</td><td align="right"><a href="#page_018">18</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Leopold de Meyer</td><td align="right"><a href="#page_019">19</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;"Father Heinrich"</td><td align="right"><a href="#page_022">22</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;An Embarrassing Experience</td><td align="right"><a href="#page_025">25</a></td></tr>
+
+<tr><td class="big"><br />
+Student Life Abroad</td><td align="right" valign="bottom"><a href="#page_027">27</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Meeting with Meyerbeer</td><td align="right"><a href="#page_028">28</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Liszt's Feat of Memory</td><td align="right"><a href="#page_031">31</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;First Meeting with Liszt</td><td align="right"><a href="#page_033">33</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Arrival at Leipsic</td><td align="right"><a href="#page_034">34</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Moscheles, Beethoven, and Chopin</td><td align="right"><a href="#page_036">36</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;The Intimacy of Moscheles and Mendelssohn</td><td align="right"><a href="#page_037">37</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Schumann</td><td align="right"><a href="#page_038">38</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Schumann's "Symphony No. 1, B Flat"</td><td align="right"><a href="#page_039">39</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Schumann's Absent-mindedness</td><td align="right"><a href="#page_042">42</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Moritz Hauptmann</td><td align="right"><a href="#page_044">44</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;A Visit to Wagner</td><td align="right"><a href="#page_048">48</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Wagner on Mendelssohn and Beethoven</td><td align="right"><a href="#page_051">51</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;A Wagner Autograph</td><td align="right"><a href="#page_055">55</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Moscheles</td><td align="right"><a href="#page_057">57</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Joseph Joachim</td><td align="right"><a href="#page_062">62</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Schumann's "Concerto in A Minor"</td><td align="right"><a href="#page_063">63</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Carl Mayer</td><td align="right"><a href="#page_065">65</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Dreyschock</td><td align="right"><a href="#page_066">66</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Prince de Rohan's Dinner</td><td align="right"><a href="#page_071">71</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Chopin, Henselt, and Thalberg</td><td align="right"><a href="#page_075">75</a><a name="page_viii" id="page_viii"></a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Anton Schindler, "Ami de Beethoven"</td><td align="right"><a href="#page_079">79</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Schindler and Schnyder von Wartensee</td><td align="right"><a href="#page_082">82</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;First London Concert</td><td align="right"><a href="#page_084">84</a></td></tr>
+
+<tr><td class="big"><br />
+With Liszt in Weimar</td><td align="right" valign="bottom"><a href="#page_086">86</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Accepted by Liszt</td><td align="right"><a href="#page_088">88</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;The Altenburg</td><td align="right"><a href="#page_093">93</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;How Liszt Taught</td><td align="right"><a href="#page_097">97</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;"Play It Like This"</td><td align="right"><a href="#page_099">99</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Liszt in 1854</td><td align="right"><a href="#page_101">101</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;His Fascination</td><td align="right"><a href="#page_102">102</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Liszt's Indignation</td><td align="right"><a href="#page_103">103</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Objects to my Eye-glasses</td><td align="right"><a href="#page_106">106</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;A Musical Breakfast</td><td align="right"><a href="#page_108">108</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Liszt's Playing</td><td align="right"><a href="#page_110">110</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Liszt and Pixis</td><td align="right"><a href="#page_117">117</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Liszt Conducting</td><td align="right"><a href="#page_119">119</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Liszt's Symphonic Poems&mdash;Rehearsing "Tasso"</td><td align="right"><a href="#page_121">121</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Extracts from a Diary</td><td align="right"><a href="#page_122">122</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Opportunities</td><td align="right"><a href="#page_126">126</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Brahms in 1853</td><td align="right"><a href="#page_127">127</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Nervous before Liszt</td><td align="right"><a href="#page_128">128</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Dozing while Liszt Played</td><td align="right"><a href="#page_129">129</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;"Lohengrin" for the First Time in Leipsic</td><td align="right"><a href="#page_132">132</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;In Stuttgart&mdash;Hotel Marquand</td><td align="right"><a href="#page_135">135</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;The Schumann "Feier" in Bonn, 1880</td><td align="right"><a href="#page_136">136</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Brahms's Pianoforte-playing</td><td align="right"><a href="#page_137">137</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;A Historical Error Corrected</td><td align="right"><a href="#page_141">141</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;More about Liszt's Wonderful Sight-reading</td><td align="right"><a href="#page_142">142</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Liszt's Moments of Contrition</td><td align="right"><a href="#page_144">144</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Peter Cornelius</td><td align="right"><a href="#page_145">145</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Some Famous Violinists</td><td align="right"><a href="#page_147">147</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Remenyi</td><td align="right"><a href="#page_151">151</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Some Distinguished Opera-singers</td><td align="right"><a href="#page_153">153</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Henriette Sontag</td><td align="right"><a href="#page_154">154</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Johanna Wagner</td><td align="right"><a href="#page_156">156</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Mme. de la Grange</td><td align="right"><a href="#page_157">157</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;"Der Verein der Murls"</td><td align="right"><a href="#page_158">158</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;The Wagner Cause in Weimar</td><td align="right"><a href="#page_159">159</a><a name="page_ix" id="page_ix"></a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Raff in Weimar</td><td align="right"><a href="#page_161">161</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Dr. Adolf Bernhard Marx</td><td align="right"><a href="#page_165">165</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Berlioz in Weimar</td><td align="right"><a href="#page_168">168</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Entertaining Liszt's "Young Beethoven"</td><td align="right"><a href="#page_171">171</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Rubinstein's Opposition to Wagner</td><td align="right"><a href="#page_174">174</a></td></tr>
+
+<tr><td class="big"><br />
+At Work in America</td><td align="right" valign="bottom"><a href="#page_183">183</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Touring the Country</td><td align="right"><a href="#page_184">184</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;"Yankee Doodle" and "Old Hundred"</td><td align="right"><a href="#page_187">187</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Settling down to Teach</td><td align="right"><a href="#page_191">191</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Theodore Thomas at Twenty</td><td align="right"><a href="#page_195">195</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Thomas as Conductor</td><td align="right"><a href="#page_197">197</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Karl Klauser, Musical Director at Miss Porter's School</td><td align="right"><a href="#page_202">202</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Louis Moreau Gottschalk</td><td align="right"><a href="#page_205">205</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Propaganda for Schumann's Music</td><td align="right"><a href="#page_209">209</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Sigismond Thalberg</td><td align="right"><a href="#page_210">210</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Pedal and Pedal Signs&mdash;Why not Dispense with the Latter?</td><td align="right"><a href="#page_215">215</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Pedal Study for the Pianoforte</td><td align="right"><a href="#page_219">219</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Rubinstein and the Autograph-hunter</td><td align="right"><a href="#page_221">221</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Evolution in Musical Ideas&mdash;Beethoven Pianoforte Recitals</td><td align="right"><a href="#page_226">226</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Rubinstein's Favorite Seat at a Pianoforte Recital</td><td align="right"><a href="#page_227">227</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Bach's "Triple Concerto" and "Les Agr�ments"</td><td align="right"><a href="#page_229">229</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;A Significant Autograph from Rubinstein</td><td align="right"><a href="#page_234">234</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Rubinstein, Paderewski, and "Yankee Doodle"</td><td align="right"><a href="#page_236">236</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Meetings with Von B�low</td><td align="right"><a href="#page_238">238</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Edvard Grieg</td><td align="right"><a href="#page_241">241</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Rates of Tempo&mdash;The Present Time Compared with Fifty Years Ago &nbsp; &nbsp; &nbsp;</td><td align="right"><a href="#page_243">243</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Electrocuting Chopin</td><td align="right"><a href="#page_244">244</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Tempo Rubato</td><td align="right"><a href="#page_246">246</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Unusual Pupils&mdash;Transposing&mdash;Positive and Relative Pitch</td><td align="right"><a href="#page_247">247</a></td></tr>
+<tr><td> &nbsp; &nbsp; &nbsp;Appledore, Isles of Shoals</td><td align="right"><a href="#page_251">251</a></td></tr>
+
+<tr><td class="big"><br />
+Music in America To-day</td><td align="right" valign="bottom"><a href="#page_259">259</a></td></tr>
+
+<tr><td class="big"><br />
+Appendix</td><td align="right" valign="bottom"><a href="#page_273">273</a></td></tr>
+
+<tr><td class="big"><br />
+Index</td><td align="right" valign="bottom"><a href="#page_297">297</a></td></tr>
+</table>
+
+<div class="blockquot"><p class="hang">The author acknowledges the efficient collaboration of Mr. Gustav
+Kobb� in preparing these Memories for publication, and also the
+valuable assistance of his son-in-law, Mr. Howard van Sinderen.</p></div>
+
+<p><a name="page_x" id="page_x"></a></p>
+
+<h3><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h3>
+
+
+
+<table border="3" cellpadding="4" cellspacing="0" summary="">
+<tr><td align="center">Some of the illustrations may be viewed enlarged by clicking directly on the image.<br />
+(note of etext transcriber)</td></tr>
+</table>
+
+<p>
+<br />
+</p>
+
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td>William Mason in 1899</td><td align="right"><a href="#Frontispiece"><i>Frontispiece</i></a></td></tr>
+<tr><td colspan="2" align="center"><small>From a photograph by Gessford &amp; Van Brunt.</small></td></tr>
+
+<tr><td colspan="2" align="right"><small>FACING PAGE</small></td></tr>
+
+<tr><td>William Mason as a Boy</td><td align="right"><a href="#page_012">12</a></td></tr>
+<tr><td colspan="2" align="center"><small>From a daguerreotype.</small></td></tr>
+
+<tr><td>William Mason at the Age of Eighteen</td><td align="right"><a href="#page_020">20</a></td></tr>
+<tr><td colspan="2" align="center"><small>From a daguerreotype.</small></td></tr>
+
+<tr><td>Autograph of I. Moscheles</td><td align="right"><a href="#page_032">32</a></td></tr>
+
+<tr><td>Autograph of Robert Schumann</td><td align="right"><a href="#page_038">38</a></td></tr>
+
+<tr><td>Autograph of Mme. Schumann</td><td align="right"><a href="#page_044">44</a></td></tr>
+
+<tr><td>Autograph of Moritz Hauptmann</td><td align="right"><a href="#page_048">48</a></td></tr>
+
+<tr><td>Autograph of Richard Wagner</td><td align="right"><a href="#page_056">56</a></td></tr>
+
+<tr><td>Autograph of Joseph Joachim</td><td align="right"><a href="#page_064">64</a></td></tr>
+
+<tr><td>Autograph of Anton Schindler</td><td align="right"><a href="#page_080">80</a></td></tr>
+
+<tr><td>Liszt in Middle Life</td><td align="right"><a href="#page_088">88</a></td></tr>
+<tr><td colspan="2" align="center"><small>Drawn by George T. Tobin from a photograph of uncertain date.</small></td></tr>
+
+<tr><td>The Altenburg, Liszt's House at Weimar</td><td align="right"><a href="#page_096">96</a></td></tr>
+
+<tr><td>Autograph of Vieuxtemps</td><td align="right"><a href="#page_144">144</a></td></tr>
+
+<tr><td>Autograph of Ole Bull</td><td align="right"><a href="#page_150">150</a></td></tr>
+
+<tr><td>Autograph of Henriette Sontag</td><td align="right"><a href="#page_164">164</a></td></tr>
+
+<tr><td>Autograph of Hector Berlioz</td><td align="right"><a href="#page_168">168</a></td></tr>
+
+<tr><td>Autograph of Ferdinand Laub</td><td align="right"><a href="#page_180">180</a></td></tr>
+
+<tr><td>The Mason-Thomas Quartet</td><td align="right"><a href="#page_196">196</a></td></tr>
+
+<tr><td>Theodore Thomas about Twenty-four Years Old</td><td align="right"><a href="#page_200">200</a></td></tr>
+<tr><td colspan="2" align="center"><small>From a photograph by Duchochois &amp; Klauser.</small></td></tr>
+
+<tr><td>Autograph of Moreau Gottschalk</td><td align="right"><a href="#page_208">208</a></td></tr>
+
+<tr><td>Autograph of Sigismond Thalberg</td><td align="right"><a href="#page_212">212</a></td></tr>
+
+<tr><td>Autograph of Anton Rubinstein</td><td align="right"><a href="#page_232">232</a></td></tr>
+
+<tr><td>Autograph of I. J. Paderewski</td><td align="right"><a href="#page_236">236</a></td></tr>
+
+<tr><td>Autograph of Hans von B�low</td><td align="right"><a href="#page_240">240</a></td></tr>
+
+<tr><td>Autograph of Edvard Grieg</td><td align="right"><a href="#page_244">244</a></td></tr>
+
+<tr><td>Interior of Studio in Steinway Building, New York</td><td align="right"><a href="#page_248">248</a></td></tr>
+
+<tr><td>Autographs of the Kneisel Quartet</td><td align="right"><a href="#page_262">262</a></td></tr>
+
+<tr><td>Lowell Mason</td><td align="right"><a href="#page_277">277</a></td></tr>
+<tr><td colspan="2" align="center"><small>From a daguerreotype.</small></td></tr>
+</table>
+
+<p><a name="page_001" id="page_001"></a></p>
+
+<h1>MEMORIES<br />
+OF A MUSICAL LIFE</h1>
+
+<p><a name="page_002" id="page_002"></a></p>
+
+<p><a name="page_003" id="page_003"></a></p>
+
+<h2><a name="EARLY_DAYS_IN_NEW_ENGLAND" id="EARLY_DAYS_IN_NEW_ENGLAND"></a>EARLY DAYS IN NEW ENGLAND</h2>
+
+<p class="nind"><span class="letra">I</span> AM the third son of Lowell Mason of Medfield, Massachusetts, and of
+Abigail Gregory of Westborough, Massachusetts, his wife, and I was born
+in Boston on January 24, 1829. My father was in the seventh generation
+from Robert Mason, who was born in England about the year 1590. In 1630
+Robert came to America, and was probably one of John Winthrop's company,
+landing at Salem on the twelfth day of June of that year. Thomas Mason,
+the elder son of Robert, went to Medfield to live in the second year of
+the settlement of the town. His marriage with Margery Partridge, on
+April 23, 1653, was the first marriage to be entered upon<a name="page_004" id="page_004"></a> the town
+records; and the homestead lands, which he acquired by grant from the
+town, have ever since remained in possession of some member of the Mason
+family. Thomas and two of his sons were killed by the Indians under
+Monaco on February 21, 1676, when Medfield was burned. The line was
+continued through Ebenezer, a third son, born at Medfield, September 12,
+1669; Thomas, a son of Ebenezer, born at Medfield, April 23, 1699;
+Barachias, son of Thomas, born at Medfield, June 10, 1723, who was
+musical and who taught singing; and Johnson, son of Barachias, born at
+Medfield, August 7, 1767. Johnson was the father of Lowell Mason, who
+was born at Medfield, January 8, 1792. On January 8, 1892, the one
+hundredth anniversary of my father's birth was celebrated at Medfield,
+under the auspices of the Historical Society of that place. In the
+address delivered by the president of the society, a period of his life
+was touched upon concerning which but little had heretofore been
+published. The address will be interesting to<a name="page_005" id="page_005"></a> those who are interested
+in him and in the work which he accomplished, and is printed, by
+permission, in an appendix to these memories.</p>
+
+<p>The difference between Boston and New York as musical centers is largely
+due to my father. He made Boston a self-developing musical city. New
+York has received its musical culture from abroad.</p>
+
+<p>My father manifested a remarkable fondness for music at an early age.
+His parents did not intend that he should take up music as a profession,
+but his talent was not neglected. In 1812, before he was twenty, he
+heard of an opening in a bank in Savannah, Georgia, and having secured
+the position, he went there. After business hours he continued his
+studies in music with an instructor named F. L. Abel, under whom he made
+rapid progress. He soon attempted composition, his first efforts being
+hymn-tunes and anthems. He arranged a collection consisting of a group
+of selections from William Gardiner's "Sacred Melodies," to which he
+added some of his own compositions.<a name="page_006" id="page_006"></a> For this collection he vainly
+endeavored to find a publisher in Philadelphia and Boston, until chance
+brought to Savannah a Boston organ-builder, W. M. Goodrich, who had come
+to set up an organ. He induced my father to go to Boston in person, with
+the result that the work was submitted to Dr. G. K. Jackson, the
+organist of the Handel and Haydn Society, and received his approval. It
+was published in 1822, with the title, "The Boston Handel and Haydn
+Society's Collection of Music," and was an instant success, finding its
+way into singing-schools and church choirs throughout New England. Some
+of my father's hymn-tunes have become famous. It has been said that his
+missionary hymn, "From Greenland's Icy Mountains," has been sung in more
+languages than any other sacred tune. Among the many popular tunes which
+he composed are "Boylston," "Hebron," "Olivet," and "Bethany"; and one
+of his collections of sacred melodies brought him in over a hundred
+thousand dollars in royalties.<a name="page_007" id="page_007"></a></p>
+
+<h3><a name="LOWELL_MASONS_CAREER" id="LOWELL_MASONS_CAREER"></a>LOWELL MASON'S CAREER</h3>
+
+<p class="nind">THE success of my father's first venture led him to leave Savannah and
+settle in Boston. Then, as now, the Handel and Haydn Society was largely
+recruited from church choirs, but in those days its concerts were few,
+and these were almost entirely devoted to church music. Rarely was a
+"work" offered to the public. Outside the realm of church music, the
+society's repertory consisted of "The Messiah", "The Creation" (and more
+frequently fragments from these), the "Dettingen Te Deum" by Handel, and
+the "Intercession" by M. P. King, who has long since been forgotten. For
+five years my father was president of the society, and served as musical
+director, the special employment of a conductor not having been
+authorized until 1847.</p>
+
+<p>Meanwhile he was constantly aiming at the introduction of popular
+education in music. It was through his efforts&mdash;and strenuous efforts
+they were&mdash;that music was introduced into the Boston public<a name="page_008" id="page_008"></a> schools. To
+bring this about he first taught classes of children free of charge, and
+gave concerts to illustrate the practicability of his plans. When
+finally musical education was made a part of the Boston public-school
+system, the city council refused to make any appropriation for it, and
+he served as instructor for a year gratuitously, beginning work in 1837
+in the Hawes Grammar School, South Boston. The experiment was a complete
+success. Music was generally introduced into the public schools, and my
+father was made superintendent of the department. The seeds he sowed
+then are still bearing fruit. This was part of his labor which created
+in Boston a self-developing musical activity. While Dr. Samuel G. Howe
+was engaged in organizing the Perkins Institution for the Blind in 1832,
+at his request my father devised a system of musical instruction for the
+blind.</p>
+
+<h3><a name="FIRST_BEETHOVEN_SYMPHONY_IN_AMERICA" id="FIRST_BEETHOVEN_SYMPHONY_IN_AMERICA"></a>FIRST BEETHOVEN SYMPHONY IN AMERICA</h3>
+
+<p class="nind">ABOUT 1830 an English musician, Mr. George James Webb, settled in
+Boston.<a name="page_009" id="page_009"></a> He was a gentleman of high culture, thoroughly educated in
+music, played the organ well, and was a good vocal teacher. His talents
+and his personal charm were promptly recognized. My father became
+intimate with him, and in 1833, with the co�peration of certain
+influential gentlemen of Boston, they founded the Boston Academy of
+Music, my father taking charge of the special department of church
+music, while Mr. Webb devoted himself chiefly to secular music and
+voice-culture. Instrumental concerts were also given at the academy, and
+there, on February 10, 1841, occurred the first performance in America
+of a Beethoven symphony, the Fifth, which was played by an orchestra of
+twenty-three, under the direction of Henry Schmidt.</p>
+
+<h3><a name="MUSICAL_CONVENTIONS" id="MUSICAL_CONVENTIONS"></a>MUSICAL CONVENTIONS</h3>
+
+<p class="nind">MY father originated the idea of assembling music-teachers in classes.
+In 1838, when the experiment was not more than three years old, one
+hundred and thirty-four teachers, representing ten States, assembled at
+the academy. From these<a name="page_010" id="page_010"></a> assemblages grew the musical conventions which
+my father held throughout New England and in some of the other States.
+Choir-singers and other musically inclined people from the towns lying
+within the surrounding district would gather at a central point, and he
+would hold a musical convention lasting for several days, drilling the
+singers in church music, but also, where he found sufficient
+advancement, in music of a higher order. The Worcester festivals may be
+traced to these conventions.</p>
+
+<h3><a name="EARLY_MUSICAL_TRAINING" id="EARLY_MUSICAL_TRAINING"></a>EARLY MUSICAL TRAINING</h3>
+
+<p class="nind">I HAD shown my fondness for music at a very early age. When I was a
+child, my father was the organist of the Bowdoin Street Congregational
+Church in Boston, of which Lyman Beecher had been the pastor. When I was
+seven years old, he placed me unexpectedly on the organ-bench at a
+public service, and while the choir sang the tune of "Boylston", I
+played the accompaniment. Up to this<a name="page_011" id="page_011"></a> time I had had but little
+instruction in pianoforte-playing. My mother used to sit by me and guide
+me in the way of careful practising, and thus I had acquired
+considerable facility for those days, though now I have a feeling of
+compassion for any one who had to listen to me.</p>
+
+<p>I became useful to my father as an accompanist, and when he went to
+musical conventions he took me along with him, and I would play the
+piano accompaniments while he conducted.</p>
+
+<h3><a name="WEBSTER_AND_CLAY" id="WEBSTER_AND_CLAY"></a>WEBSTER AND CLAY</h3>
+
+<p class="nind">IT was at about this time that my father took me with him on a trip to
+Providence. In those days the entrance to the cars was from the side,
+and we took seats nearly opposite the door. My father called my
+attention to a very dignified and impressive-looking man in the front
+corner of the car, saying: "William, the gentleman in the corner is
+Daniel Webster. Go over and wish him good morning." I promptly<a name="page_012" id="page_012"></a> obeyed,
+and marching over to him, said, "Good morning, Daniel Webster." He asked
+my name, and I replied, saying my father was "over there," and then he
+exchanged greetings with my father. I was somewhat awed by his great
+dignity, and remember very well his piercing eyes.</p>
+
+<p>About the year 1842 I went to Maysville, Kentucky, to stay with the
+family of my uncle, Mr. E. F. Tucker. My health had not been good, and
+the change of residence was thought to be judicious. My uncle was at the
+head of some factory in Maysville, and one day, after I had been there
+for some time, a gentleman called at the house to see him about business
+connected with the factory. My aunt called me, and, presenting me to the
+gentleman, requested me to show him the way to the factory. This
+gentleman was Henry Clay. I remember his urbanity, and his friendly
+conversation attracted me. This time it was not the eye which was
+noticeable, but the mouth, which was unusually large.<a name="page_013" id="page_013"></a></p>
+
+<div class="figcenter" style="width: 402px;">
+<img src="images/ill_012.jpg" width="402" height="445" alt="WILLIAM MASON AS A BOY
+
+FROM A DAGUERREOTYPE" title="WILLIAM MASON AS A BOY" />
+<span class="caption">WILLIAM MASON AS A BOY
+<br />
+FROM A DAGUERREOTYPE</span>
+</div>
+
+<h3><a name="FIRST_PUBLIC_APPEARANCE" id="FIRST_PUBLIC_APPEARANCE"></a>FIRST PUBLIC APPEARANCE</h3>
+
+<p class="nind">RETURNING to Boston after a year, I was sent to Newport, Rhode Island,
+to study under the Rev. T. T. Thayer, who was a Congregational clergyman
+in that place. In a short time after my arrival I began playing the
+organ at the services in his church, and continued this with regularity
+until my return to Boston a few years later. At Boston I became the
+organist at the Congregational church in Winter street, at which my
+father was music-conductor.</p>
+
+<p>I played in public about the year 1846, in one of the concerts of the
+Boston Academy of Music, given in the Odeon, which was then the
+principal concert-hall in Boston. On this occasion I had the
+accompaniment of a string quartet. This was my first regular appearance
+in public. About this time, too, I began taking pianoforte lessons of
+Mr. Henry Schmidt, to whom reference has been made as the conductor of
+Beethoven's "Fifth Symphony" on the occasion of the first performance<a name="page_014" id="page_014"></a>
+of this work in Boston. Mr. Schmidt's instrument was the violin, but he
+was also an excellent pianoforte teacher, and to his careful and skilful
+instruction I owe very much. I remember that in those days I was more
+fond of playing&mdash;if my habit of improvising in a loose or inaccurate way
+can be so called&mdash;than of careful practising and close attention to
+detail. When my lesson-hour arrived I used to trust much to luck, and
+thus occasioned poor Mr. Schmidt a deal of trouble and vexation. He
+begged and entreated me to be careful, and after a while a spirit of
+contrition overcame me, and so, on a certain occasion, I really did
+practise carefully and to my best ability during the interval between my
+lessons. When Mr. Schmidt made his appearance, however, I became so
+nervous and apprehensive lest my work should not show to advantage that
+the very thing I dreaded took place, and I stumbled through my piece in
+a distressing manner. I do not wonder that my teacher's patience was
+tried, and he rebuked me with severity,<a name="page_015" id="page_015"></a> saying that he believed I had
+not practised at all since the previous lesson. I received this all very
+meekly, but when he took his departure I pitched the music into a
+corner, and did not practise until he made his appearance for the
+following lesson. At this lesson, however, I played with great accuracy
+and spirit, much to my gratification and somewhat to my surprise. Mr.
+Schmidt warmly commended my work, and attributed it to the fact that I
+had <i>now</i> practised industriously and carefully. I had enough sense to
+know that the successful result was owing to the practice I had
+previously done, and which needed time to produce its results. This bit
+of experience I commend to pianoforte students for careful
+consideration, to show that acts are not always immediately followed by
+desirable results.</p>
+
+<p>Mr. Schmidt taught me much concerning the production of tone in
+pianoforte playing, and in particular led me to acquire a certain habit
+of touch which I have never lost, and which has been the<a name="page_016" id="page_016"></a> means of
+greatly lessening the fatigue which would otherwise have been attendant
+on the performance of pieces which require much strength and
+long-continued endurance. I write somewhat at length concerning this
+matter, feeling that a knowledge of my experience may be of substantial
+use to pianoforte students.</p>
+
+<p>The habit referred to has especial relation to the playing of the
+various rapid scale and arpeggio passages, involving closed or open hand
+position which are so common in pianoforte compositions and which grow
+out of the nature of the instrument. The touch is accomplished by
+quickly but quietly drawing the finger-tips inward toward the palm of
+the hand, or, in other words, slightly and partly closing the
+finger-points as they touch the keys while playing. This action of the
+fingers secures the co�peration of many more muscles of the finger,
+wrist, hand, and forearm than could be accomplished by the merely
+"up-and-down" finger-touch. It is difficult to describe in detail
+without an instrument at hand<a name="page_017" id="page_017"></a> for illustration. If correctly performed,
+however, the tones produced are very clear and well defined, and of a
+beautifully musical quality. The simile of "a string of pearls" of
+precisely similar size and shape has often been used in describing their
+fluency and clearness of outline. A too rapid withdrawal of the
+finger-tips would result in a short and crisp staccato. While this
+extreme staccato is also desirable and frequently used, it is not the
+kind of effect here desired, namely, a clear, clean delivery of the
+tones which in no wise disturb the legato effect.</p>
+
+<p>Of course it requires cultivation and skill to secure just the right
+degree of finger-motion to preserve the legato and at the same time the
+slight separation of each tone. Therefore the fingers must not be drawn
+so quickly as to produce a separation or staccato effect, but in just
+the right degree to avoid impairing the legato or binding effect. For
+the sake of convenience in description I have named this touch the
+"elastic finger-touch," and through its influence a clear and crisp<a name="page_018" id="page_018"></a>
+effect is attained. It is interesting to observe in this connection, a
+fact which I learned only many years later, that Sebastian Bach's touch,
+described in detail by J. N. Forkel in his work entitled "�ber Johann
+Sebastian Bachs Leben, Kunst und Kunstwerke," both as used by Bach
+himself and as he taught it to his pupils, seems to be identical with
+the touch I am here attempting to describe. Forkel expressly emphasizes
+the "pulling-in" motion of the finger-tips. While it has relation solely
+to finger-action as distinguished from the action of the wrist and arm,
+it cannot be accomplished properly without bringing into action the
+flexor and extensor muscles, principally of the forearm from wrist to
+elbow.</p>
+
+<p>Through the medium of this touch pianissimo effects are possible which
+no other mechanism can reach, for passages of the most extreme delicacy
+and softness still retain the quality of vitality and clearness of
+outline.</p>
+
+<p>During the season of 1846 I played the pianoforte part throughout the
+series of<a name="page_019" id="page_019"></a> six concerts of chamber-music given by the Harvard Musical
+Association. I remember that Mr. Blessner played the violin and Mr.
+Groenvelt the violoncello, but cannot recall the names of the players of
+the second violin and viola. These concerts were given at the pianoforte
+warerooms of Mr. Jonas Chickering, 334 Washington street, Boston. I
+still have the programs. String quartets by Haydn, Mozart, and Beethoven
+were played, also piano trios by Beethoven, Reissiger, and Mayseder.</p>
+
+<h3><a name="LEOPOLD_DE_MEYER" id="LEOPOLD_DE_MEYER"></a>LEOPOLD DE MEYER</h3>
+
+<p class="nind">THE knowledge I gained from Mr. Schmidt was largely advanced and
+supplemented by what I learned a year or two later, in 1847-48, from the
+playing of the pianoforte virtuoso Leopold de Meyer, who came to the
+United States about that time.</p>
+
+<p>It was from a careful study of the manner of his playing that I first
+acquired the habit of fully devitalized upper-arm muscles in
+pianoforte-playing. The loveliness<a name="page_020" id="page_020"></a> and charming musical beauty of his
+tones, the product of these conditions, greatly excited my admiration
+and fascinated me. I never missed an opportunity of hearing him play,
+and closely watched his movements, and particularly the motions of hand,
+arm, and shoulder. I was incessantly at the pianoforte trying to produce
+the same delightful tone quality by imitating his manner and style.</p>
+
+<div class="figcenter" style="width: 397px;">
+<img src="images/ill_020.jpg" width="397" height="463" alt="WILLIAM MASON AT THE AGE OF EIGHTEEN
+
+FROM A DAGUERREOTYPE
+
+" title="WILLIAM MASON AT THE AGE OF EIGHTEEN" />
+<span class="caption">WILLIAM MASON AT THE AGE OF EIGHTEEN<br />
+FROM A DAGUERREOTYPE
+</span>
+</div>
+
+<p>My continued perseverance was rewarded with success, for the result was
+a habit of devitalized muscular action in such degree that I could
+practically play all day without a feeling of fatigue. The constant
+alternation between devitalization and reconstruction keeps the muscles
+always fresh for their work and enables the player to rest while
+playing. The force is so distributed that each and every muscle has
+ample opportunity to rest while yet in a state of activity. Furthermore
+the tones resulting from this touch are sonorous and full of energy and
+life. An idea of my own which was persistently carried into act aided
+materially in bringing<a name="page_021" id="page_021"></a> about the desired result. This was to allow
+the arms to hang limp by my side, either in a sitting or standing
+posture, and then to shake them rigorously with the utmost possible
+looseness and devitalization. This device was in after years recommended
+to my pupils, and those who persistently followed it up and persevered
+for a while gained great advantage from it, and eventually acquired a
+state of habitual muscular elasticity and flexibility.</p>
+
+<p>I might easily have learned from any book of anatomy the names of the
+muscles which are here referred to, but for the practical instruction of
+pianoforte pupils this seemed to be of little consequence. However,
+there are three muscles of the upper arm which may here be named: the
+triceps, the brachialis anticus, and the biceps. Of these the
+first-named is of the most importance to the pianist.</p>
+
+<p>Leopold de Meyer's New York concerts were given in the old Broadway
+Tabernacle, some distance below Canal street, as I now remember. The
+piano-lovers<a name="page_022" id="page_022"></a> were not so numerous then as they are now, and it was
+difficult to fill the hall, even with the help of deadheads. De Meyer's
+agent, acting on the principle that "a crowd draws a crowd," hired a lot
+of carriages to make their appearance a little before the concert-hour,
+and to stand in front of the doors and then advance in turn, so that
+passers-by might receive the impression of activity on the part of the
+concert-goers.</p>
+
+<h3><a name="FATHER_HEINRICH" id="FATHER_HEINRICH"></a>"FATHER HEINRICH"</h3>
+
+<p class="nind">SOMEWHERE about this time there lived in New York an elderly German
+musician and composer who had somehow gained the cognomen of "Father
+Heinrich." He composed quite a number of large works, both vocal and
+instrumental, and also a number of pianoforte pieces. During a visit
+which he made to Boston, his headquarters were at Chickering's
+pianoforte warerooms, and on one occasion I was presented to him as a
+youth of some musical promise. He immediately showed me<a name="page_023" id="page_023"></a> one of his
+pianoforte pieces in manuscript, and said: "Young man, I am going to
+test your musical talent and intelligence and see if you appreciate in
+any degree the importance of a proper observance of dynamics in musical
+interpretation." He had placed the open pages of the manuscript on the
+pianoforte desk, and I was glancing over them in close scrutiny. "I wish
+to tell you before you begin to play that I have submitted this piece to
+two or three of the best musicians in New York and they have failed to
+bring out the intended effect in an important phrase." This remark put
+me at once on my guard, and while he was talking I was closely
+scrutinizing the manuscript to see if there was some dynamic or other
+mark which would reveal his intention. About half-way down the second
+page I discovered a series of sforzando marks, thus:
+<span style="font-size:115%;font-weight:bold;">&gt; &gt; &gt; &gt; &gt;</span> over
+several notes in one of the inner parts, and immediately determined to
+bring out these tones with all possible force. Further than this there
+seemed to be no peculiarity; but as he had by<a name="page_024" id="page_024"></a> this time finished his
+remarks I began to play with special care. The piece was easy to read,
+and so I made good progress, and on coming to the passage referred to I
+put a tremendous emphasis on the tones marked sforzando, playing all of
+the other voices by contrast quite softly. To my boyish satisfaction I
+found I had hit the mark. The excitement and pleasure of Father Heinrich
+was excessive and amusing. "Bravo! bravo!" he cried. "You have great
+talent, and you have done what none of our musicians in New York have
+accomplished!"</p>
+
+<p>I did not at the time understand how he could lay so much stress on the
+affair, but in the light of a long experience as teacher of the
+pianoforte I no longer wonder at his excitement. All music is full of
+nuances and accents of greater or less intensity, to which pupils hardly
+ever give any attention, although they are necessary in order to give
+due expression to rhythm. They correspond to vocal accents in reading
+aloud, or in declamation.<a name="page_025" id="page_025"></a></p>
+
+<h3><a name="AN_EMBARRASSING_EXPERIENCE" id="AN_EMBARRASSING_EXPERIENCE"></a>AN EMBARRASSING EXPERIENCE</h3>
+
+<p class="nind">IT is difficult to realize the crudity of musical taste in the early
+days. I remember that in 1840 my father conducted a convention in
+Vermont&mdash;I think in Woodstock. We went by rail as far as we could, and
+then traveled a number of hours by coach. We were received by the
+dignitaries of the town, and conducted to the house in which we were to
+stay. While we were shaking off the dust of travel, we heard the sounds
+of drum and fife. Looking out of the window, we found that these
+instruments headed a small procession which had come to escort us to the
+church. The drum and the fife were the instrumental outfit of the town;
+so, led by these, my father and I marched with the magnates of the place
+to the church. I still remember how foolish I felt.</p>
+
+<p>In 1846 my father was preparing to hold a convention in Augusta, Maine.
+Mr. Webb was to go with him, and I was sent to his house the evening
+before they were<a name="page_026" id="page_026"></a> to start to let him know about the arrangements.
+Though I knew Mr. Webb very well, I had never had occasion to go to his
+house. At this time I was seventeen years old. When I was shown into the
+drawing-room, I saw Mr. and Mrs. Webb and their daughter, a girl then
+not fourteen. I had not been in the house half an hour before I was
+deeply in love with her. I found that she was going to Augusta, and I
+decided at once that I would go, too. So the next day we all started
+together. She and I grew to be good friends, but the idea of an
+engagement between us was not to be thought of at that time, and while I
+lived in Germany we were not permitted to correspond. For five years I
+did not see her; but when I came back I hastened to her father's house.
+The sequel I shall tell later.<a name="page_027" id="page_027"></a></p>
+
+<h2><a name="STUDENT_LIFE_ABROAD" id="STUDENT_LIFE_ABROAD"></a>STUDENT LIFE ABROAD</h2>
+
+<p class="nind"><span class="letra">I</span>T having been decided that I should continue my musical studies in
+Europe, I sailed from New York for Bremen on the side-wheel steamer
+<i>Herrmann</i> in May, 1849, accompanied by Mr. Frank Hill of Boston, who
+had already attained some distinction as a pianist. My intention was to
+go directly to Leipsic to study with Moscheles. One of our
+fellow-passengers was Julius Schuberth, the music-publisher of Hamburg,
+who had been in America on business. Arriving at Bremen, we learned that
+the insurrection had not yet been suppressed, and that within two or
+three days there had been bloodshed in the streets of Leipsic. For this
+and other reasons I gladly accepted Mr. Schuberth's invitation to visit
+him, first making a short trip to Paris with Hill.<a name="page_028" id="page_028"></a></p>
+
+<h3><a name="MEETING_WITH_MEYERBEER" id="MEETING_WITH_MEYERBEER"></a>MEETING WITH MEYERBEER</h3>
+
+<p class="nind">I ARRIVED in Paris shortly after six o'clock in the morning, and went to
+the H�tel de Paris, in the Rue de Richelieu. In those days, at that
+early hour, Paris was as quiet as an American town at midnight. There
+were three of us in the party. We secured two rooms, and my friends
+remained up-stairs, while I returned to the porter's lodge below to have
+my passport sent to the Bureau of Police to be vis�d. The porter went
+out to attend to this, and I was left alone in the lodge.</p>
+
+<p>Shortly afterward a man entered, of medium height, well dressed, and
+with a good deal of manner. He addressed me in French, but when I asked
+him if he could speak English he began conversing fluently in that
+language. He asked if I was from England and a stranger in Paris. When I
+told him I was from America, he exclaimed, "Ah, that is farther off."
+Then, noticing the passport, which was uncommonly large and was bound
+like a<a name="page_029" id="page_029"></a> book, he asked, "Is that an American passport? Please let me
+have a look at it I'm curious to see it." Bound in with the passport
+were a number of blank leaves to be used for the vis�s of various
+consuls. "Young man," said my chance acquaintance, "you have leaves
+enough there to travel about Europe for twenty years." Then he inquired
+if I was traveling for pleasure or on business.</p>
+
+<p>"I have come over to study music."</p>
+
+<p>"Ah, composition?"</p>
+
+<p>"No; mainly piano, but also theory and composition."</p>
+
+<p>"And where?"</p>
+
+<p>"I expect to go to Leipsic to study with Moscheles, Hauptmann, and
+Richter. Eventually I hope to go to Liszt."</p>
+
+<p>"Well, well, you've chosen good men. Moscheles knew Beethoven."</p>
+
+<p>Then, with a few friendly words, he left the lodge and entered the
+hotel. Just as he was leaving the porter returned.</p>
+
+<p>"Who is the gentleman?" I asked, pointing after the disappearing form.</p>
+
+<p>"Meyerbeer, the composer."<a name="page_030" id="page_030"></a></p>
+
+<p>The porter then took me into the courtyard and pointed out the room
+which Meyerbeer occupied, calling my attention to the fact that his
+window and mine almost faced each other.</p>
+
+<p>"If you look out of your window about eleven o'clock," said the porter,
+"you will see Mme. Garcia and Roger, the tenor, coming here to rehearse
+their r�les in the new opera with the composer."</p>
+
+<p>Meyerbeer was so affable at our chance meeting that I think I could
+easily have followed it up and have seen more of him; but when a boy is
+in Paris for the first time, he has many things to think of. Moreover, I
+did not realize that at the end of the century, "Le Proph�te," the work
+which Meyerbeer was then rehearsing, would still be in the repertory of
+every first-class opera-house. I knew that he was a distinguished
+composer, but I did not for a moment imagine that his work would live so
+long. As I now look back through the perspective of time, I realize the
+opportunity I missed; but I thank the freak of fortune which threw in
+his<a name="page_031" id="page_031"></a> way, if only for a few moments, a young man who was too careless to
+improve the chance acquaintance.</p>
+
+<p>From Paris I returned to Schuberth's in Hamburg. He was an active,
+enterprising, pushing business man, with a large acquaintance in the
+musical world, and the knowledge of how to put it to the best use. I
+remained in Hamburg for some time. Boy-like, I had spent all my money in
+Paris, and was now obliged to wait for a remittance from home. In
+Hamburg I met Carl Mayer of Dresden, a fine pianist of the Hummel
+school, and Mortier de Fontaine, who was very well known in his day as a
+Beethoven-player&mdash;had, in fact, won considerable fame as the first
+pianist to perform Beethoven's "Sonata, Op. 106" in public. That was his
+label.</p>
+
+<h3><a name="LISZTS_FEAT_OF_MEMORY" id="LISZTS_FEAT_OF_MEMORY"></a>LISZT'S FEAT OF MEMORY</h3>
+
+<p class="nind">FROM Hamburg I went to Leipsic, but Schuberth did not lose sight of me.
+Whenever he came there he looked me<a name="page_032" id="page_032"></a> up, and was very kind in
+introducing me to people whom it was well for me to meet. He knew Liszt
+very well, and having taken a fancy to a composition of mine, "Les
+Perles de Ros�e," which was still in manuscript, he said: "Let me have
+it for publication. Dedicate it to Liszt. I can easily get Liszt to
+accept the dedication. I am going directly from here to Weimar, and will
+see him about it. At the same time, I will prepare the way for your
+reception later as a pupil."</p>
+
+<div class="figcenter" style="width: 549px;">
+<img src="images/ill_032.png" width="549" height="550" alt="Autograph of I. Moscheles" title="Autograph of I. Moscheles" />
+<br />
+<span class="caption">Autograph of I. Moscheles</span>
+</div>
+
+<p>Not long afterward I received a letter from Schuberth in which he told
+me that when he handed the music to Liszt, the latter looked at the
+manuscript, hummed it over, then sat down and played it from memory.
+Then, going to his desk, he took a pen, and accepted the dedication by
+writing his name at the top of the title-page. Encouraged by this, I
+wrote a letter to Liszt, expressing my desire to become one of his
+pupils, and asking what my chances were. Unfortunately, I misinterpreted
+his reply, and received the impression that it amounted to a
+refusal;<a name="page_033" id="page_033"></a> but at the same time he gave me a cordial invitation to
+attend the festival about to take place in Weimar in commemoration of
+the hundredth anniversary of Goethe's birth. I still have this letter,
+which is dated August 18, 1849. Had I understood then that Liszt was
+ready to accept me as a pupil, I should have taken up my residence at
+Weimar at once, instead of waiting until I learned my mistake, as I did
+during a call which I made upon Liszt nearly four years later.</p>
+
+<h3><a name="FIRST_MEETING_WITH_LISZT" id="FIRST_MEETING_WITH_LISZT"></a>FIRST MEETING WITH LISZT</h3>
+
+<p class="nind">HOWEVER, I went to Weimar with Mr. Hill to attend the Goethe festival,
+arriving there early in the afternoon of the day before it began.</p>
+
+<p>The third day of the festival we called on Liszt, who was then living in
+the Hotel zum Erbprinzen, and were received most cordially. Schlesinger,
+the Paris publisher, was there with his little daughter, who was
+precocious as a pianist and played several Chopin waltzes. Liszt<a name="page_034" id="page_034"></a> was
+very busy with his guests, so that our visit was limited, and nothing
+was said about my coming to Weimar to study except that Liszt said he
+never received pupils for regular lessons, but that those who lived in
+Weimar (and there were only three or four in those days) had frequent
+opportunities of hearing and meeting artists who visited him. Having
+misinterpreted his letter, I accepted these remarks as a further
+politely worded refusal to receive me. So I returned to Leipsic to
+continue my studies there.</p>
+
+<h3><a name="ARRIVAL_AT_LEIPSIC" id="ARRIVAL_AT_LEIPSIC"></a>ARRIVAL AT LEIPSIC</h3>
+
+<p class="nind">I WELL remember the feeling of awe mingled with interest with which I
+looked upon every German whom I met in the streets of Leipsic on my
+first arrival in that famously musical city. I looked on even the
+laboring-men, the peasants as well as those in higher positions, as
+being Mozarts and Beethovens, and the idea gained such ascendancy that I
+felt my own inferiority and metaphorically held<a name="page_035" id="page_035"></a> down my head. This
+feeling, however, was not of long duration, and changed in the course of
+a month or two on account of what happened at a concert of the Euterpe
+Society which I attended. The concerts of this musical society were
+second only to those of the famous Gewandhaus, and their audiences were
+made up largely of those who attended the concerts of the latter. At
+this concert the program was classical and unimpeachable as to the
+orchestral concerted pieces, but one of the numbers was a solo for
+clarinet. At my age I was disposed to look down on this as an inferior
+kind of music, and as decidedly unsuitable to an educated and musically
+cultivated taste. Therefore, when, to my surprise, this turned out to be
+the most popular piece of the evening and received the most vociferous
+applause of the entire audience, I found my high opinion of the select
+musical taste of the Germans sensibly decreased.</p>
+
+<p>Since then I have learned that there is a place for everything good in
+its way; but the clarinet solo seemed out of place<a name="page_036" id="page_036"></a> in the classical
+atmosphere of a symphony concert.</p>
+
+<h3><a name="MOSCHELES_BEETHOVEN_AND_CHOPIN" id="MOSCHELES_BEETHOVEN_AND_CHOPIN"></a>MOSCHELES, BEETHOVEN, AND CHOPIN</h3>
+
+<p class="nind">MOSCHELES, with whom I studied in Leipsic, had been a pupil of Dionysius
+Weber in Prague. At that time Beethoven was still a newcomer, and was
+regarded with skepticism by the older men, whose ideas were formed and
+who could not get over their first unfavorable impressions of him.
+Beethoven was a profound man and had strong individuality. He was
+eagerly accepted by the younger men, Moscheles among them; but Dionysius
+Weber regarded him as a monstrosity, and would never allow Moscheles to
+learn any of his music. Consequently, Moscheles practised Beethoven in
+secret, and when he grew up he prided himself on being a
+Beethoven-player, and wrote a life of Beethoven, which, however, is
+largely based on Schindler's.</p>
+
+<p>At about the time I went to Leipsic the attitude of Moscheles toward
+Chopin was very like what Dionysius Weber's had<a name="page_037" id="page_037"></a> been toward Beethoven.
+One of the daughters of Moscheles was very fond of playing Chopin, but
+her father forbade it. Afterward she married and went to London, where
+she played Chopin to her heart's content. It is curious how men who in
+their younger days are pioneers become so conservative as they grow
+older that they are like stone walls in the paths of progress. They
+forget that in their youth they laughed at or criticized their elders
+for the same pedantry of which they themselves afterward become guilty.</p>
+
+<h3><a name="THE_INTIMACY_OF_MOSCHELES_AND_MENDELSSOHN" id="THE_INTIMACY_OF_MOSCHELES_AND_MENDELSSOHN"></a>THE INTIMACY OF MOSCHELES AND MENDELSSOHN</h3>
+
+<p class="nind">MOSCHELES and Mendelssohn had been warm friends. Moscheles, in
+particular, prided himself on the composer's friendship. No one to-day
+can understand the influence which Mendelssohn had upon his
+contemporaries, by whom his music and his personality were fairly
+worshiped. Comparisons were made between him and Beethoven to the
+latter's disadvantage. I remember an excellent musician saying<a name="page_038" id="page_038"></a> to me,
+"Beethoven does have consecutive fifths now and then, Mendelssohn
+never." He did not realize that these apparent violations of technical
+rules were part of Beethoven's ragged strength, while Mendelssohn's
+scrupulous adherence to them was evidence of weakness.</p>
+
+<p>Mendelssohn's death was a great shock to Moscheles. Mendelssohn had
+often visited him, and there was such profound musical sympathy between
+them that they were able to improvise together on two pianos. They
+understood each other so well that one of them would improvise a theme,
+which the other would follow. After a while they would interchange their
+r�les, the second piano taking up the theme, the first piano
+subordinating itself. This is not in itself an extraordinary feat, but
+it illustrates the musical sympathy which existed between Mendelssohn
+and Moscheles.</p>
+
+<h3><a name="SCHUMANN" id="SCHUMANN"></a>SCHUMANN</h3>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_038.png">
+<img src="images/ill_038_sml.png" width="550" height="502" alt="Autograph of Robert Schumann" title="Autograph of Robert Schumann" /></a>
+<br />
+<span class="caption">Autograph of Robert Schumann</span>
+</div>
+
+<p>For some years prior to 1844 Schumann lived in Leipsic. It was his habit
+to<a name="page_039" id="page_039"></a> compose intensely all day, and then to walk to a beer-cellar at
+the upper end of the Grimmaische Strasse. There he would sit at a table
+with one of his most trusted friends, an odd-looking but able musician
+and piano-teacher named Wenzel. There were two or three other musicians
+who frequented the place and were generally at the same table. Schumann
+enjoyed being among friends, but disliked nothing more than the
+restraint of social functions. No doubt there was a large consumption of
+beer, after the fashion of the Germans on such occasions, but to a
+musical student who could sit within hearing there was afforded a golden
+opportunity of absorbing musical ideas.</p>
+
+<h3><a name="SCHUMANNS_SYMPHONY_NO_1_B_FLAT" id="SCHUMANNS_SYMPHONY_NO_1_B_FLAT"></a>SCHUMANN'S "SYMPHONY NO. 1, B FLAT"</h3>
+
+<p class="nind">WHEN I went to Germany, Schumann was living in Dresden, but he made
+frequent visits to Leipsic. I knew little or nothing of Schumann's
+music, for Mendelssohn then dominated the musical<a name="page_040" id="page_040"></a> world; but the first
+orchestral composition of Schumann's that I ever heard placed him far
+above Mendelssohn in my estimation. It was at the second concert I
+attended at the Gewandhaus in Leipsic, and the work was the "First
+Symphony." I was so wrought up by it that I hummed passages from it as I
+walked home, and sat down at the piano when I got there, and played as
+much of it as I could remember. I hardly slept that night for the
+excitement of it. The first thing I did in the morning was to go to
+Breitkopf &amp; H�rtel's and buy the score, the orchestral parts and piano
+arrangements for four and two hands, and in these I fairly reveled.</p>
+
+<p>I grew so enthusiastic over the symphony that I sent the score and parts
+to the Musical Fund Society of Boston, the only concert orchestra then
+in that city, and conducted by Mr. Webb. They could make nothing of the
+symphony, and it lay on the shelf for one or two years. Then they tried
+it again, saw something in it, but somehow could not get the swing of
+it, possibly on account of the syncopations.<a name="page_041" id="page_041"></a> Before my return from
+Europe in 1854, I think they finally played it. In speaking of it, Mr.
+Webb said to my father: "Yes, it is interesting; but in our next concert
+we play Haydn's 'Surprise Symphony,' and that will live long after this
+symphony of Schumann's is forgotten." Many years afterward I reminded
+Mr. Webb of this remark, whereupon he said, "William, is it possible
+that I was so foolish?"</p>
+
+<p>Only a few years before I arrived at Leipsic, Schumann's genius was so
+little appreciated that when he entered the store of Breitkopf &amp; H�rtel
+with a new manuscript under his arm, the clerks would nudge one another
+and laugh. One of them told me that they regarded him as a crank and a
+failure because his pieces remained on the shelf and were in the way.</p>
+
+<p>I often saw Schumann in Leipsic, and I heard him conduct his cantata,
+"The Pilgrimage of the Rose." His conducting was awkward, as he was
+neither active nor of commanding presence. However, I liked his looks,
+as he seemed good-natured,<a name="page_042" id="page_042"></a> though perhaps not like a man with whom one
+might easily become acquainted. This impression, however, may be due to
+anecdotes which I had heard regarding his lack of sociability.</p>
+
+<h3><a name="SCHUMANNS_ABSENT-MINDEDNESS" id="SCHUMANNS_ABSENT-MINDEDNESS"></a>SCHUMANN'S ABSENT-MINDEDNESS</h3>
+
+<p class="nind">UP to the time of Mendelssohn's death his followers and the small body
+of musicians who appreciated Schumann had rubbed pretty hard together.
+Naturally, Moscheles and Schumann had not been intimate. But Moscheles
+felt Mendelssohn's loss so keenly that he cast about for some one to
+take his place, and finally decided to make overtures to Schumann by
+inviting him to his house to supper. What occurred there was told to me
+by a fellow-pupil. He said that while the company was gathering in the
+drawing-room, Schumann sat in a corner apparently absorbed in thought,
+without looking at any one or uttering a word. He did not impress my
+friend as morose, but rather as a man whose thoughts were at the moment
+in an entirely different sphere. Supper was<a name="page_043" id="page_043"></a> announced, and the guests
+being seated, it was discovered that there was a vacant place at the
+table. Moscheles looked about for Schumann, but he was not there. The
+host and several guests went back to the salon to look for him, and
+found him sitting in his corner, still deep in thought. When aroused, he
+said, "Oh, I hadn't noticed that you had gone out." Then he went in to
+supper, but hardly said a word. What a contrast there was between his
+personality and that of the ever-affable, polished Mendelssohn! There is
+the same contrast between their music: Schumann's profound, and
+appealing to us most when we wish to withdraw entirely within the very
+sanctuary of our own emotions; Mendelssohn's smooth, finished, and
+easily understood.</p>
+
+<p>Early in 1844 Schumann had moved to Dresden, and I called upon him in
+that city and received a pleasant welcome, contrary to my expectation,
+for I had heard much of his reticence. Judging by the brief entry in my
+diary, nothing of importance was said. I could not see Mme. Schumann,
+because she was giving<a name="page_044" id="page_044"></a> a lesson. This was on April 13, 1850. I called
+again later in the month, and Schumann gave me his musical autograph, a
+canon for male voices; and the next day I received an autograph from
+Clara Schumann. In 1880 I learned from Mme. Schumann that the canon
+referred to had already been published at the time when I received it
+from Schumann. (See Op. 65, No. 6.)</p>
+
+<p>Afterward, when I met Wagner I could not help contrasting his lively
+manner and glowing enthusiasm with Schumann's reserve, which, however,
+was by no means repellent. Indeed, if I had been the greatest living
+musician, instead of a mere boy student, Wagner could not have received
+me with more kindness, or have talked to me more delightfully during the
+three memorable hours of my life which were spent with him.</p>
+
+<h3><a name="MORITZ_HAUPTMANN" id="MORITZ_HAUPTMANN"></a>MORITZ HAUPTMANN</h3>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_044.png">
+<img src="images/ill_044_sml.png" width="550" height="273" alt="Autograph of Mme. Schumann" title="Autograph of Mme. Schumann" /></a>
+<br />
+<span class="caption">Autograph of Mme. Schumann</span>
+</div>
+
+<p>My teacher in harmony and counterpoint was Moritz Hauptmann, a pupil of
+Spohr,<a name="page_045" id="page_045"></a> and an excellent composer of church music, his motets being
+especially beautiful. He was the cantor and music director of the
+Thomas-schule at Leipsic, a position which years before had been held by
+Sebastian Bach. He was altogether a genial and attractive man, of gentle
+manner and disposition, and I at once became much attached to him. He
+was in delicate health and suffered constantly from dyspepsia, yet bore
+all of his ills with patience and equanimity. I remember that he had a
+passion for baked apples, one of the few things he could eat without ill
+results, and on his stove, a regular old-fashioned German structure of
+porcelain, nearly as high as the ceiling, there was always a row of
+apples in process of slow baking.</p>
+
+<p>His autograph is one of the most curious in my book, and is an excellent
+example of his technical knowledge. It is a <i>Spiegel-Canon</i>
+("looking-glass canon"). When held up to the mirror the reflection shows
+the answer to the canon in the related key.<a name="page_046" id="page_046"></a></p>
+
+<p>Not long after beginning my studies under Hauptmann, I received from my
+father a copy of his latest publication, being a collection of tunes,
+mostly of his own composition, for choir and congregational use in the
+church. He requested me to show this to Hauptmann and get his opinion,
+if practicable. I felt a decided reluctance to do this, because I
+thought my father's work was not worthy of the notice of such a profound
+musician, so I delayed the carrying out of his request. After a few
+weeks, however, I began receiving letters from my father upon the
+subject, and realized that I could not postpone action any longer. So
+one day, going to my lesson, I took the book with me. I kept it as well
+out of sight as I could during the lesson, and then at the last moment,
+when about to leave the room, I placed it on Hauptmann's table, telling
+him in an apologetic way of my father's request and seeking to excuse
+myself for troubling him. I said I was afraid he would find nothing in
+the book to interest him.<a name="page_047" id="page_047"></a></p>
+
+<p>When the regular time for my lesson recurred I hesitated to present
+myself again; but there was no way of avoiding the difficulty, so with a
+tremendous exercise of will I faced the situation. What was my surprise
+and relief when he greeted me with "Mr. Mason, I have examined your
+father's book with much interest and pleasure, and his admirable
+treatment of the voices is most musicianly and satisfactory. Please give
+him my sincere regards, and thank him for his attention in sending me
+the book."</p>
+
+<p>At the moment I could not understand how such a big contrapuntist could
+express himself in such strong terms of approval; but I knew him to be
+genuine, and so I straightened myself up and really began to be proud of
+my father. Another and more important result was the recognition of my
+own ignorance in imagining that a thing in order to be great must
+necessarily be intricate and complicated. It dawned upon me that the
+simplest things are sometimes the grandest and the most difficult of
+attainment.<a name="page_048" id="page_048"></a></p>
+
+<p>I also took lessons in instrumentation from Ernst Friedrich Richter, a
+pupil of Hauptmann.</p>
+
+<h3><a name="A_VISIT_TO_WAGNER" id="A_VISIT_TO_WAGNER"></a>A VISIT TO WAGNER.</h3>
+
+<p class="nind">MY parents joined me in Leipsic in January, 1852, and in the spring of
+that year we planned a tour which was to take us to Switzerland in June.</p>
+
+<p>In Leipsic I made the acquaintance of a man named Albert Wagner, meeting
+him quite frequently at the restaurant where I took my meals. While I
+was planning the tour, I chanced to mention it to him, and when he heard
+that I was going to Z�rich, he said: "My brother, Richard Wagner, lives
+there. I will give you a letter of introduction to him." This was the
+first intimation I had that Albert was a brother of the composer. I
+suppose he had not thought it worth while to tell me. Richard was still
+under a political cloud in Saxony, and was compelled to live in exile on
+account of the part he had taken in the revolution<a name="page_049" id="page_049"></a> of 1848; nor was
+his reputation as a composer then so general that Albert would have
+thought his kinship much to boast of.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_048.png">
+<img src="images/ill_048_sml.png" width="550" height="302" alt="Autograph of Moritz Hauptmann" title="Autograph of Moritz Hauptmann" /></a>
+<br />
+<span class="caption">Autograph of Moritz Hauptmann</span>
+</div>
+
+<p>We reached Z�rich on June 5, 1852, and, the next morning, armed with the
+letter, I made my way to Wagner's chalet, which was situated on a hill
+in the suburbs. It was then about ten o'clock in the morning.</p>
+
+<p>When I asked the maid who opened the door if Herr Wagner was at home and
+to be seen, she answered, as I had feared she would, that he was busily
+at work in his study, and could not be disturbed. I handed her my letter
+of introduction, and asked her to give it to Herr Wagner, and to say to
+him that I was expecting to remain in Z�rich three or four days, and
+would call again, hoping to be fortunate enough to find him disengaged.</p>
+
+<p>Just as I was turning to leave, I heard a voice at the head of the
+stairs call out, "Wer ist da?" I told the maid to deliver my letter
+immediately. As soon as Wagner had glanced through it, he exclaimed,<a name="page_050" id="page_050"></a>
+"Kommen Sie herauf! Kommen Sie herauf!"</p>
+
+<p>At that time Wagner was known, and that not widely, only as the composer
+of "Rienzi," "The Flying Dutchman," "Tannh�user," and "Lohengrin." I had
+heard only "The Flying Dutchman," but considered it a most beautiful
+work, and was eager to meet the composer.</p>
+
+<p>Wagner's first words, as I met him on the landing at the head of the
+stairs, were: "You've come just at the right time. I've been working
+away at something, and I'm stuck. I'm in a state of nervous irritation,
+and it is absolutely impossible for me to go on. So I'm glad you've
+come."</p>
+
+<p>I remember perfectly my first impression of him. He looked to me much
+more like an American than a German. After asking about his brother, he
+began questioning me in a lively way about his friends in Leipsic, about
+the concerts and opera there, and the works that had been given. He also
+asked most kindly after my own affairs&mdash;what I was doing, with whom I
+had studied, how long<a name="page_051" id="page_051"></a> I intended to remain, what my plans were for the
+future, and most particularly about musical matters in America. In some
+way Beethoven was mentioned. After that the conversation became a
+monologue with me as a listener, for Wagner began to talk so fluently
+and enthusiastically about Beethoven that I was quite content to keep
+silent and to avoid interrupting his eloquent oration.</p>
+
+<h3><a name="WAGNER_ON_MENDELSSOHN_AND_BEETHOVEN" id="WAGNER_ON_MENDELSSOHN_AND_BEETHOVEN"></a>WAGNER ON MENDELSSOHN AND BEETHOVEN</h3>
+
+<p class="nind">AS he warmed up to the subject, he began to draw comparisons between
+Beethoven and Mendelssohn. "Mendelssohn," he said, "was a gentleman of
+refinement and high degree; a man of culture and polished manner; a
+courtier who was always at home in evening dress. As was the man, so is
+his music, full of elegance, grace, finish, and refinement, but carried
+without variance to such a degree that at times one longs for brawn and
+muscle. Yet it is music that is always exquisite, fairy-like, and fine
+in character. In Beethoven we get the man of brawn and muscle. He<a name="page_052" id="page_052"></a> was
+too inspired to pay much attention to conventionalities. He went right
+to the pith of what he had to say, and said it in a robust, decisive,
+manly, yet tender way, brushing aside the methods and amenities of
+conventionalism, and striking at once at the substance of what he wished
+to express. Notwithstanding its robustness, his music is at times
+inexpressibly tender; but it is a manly tenderness, and carries with it
+an idea of underlying and sustaining strength. Some years ago, when I
+was kapellmeister in Dresden, I had a remarkable experience, which
+illustrates the invigorating and refreshing power of Beethoven's music.
+It was at one of the series of afternoon concerts of classic music given
+at the theater. The day was hot and muggy, and everybody seemed to be in
+a state of lassitude and incapacity for mental or physical effort. On
+glancing at the program, I noticed that by some chance all of the pieces
+I had selected were in the minor mode&mdash;first, Mendelssohn's exquisite 'A
+Minor Symphony,' music in dress-suit and white kid<a name="page_053" id="page_053"></a> gloves, spotless and
+<i>comme il faut</i>; then an overture by Cherubini; and finally Beethoven's
+'Symphony No. 5, in C Minor.'" At this point Wagner rose from his chair,
+and began walking about the room. "Everybody," he continued, "was
+listless and languid, and the atmosphere seemed damp and spiritless. The
+orchestra labored wearily through the symphony and overture, while the
+audience became more and more apathetic. It seemed impossible to arouse
+either players or listeners, and I thought seriously of dismissing both
+after the overture. I was very reluctant to subject Beethoven's
+wonderfully beautiful music to such a crucial test, but after a moment's
+reflection I appreciated the fact that here was an opportunity for
+proving the strength and virility of it, and I said to myself, 'I will
+have courage, and stick to my program.'"</p>
+
+<p>Wagner stopped walking a moment, and looked about the room as if
+searching for something. Then he rushed to a corner, and seizing a
+walking-stick, raised it as if it were a baton.<a name="page_054" id="page_054"></a></p>
+
+<p>"Here is Beethoven," he exclaimed, "the working-man in his
+shirt-sleeves, with his great herculean breast bared to the elements."</p>
+
+<p>He straightened himself up, and, giving the stick a swing, brought it
+down with an abrupt "Ta-ta-ta-tum!"&mdash;the opening measure of Beethoven's
+"C Minor Symphony":</p>
+
+<div class="figcenter" style="width: 279px;">
+<img src="images/ill_054.png" width="279" height="47" alt="musical notation" title="musical notation" />
+<br />
+</div>
+
+<p>The whole scene was graphically portrayed. Then throwing himself into a
+chair, he said: "The effect was electrical on orchestra and audience.
+There was no more apathy. The air was cleared as by a passing
+thunder-shower. There was the test."</p>
+
+<p>"When Wagner spoke of Mendelssohn, his tone of voice indicated the
+gentle refinement of the courtier and his music. When he mentioned
+Beethoven, his manner was animated and full of enthusiasm.</p>
+
+<p>Wagner's enthusiasm, his openness in taking me at once into his musical
+confidence,<a name="page_055" id="page_055"></a> fascinated me, and gave me an insight into the wonderful
+vitality and energy of the man. He was planning a tramp through the
+Tyrol, about a week later, with a professor from the Z�rich University.
+"Come along with us," he said. "Alle guten Dinge sind drei" ("All good
+things are three"). However, I did not feel at liberty to leave my
+parents to continue their trip alone, as I was acting as interpreter for
+them. Of course Wagner was not then what he afterward became in the eyes
+of the world. I now know what I missed.</p>
+
+<h3><a name="A_WAGNER_AUTOGRAPH" id="A_WAGNER_AUTOGRAPH"></a>A WAGNER AUTOGRAPH</h3>
+
+<p class="nind">BUT I did not leave Wagner's house without what many musicians, to whom
+I have shown it, consider one of the most interesting musical autographs
+ever penned. It is autographic from beginning to end, even to the lines
+of the staff; for when I asked Wagner for his autograph, he drew them
+himself on a sheet of blank paper, and then wrote what is evidently the
+germ<a name="page_056" id="page_056"></a> of the dragon motive in "The Ring of the Nibelung." It is dated
+June 5, 1852, and it is particularly interesting that he should have
+written this motive at that time. From his correspondence with Liszt, it
+is clear that he had not yet finished the poem of the "Walk�re," and had
+not yet begun the score of the cycle. He wrote the books of the "Ring"
+backward, but in the composition of the cycle he began with the
+"Rheingold," in the autumn of the year in which I met him. The dragon
+motive occurs in the "Rheingold," but in quite a different form. He
+began the "Walk�re" in June, 1854, two years later, completing it in
+1856. In the meantime, in the autumn of 1854, he also began the music of
+"Siegfried," and it is in the first act of this music drama, written
+more than two years after I had met him, that we find the dragon motive
+exactly as it is written in my autograph, except that it is transposed a
+tone lower, and that the length of the notes is changed, though their
+relative value is the same, dotted halves being substituted for
+quarters.<a name="page_057" id="page_057"></a></p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_056.png">
+<img src="images/ill_056_sml.png" width="550" height="236" alt="Autograph of Richard Wagner" title="Autograph of Richard Wagner" /></a>
+<br />
+<span class="caption">Autograph of Richard Wagner</span>
+</div>
+
+<p>The passage will be found on page 7 of Klindworth's piano-score of
+"Siegfried." This, I believe, is the only place in the four divisions of
+the "Ring" where the motive appears in this form.</p>
+
+<p>Added significance and value are given to the autograph by the lines
+which Wagner wrote under it, and which are signed and dated: "Wenn Sie
+so etwas �hnliches einmal von mir h�ren sollten, so denken Sie an mich!"
+("If you ever hear anything of mine like this, then think of me.") Even
+this was characteristic of the man. "Siegfried" was not heard until
+nearly a quarter of a century after he had written a passage from it in
+my autograph-book&mdash;<i>but it was heard</i>.</p>
+
+<h3><a name="MOSCHELES" id="MOSCHELES"></a>MOSCHELES</h3>
+
+<p class="nind">THE playing of Moscheles was in a direct line of descent from Clementi
+and Hummel, and just preceded the Thalberg school. Moscheles was fond of
+quoting these authorities and of holding them up as excellent examples
+for his pupils. He<a name="page_058" id="page_058"></a> advocated a very quiet hand position, confining, as
+far as possible, whatever motion was necessary to finger and hand
+muscles; and by way of illustration he said that Clementi's hands were
+so level in position and quiet in motion that he could easily keep a
+crown-piece on the back of his hand while playing the most rapid scale
+passages.</p>
+
+<p>I was not much surprised at this, for I knew it had been said of Henry
+C. Timm of New York, an admirable pianist of the Hummel school, that he
+could play a scale with a glass of wine on the back of his hand without
+spilling a drop. I, boy-like, could not resist the temptation to repeat
+what I had heard. There was a curious expression upon the face of our
+good teacher, which gave the impression that he thought it a pretty tall
+story, and my fellow-pupils put it down as a yarn prompted by desire on
+my part to get ahead of Moscheles. Among these was Charles Wehle of
+Prague, of whom I saw a good deal. Some years later, after I had left
+Weimar for America, Wehle<a name="page_059" id="page_059"></a> happened to visit Liszt. My name was
+mentioned, and Wehle asked, "Did you ever hear his wonderful tale about
+Timm, the New York player?" Then he repeated the anecdote, but changed
+the glass of wine to a glass of water. Liszt shook his head
+incredulously, and said, "Mason never said anything about a glass of
+water all the time he was in Weimar."</p>
+
+<p>Moscheles was an excellent pianist and teacher, but he was already
+growing old, and his playing of sforzando and strongly accented tones
+was apt to be accompanied by an audible snort, which was far from
+musical. However, as a Bach-player he was especially great, and it was a
+delight to hear him. One evening, after my lesson, he began playing the
+preludes and fugues from the "Well-tempered Clavier," and I was
+enchanted with the finish, repose, and musicianship of his performance,
+which was without fuss or show. I have never heard any one surpass him
+in Bach.</p>
+
+<p>Paderewski's Bach-playing is much like<a name="page_060" id="page_060"></a> that of my old teacher. Several
+years ago, in company with Adolf Brodsky, the violinist, I attended one
+of Paderewski's recitals given in this city. After listening to
+compositions of Bach and Beethoven, Brodsky said: "He lays everything
+from A to Z before you in the most conscientious way, and through
+delicacy and sensitiveness of perception he attains a very close and
+artistic adjustment of values."</p>
+
+<p>Thoroughly in accord with Brodsky, I vividly recall the similarity of
+Paderewski's interpretation to that of Moscheles, both being
+characterized by perfect repose in action, while at the same time not
+lacking in intensity of expression. The modern adaptations and
+alterations from Bach are not here referred to, but the music as
+originally written by the composer. In Paderewski's conception and
+performance, like that of Moscheles, each and all of the voices received
+careful and reverent attention, and were brought out with due regard to
+their relative, as well as to their individual, importance. Nuances were
+never neglected, neither were<a name="page_061" id="page_061"></a> they in excess. Thus the musical
+requirements of polyphonic interpretation were artistically fulfilled.
+Head and heart were united in skilful combination and loving response.</p>
+
+<p>While I was in Leipsic, Moscheles celebrated his silver wedding, and one
+of the features of the occasion was odd and interesting. I forget
+whether I had the story direct from him or from one of my
+fellow-students. It is as follows: At the time Moscheles was paying
+attention to the lady who afterward became his wife he had a rival who
+was a farmer. What became of the farmer after Moscheles carried off the
+prize history does not make clear. A friend of Moscheles, an artist of
+ability, conceived the unique idea of commemorating the joyous
+anniversary, and, putting it into act, he painted two portraits of Mrs.
+Moscheles, one representing her as she appeared on that interesting
+occasion, and the other giving his idea of how she would have looked
+after twenty-five years of wedded life had she married the farmer.<a name="page_062" id="page_062"></a></p>
+
+<h3><a name="JOSEPH_JOACHIM" id="JOSEPH_JOACHIM"></a>JOSEPH JOACHIM</h3>
+
+<p>"Leipsic, Wednesday, September 19, 1849." Under this date I find in my
+diary a note to the effect that Joachim the violinist made me a friendly
+call at half-past ten o'clock. I had previously called on him to present
+a letter of introduction which I had received in Hamburg from Mortier de
+Fontaine.</p>
+
+<p>Joachim made a marked impression upon me as being genial and unassuming
+in manner. He very cordially invited me to come to his room, saying, "We
+will play sonatas for violin and pianoforte together." This afforded a
+fine opportunity to a young piano-student, and, coming as it did without
+solicitation or expectation, was all the more appreciated. Less than two
+weeks later, on September 30, I heard him play the Mendelssohn violin
+concerto at the first Gewandhaus concert of the season, and was
+enchanted with his musical interpretation of the beautiful composition.
+A little further on in the diary it is written that the second
+Gewandhaus<a name="page_063" id="page_063"></a> concert was given on October 7. The Schumann "Symphony in B
+Flat Major, No. 1," was played, and "I never before experienced such a
+thrill of enthusiasm." On Thursday, October 18, the third Gewandhaus
+concert took place, the symphony being by Spohr, "No. 3, C Minor." An
+item of special interest regarding this concert is that I heard here for
+the first time the fine violoncellist Bernhard Cossmann, with whom, in
+later years, I became intimately acquainted. He was then in the Weimar
+orchestra and the Ferdinand Laub String Quartet, and was one of our
+"Weimarische Dutzbr�der."</p>
+
+<h3><a name="SCHUMANNS_CONCERTO_IN_A_MINOR" id="SCHUMANNS_CONCERTO_IN_A_MINOR"></a>SCHUMANN'S "CONCERTO IN A MINOR"</h3>
+
+<p class="nind">THIS concerto I heard for the first time in Leipsic, on Saturday,
+January 19, 1850. It was in one of the Euterpe Society's concerts,
+exceedingly well played by Adolph Blassman of Dresden, and I vividly
+remember the stunning effect it produced upon some of the best pupils of
+the Conservatory who were present. I was nearly<a name="page_064" id="page_064"></a> as much excited over
+the composition as I had previously been at the performance of the
+"Symphony in B Flat Major."</p>
+
+<p>A few weeks later the same concerto was played in a Gewandhaus concert
+by Fr�ulein Wilhelmine Clauss, a pupil of Mme. Schumann, who had studied
+it under her supervision. The result was another good rendering,
+although at the previous rehearsal there had been trouble with the
+so-called syncopated passage where the <sup>3</sup>&frasl;<sub>2</sub> and &frac34; rhythms alternate,
+and it was not until after many repeated attempts that success was
+attained.</p>
+
+<p>On account of the long, uninterrupted continuance of this <sup>3</sup>&frasl;<sub>2</sub> rhythm its
+character as a syncopation is entirely lost and it becomes simply an
+augmentation of the preceding and following &frac34; rhythm, and all of the
+best orchestral conductors I have seen always give out the beat
+accordingly&mdash;that is, in a manner equivalent to simply doubling the rate
+of speed in the &frac34; from that of the <sup>3</sup>&frasl;<sub>2</sub> movement. I do not see how the
+performers, both in orchestra and piano, can be kept together in any
+other way.<a name="page_065" id="page_065"></a></p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_064.png">
+<img src="images/ill_064_sml.png" width="550" height="354" alt="Autograph of Joseph Joachim" title="Autograph of Joseph Joachim" /></a>
+<br />
+<span class="caption">Autograph of Joseph Joachim</span>
+</div>
+
+<h3><a name="CARL_MAYER" id="CARL_MAYER"></a>CARL MAYER</h3>
+
+<p class="nind">FROM Leipsic I went to Dresden in March, 1850, and stayed there a few
+months with some American friends who were studying the pianoforte under
+Carl Mayer, whose very beautiful and finished playing was more adapted
+for the salon than for the concert-hall. Although I took no lessons of
+him, I constantly enjoyed his society, frequently heard him play, and in
+this way profited much from the association.</p>
+
+<p>I wished, however, to get to work in the more advanced and modern
+methods, and so decided to go to Alexander Dreyschock in Prague. My
+departure from Dresden was somewhat delayed because, upon going to the
+Austrian consul's to get his vis�, he refused to give it to me. This was
+owing to the political disturbances which had taken place in Europe a
+year or two before. Thereupon I wrote to Dreyschock for his assistance,
+and being on friendly terms with the Austrian minister at Dresden, he
+easily accomplished the desired result.<a name="page_066" id="page_066"></a></p>
+
+<h3><a name="DREYSCHOCK" id="DREYSCHOCK"></a>DREYSCHOCK</h3>
+
+<p class="nind">ALEXANDER Dreyschock was one of the most distinguished
+pianoforte-virtuosos of his time, and his specialty was his wonderful
+octave-playing. Indeed, he acquired such fame in this particular that
+the mention of "octave-playing" at once suggested the name of Dreyschock
+to his contemporaries. He was also celebrated on account of his highly
+trained left hand, so much so that Saphir, the famous Vienna critic,
+paid tribute to the fact by writing a stanza which obtained wide
+circulation, and which runs as follows:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">Welchen Titel der nicht hinke</td></tr>
+<tr><td align="left">&nbsp; Man dem Meister geben m�chte,</td></tr>
+<tr><td align="left">Der zur Rechten macht die Linke?&mdash;</td></tr>
+<tr><td align="left">&nbsp; Nennt ihn, "Doctor beider Rechte."</td></tr>
+</table>
+
+<p>An anecdote, related to me by one of his most intimate friends not long
+after my arrival in Prague, is interesting in this connection, as well
+as instructive to piano-students. Tomaschek, his teacher, was in the
+habit of receiving a few friends on<a name="page_067" id="page_067"></a> stated occasions for the purpose of
+musical entertainment and conversation. One evening the rapid progress
+in piano-technic was being discussed, and Tomaschek remarked that more
+and more in this direction was demanded each day. A copy of Chopin's
+"�tudes, Op. 10," open at "�tude No. 12, C Minor," happened to be lying
+on the piano-desk. It will be remembered that the left-hand part of this
+�tude consists throughout of rapid passages in single notes, difficult
+enough in the original to satisfy the ambition of most pianists.
+Tomaschek, looking at this, remarked, "I should not wonder if, one of
+these days, a pianist should appear who would play all of these
+single-note left-hand passages in octaves." Dreyschock, overhearing the
+remark, at once conceived an idea which he proceeded next day to carry
+into execution. For a period of six successive weeks, at the rate of
+twelve hours a day, he practised the �tude in accordance with the
+suggestion of Tomaschek. How he ever survived the effort is a mystery,
+but, at any rate, when the next musical evening<a name="page_068" id="page_068"></a> at Tomaschek's occurred
+he was present, and, watching his opportunity for a favorable moment,
+sat down to the pianoforte and played the �tude in a brilliant and
+triumphant manner, with the left-hand octaves, thus fulfilling the
+prediction of Tomaschek. Upon a subsequent occasion he repeated this
+feat at one of the Leipsic Gewandhaus concerts. Mendelssohn, as I am
+told, was present, and was very demonstrative in the expression of his
+delight and astonishment. I will add, for the benefit of those of my
+readers, should there be any, who are inclined to try the experiment,
+that certain adaptations are necessary in various parts of the �tude in
+order to get the required scope for the left-hand octaves. Thus, the
+opening octave series, as well as other similar left-hand passages
+throughout the �tude, must, when necessary, be played an octave higher
+than written.</p>
+
+<p>At the time of which I write (1849-1850) very little seems to have been
+known of the important influence of the upper-arm muscles and their very
+efficient agency, when properly employed,<a name="page_069" id="page_069"></a> in the production of
+tone-quality and volume by means of increased relaxation, elasticity,
+and springiness in their movements.</p>
+
+<p>I received considerably over one hundred lessons from Dreyschock, and
+with slow and rapid scale and arpeggio practice his instruction had
+special reference to limber and flexible wrists, his distinguishing
+feature being his wonderful octave-playing. Beyond the wrists, however,
+the other arm muscles received practically little or no attention, and
+the fact is that during my whole stay abroad none of my teachers or
+their pupils, with many of whom I was intimately associated, seemed to
+know anything about the importance of the upper-arm muscles, the
+practical knowledge of which I had acquired through the playing of
+Leopold de Meyer as described in the earlier part of this book. In the
+Tomaschek method, as taught and practised by Dreyschock, the direction
+to the pupil was simply to keep the wrists loose. To be sure, this could
+not be altogether accomplished without some degree of arm-limberness,<a name="page_070" id="page_070"></a>
+but no specific directions were given for cultivating the latter. So far
+as wrist-motion is concerned, Leschetitsky's manner of playing octaves
+has much in common with the Tomaschek-Dreyschock method, if the former
+may be judged from the playing of most of his pupils, who seem to pay
+but little attention to the upper-arm muscles. This is quite natural
+when it is remembered that Leschetitsky was in some sense an assistant
+of Dreyschock when the latter was at the head of the piano department in
+the Conservatory of Music at St. Petersburg. The Leschetitsky pupils,
+however, have a manner of sinking the wrists below the keyboard which
+was not in accordance with Dreyschock's manner of playing. It seems to
+me that the latter's method of level wrists is more productive of a
+full, sonorous, musical tone.</p>
+
+<p>I remained with Dreyschock for over a year, taking three lessons a week
+and practising about five hours a day. I played also in private
+musicales at the houses of the nobility and at the homes of<a name="page_071" id="page_071"></a> some of the
+wealthy Jews, two classes of society which were entirely distinct from
+each other, never mingling in private life. I met and became well
+acquainted with Jules Schulhoff, whose compositions for the pianoforte
+were very effective, but more appropriate to the drawing-room than to
+the concert-hall.</p>
+
+<h3><a name="PRINCE_DE_ROHANS_DINNER" id="PRINCE_DE_ROHANS_DINNER"></a>PRINCE DE ROHAN'S DINNER</h3>
+
+<p class="nind">IT was customary in Prague to give once a year an orchestral concert of
+high order, the pecuniary proceeds of which were for the benefit of the
+poor, and on one of these occasions I played with orchestra a brilliant
+composition of Dreyschock's entitled "Salut � Vienne." It was also the
+custom, in concerts of this order, to use the name of some nobleman&mdash;the
+higher the better&mdash;as patron. On this occasion the name used was that of
+the Prince de Rohan, a French nobleman who, expatriated, had lived for
+some time in Prague in a palace of the old Austrian Emperor Ferdinand,
+who, shortly before the time<a name="page_072" id="page_072"></a> of which I write, had abdicated in favor
+of his nephew, the present emperor. A few days after the concert, while
+I was practising in my modestly appointed room, there was a loud knock
+at the door, and immediately there entered a servant of the prince in
+gorgeous livery, who, advancing to the middle of the room and
+straightening himself up, announced in stentorian tones, "His Highness
+Prince Rohan invites you to dinner," at the same time handing me a large
+envelop with a big seal on the back. Without waiting for a reply, he
+made a low obeisance and left the room.</p>
+
+<p>It turned out that all the principal artists who had taken part in the
+concert had been invited to the dinner, and on the appointed day one of
+these, an opera-singer of distinction, came to my room and asked if he
+might go with me. Never having been to a prince's house, and not knowing
+what ceremony might be considered appropriate to such an occasion, he
+conceived the idea of securing a chaperon. The incongruity of his
+selecting<a name="page_073" id="page_073"></a> a green American youth for this purpose greatly amused me,
+but I said, "Come along; they won't hang us for anything we are likely
+to do." Arriving at the palace five or ten minutes before the hour, the
+porter at the outer gate refused us admission, saying we were too early.
+This untoward reception somewhat unsettled us for the moment, but there
+was nothing for us to do but to walk about until the appointed time. On
+presenting ourselves again at the gate at precisely the right moment, we
+were promptly admitted. After passing through the hands of several
+servants, we were finally ushered into the presence of the prince.</p>
+
+<p>He was not an imposing man in appearance, neither was he as well dressed
+as several of the four or five guests who arrived later, my companion
+and I being the first-comers. The prince offered me his arm, and led me
+through the picture-gallery adjoining the reception-room, pointing out
+the portraits of his ancestors, whose names were mostly familiar to me
+from French history. As all formality in<a name="page_074" id="page_074"></a> his manner had passed away, I
+found the occasion intensely interesting.</p>
+
+<p>Dinner being announced, we proceeded to the dining-room, and, when we
+were seated, the prince said that he would greet us first with a glass
+of Schloss Johannisberger Cabinet wine, which he had just received from
+his friend Prince Metternich, the owner of that world-renowned vineyard.
+As is well known, this Cabinet wine is never on the market, and can be
+bought only at an administrator's sale, and then commands the highest
+price. It is not unusual for tourists to pay a large price for this wine
+on the spot, even then not getting the genuine thing, for the space
+where the Cabinet wine grows is very small compared with the quantity of
+wine which is credited to it. Several kinds of red and white wines were
+served, and various kinds of German beer, as well as English and Scotch
+ale. Finally, after seven or eight courses, a single glass of
+champagne&mdash;no more&mdash;was poured out for each guest. Liquid refreshments,
+however, did not end there, for we afterward<a name="page_075" id="page_075"></a> adjourned to the library,
+where we found a roaring wood fire in a vast stone chimney-place, where
+cigars, liqueurs of many kinds, and finally coffee and tea with rum were
+served. There was no music.</p>
+
+<h3><a name="CHOPIN_HENSELT_AND_THALBERG" id="CHOPIN_HENSELT_AND_THALBERG"></a>CHOPIN, HENSELT, AND THALBERG</h3>
+
+<p class="nind">I HAD always looked forward to taking lessons of Chopin at some period
+during my sojourn in Europe, but this was not accomplished, on account
+of his death, which took place in Paris on October 17, 1849. Neither did
+I ever hear him play. One of Dreyschock's anecdotes about him is
+interesting as well as instructive, for it conveys an idea of one of the
+principal characteristics of his style. Dreyschock told me that, a few
+years before, Chopin gave a recital of his own compositions in Paris,
+which he, Dreyschock, attended in company with Thalberg. They listened
+with delight throughout the performance, but on reaching the street
+Thalberg began shouting at the top of his voice.<a name="page_076" id="page_076"></a></p>
+
+<p>"What's the matter?" asked Dreyschock, in astonishment.</p>
+
+<p>"Oh," said Thalberg, "I've been listening to <i>piano</i> all the evening,
+and now, for the sake of contrast, I want a little <i>forte</i>."</p>
+
+<p>Dreyschock spoke of Chopin's extremely delicate and exquisite playing,
+but said that he lacked the physical strength to produce forte effects
+by contrast in accordance with his own ideas. This is illustrated by
+another anecdote which I heard many years afterward from Korbay. A young
+and robust pianist had been playing Chopin's "Polonaise Militaire" to
+the composer, and had broken a string. When, in confusion, he began to
+apologize, Chopin said to him, "Young man, if I had your strength and
+played that polonaise as it should be played, there wouldn't be a sound
+string left in the instrument by the time I got through."</p>
+
+<p>The distinguishing characteristic of Chopin's piano-playing was his
+lovely musical and poetic tone, his warm and emotional coloring, and his
+impassioned utterance. In those days one was not afraid<a name="page_077" id="page_077"></a> to play with a
+great deal of sentiment, although pianists who were capable of doing
+this poetically were rare. In modern times it has become the fashion to
+ridicule any tendency toward emotional playing and to extol the
+intellectual side beyond its just proportion. It seems to me that there
+should be a happy combination and a delicate and well-proportioned
+adjustment between the temperamental and intellectual, with a slight
+preponderance of the former.</p>
+
+<p>An anecdote of Adolf Henselt, also related to me by Dreyschock, is
+entertaining as well as suggestive, especially to pianoforte-players,
+who are constantly troubled with nervousness when playing before an
+audience. Henselt, whose home was in St. Petersburg, was in the habit of
+spending a few weeks every summer with a relative who lived in Dresden.
+Dreyschock, passing through that city, called on him one morning, and
+upon going up the staircase to his room, heard the most lovely tones of
+the pianoforte imaginable.</p>
+
+<p>He was so fascinated that he sat down<a name="page_078" id="page_078"></a> at the top of the landing and
+listened for a long time. Henselt was playing repeatedly the same
+composition, and his playing was also specially characterized by a warm
+emotional touch and a delicious legato, causing the tones to melt, as it
+were, one into the other, and this, too, without any confusion or lack
+of clearness. Henselt was full of sentiment, but detested
+"sentimentality." Finally, for lack of time, Dreyschock was obliged to
+announce himself, although, as he said, he could have listened for
+hours. He entered the room, and after the usual friendly greeting said,
+"What were you playing just now as I came up the stairs?" Henselt
+replied that he was composing a piece and was playing it over to
+himself. Dreyschock expressed his admiration of the composition, and
+begged Henselt to play it again. Henselt, after prolonged urging, sat
+down to the pianoforte and began playing again, but, alas! his
+performance was stiff, inaccurate, and even clumsy, and all of the
+exquisite poetry and unconsciousness of his style completely
+disappeared.<a name="page_079" id="page_079"></a> Dreyschock said that it was quite impossible to describe
+the difference; and this was simply the result of diffidence and
+nervousness, which, as it appeared, were entirely out of the player's
+power to control. Pianoforte-players frequently experience this state of
+things. The only remedy is freedom from self-consciousness, which can
+best be achieved by earnest and persistent mental concentration.</p>
+
+<h3><a name="ANTON_SCHINDLER_AMI_DE_BEETHOVEN" id="ANTON_SCHINDLER_AMI_DE_BEETHOVEN"></a>ANTON SCHINDLER, "AMI DE BEETHOVEN"</h3>
+
+<p class="nind">AFTER finishing my studies with Dreyschock, I went to Frankfort, not to
+study under any particular master, but in order to enjoy the opera and
+the musical life there. Moreover, two or three of my old Boston friends
+were temporarily settled there, pursuing their musical studies.</p>
+
+<p>Anton Schindler, one of the well-known musical characters of the day,
+and who had been Beethoven's most intimate friend during the latter
+years of the great composer's life, lived at Frankfort, and,<a name="page_080" id="page_080"></a> being
+members of the same club, the B�rger Verein, I often enjoyed the
+pleasure of his society, and heard much concerning Beethoven. Schindler
+had written a life of Beethoven, and was naturally very proud of his
+close association with the great master. During his residence in Paris,
+some years previous to the time of which I am writing, he caused to be
+printed on his visiting-cards, "Anton Schindler, Ami de Beethoven."</p>
+
+<p>He worshiped his idol's memory, and was so familiar with his music that
+the slightest mistake in interpretation or departure from Beethoven's
+invention or design jarred upon his nerves&mdash;or possibly he made a
+pretense of this. He held all four-hand pianoforte arrangements of works
+designed and composed for orchestra as abominations. Extreme
+sensitiveness is a r�le sometimes assumed by men in no wise remarkable,
+in order to enhance their own importance in the eyes of others.
+Schindler's attitude as to the undesirability of orchestral pianoforte
+arrangements will meet with the approval of<a name="page_081" id="page_081"></a> many, but he certainly
+carried his sensitiveness in regard to the interpretation of Beethoven's
+works to amusing extremes.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_080.png">
+<img src="images/ill_080_sml.png" width="550" height="415" alt="Autograph of Anton Schindler" title="Autograph of Anton Schindler" /></a>
+<br />
+<span class="caption">Autograph of Anton Schindler</span>
+</div>
+
+<p>Every winter a subscription series of orchestral concerts was given in
+Frankfort, each program of which included at least one symphony. The
+concerts took place in a very old stone building called the "Museum,"
+and on the occasion here referred to the symphony was Beethoven's "No.
+5, C Minor." It so happened that, owing to long-continued rains and
+extreme humidity, the stone walls of the old hall were saturated with
+dampness, in fact, were actually wet. This excess of moisture affected
+the pitch of the wood wind-instruments to such a degree that the other
+instruments had to be adjusted to accommodate them. Schindler, it was
+noticed, left the hall at the close of the first movement. This seemed a
+strange proceeding on the part of the "Ami de Beethoven," and when later
+in the evening he was seen at the B�rger Verein and asked why he had
+gone away so suddenly,<a name="page_082" id="page_082"></a> he replied gruffly, "I don't care to hear
+Beethoven's 'C Minor Symphony' played in the key of B minor."</p>
+
+<h3><a name="SCHINDLER_AND_SCHNYDER_VON_WARTENSEE" id="SCHINDLER_AND_SCHNYDER_VON_WARTENSEE"></a>SCHINDLER AND SCHNYDER VON WARTENSEE</h3>
+
+<p class="nind">ANOTHER story current in Frankfort at this time further illustrates
+Schindler's peculiarity. Among the noted musicians living in Frankfort
+was a theoretician, Swiss by birth, named Schnyder von Wartensee, who
+was of considerable importance in his day. Schindler and Von Wartensee
+had lived in Frankfort, but had never met each other, although common
+friends had at various times made ineffectual efforts to bring them
+together. They were both advanced in years, and, as it seemed, ought to
+have been genial companions. Possibly the failure to arrange a meeting
+had been due to Wartensee's being older than Schindler, and thus in a
+position to expect the latter to call first, while Schindler, being "Ami
+de Beethoven," felt it beneath his dignity to<a name="page_083" id="page_083"></a> make the first move.
+However, some time previous to my arrival another plan for an interview
+was contrived, and as so many previous ones had failed the outcome of
+this was watched with interest.</p>
+
+<p>By the exercise of considerable diplomatic tact Schindler was persuaded
+to agree to call upon Wartensee and to fix a time for the visit. The
+friends of the gentlemen had all been looking forward with much interest
+to the result of this meeting, hoping thereby to hear a great many
+musical reminiscences, and a committee was appointed to watch Schindler
+and make sure that he kept the appointment. After a while the committee
+returned to the B�rger Verein and reported that they had seen him almost
+reach Wartensee's house, then pause for a moment, and suddenly turn and
+hurry away. Later Schindler himself came in, and being questioned
+concerning the interview, exclaimed, "Bah! as I got near the house I
+heard them [Wartensee and his wife] playing a four-handed piano
+arrangement of the 'Eroica.'"<a name="page_084" id="page_084"></a></p>
+
+<h3><a name="FIRST_LONDON_CONCERT" id="FIRST_LONDON_CONCERT"></a>FIRST LONDON CONCERT</h3>
+
+<p class="nind">IN January, 1853, my stay in Frankfort was brought to an end by a letter
+from Sir Julias Benedict, asking me to come to London to play at one of
+the concerts of the Harmonic Union at Exeter Hall. I accepted the
+engagement, and made my first appearance in London under Benedict's
+conductorship, playing Weber's "Concertst�ck." An account having been
+published in a London paper of the very delightful celebration, in 1899,
+of my seventieth birthday by my pupils, past and present, and by many of
+my friends, I received an inquiry from a lady living in London, asking
+whether I was the same William Mason whom she had heard in Exeter Hall
+nearly half a century ago!</p>
+
+<p>I accepted only one other engagement to play in public, though I
+remained near London for more than two months, just to look about.</p>
+
+<p>I was much impressed with the extent to which Mendelssohn's influence
+prevailed in English matters musical. I met<a name="page_085" id="page_085"></a> a great many excellent
+musicians there, especially several fine organists; but a large
+majority, both in their ideas and in their style of playing and
+composition, were nothing but Mendelssohns in "half-tone," and to some
+extent this is still true of England.<a name="page_086" id="page_086"></a></p>
+
+<h2><a name="WITH_LISZT_IN_WEIMAR" id="WITH_LISZT_IN_WEIMAR"></a>WITH LISZT IN WEIMAR</h2>
+
+<p class="nind"><span class="letra">A</span>FTER my London visit I was obliged to return to Leipsic to transact
+some business, and I decided to call on Liszt in Weimar en route. My
+intention was to make another effort to be received by him as a pupil,
+my idea being, if he declined, to go to Paris and study under some
+French master.</p>
+
+<p>I reached Weimar on the 14th of April, 1853, and put up at the Hotel zum
+Erbprinzen. At that time Liszt occupied a house on the Altenburg
+belonging to the grand duke. The old grand duke, under whose patronage
+Goethe had made Weimar famous, was still living. I think his idea was to
+make Weimar as famous musically through Liszt as it had been in
+literature in Goethe's time.</p>
+
+<p>Having secured my room at the Erbprinzen,<a name="page_087" id="page_087"></a> I set out for the Altenburg.
+The butler who opened the door mistook me for a wine-merchant whom he
+had been expecting. I explained that I was not that person. "This is my
+card," I said. "I have come here from London to see Liszt." He took the
+card, and returned almost immediately with the request for me to enter
+the dining-room.</p>
+
+<p>I found Liszt at the table with another man. They were drinking their
+after-dinner coffee and cognac. The moment Liszt saw me he exclaimed,
+"Nun, Mason, Sie lassen lange auf sich warten!" ("Well, Mason, you let
+people wait for you a long time!") I suppose he saw my surprised look,
+for he added, "Ich habe Sie schon vor vier Jahren erwartet" ("I have
+been expecting you for four years"). Then it struck me that I had
+probably wholly misinterpreted his first letter to me and what he said
+when I called on him during the Goethe festival. But nothing was said
+about my remaining, and though he was most affable, I began to doubt
+whether I would accomplish the object of my visit.<a name="page_088" id="page_088"></a></p>
+
+<h3><a name="ACCEPTED_BY_LISZT" id="ACCEPTED_BY_LISZT"></a>ACCEPTED BY LISZT</h3>
+
+<p class="nind">WHEN we rose from the table and went into the drawing-room, Liszt said:
+"I have a new piano from �rard of Paris. Try it, and see how you like
+it." He asked me to pardon him if he moved about the room, for he had to
+get together some papers which it was necessary to take with him, as he
+was going to the palace of the grand duke. "As the palace is on the way
+to the hotel, we can walk as far as that together," he added.</p>
+
+<p>I felt intuitively that my opportunity had come. I sat down at the piano
+with the idea that I would not endeavor to show Liszt how to play, but
+would play as simply as if I were alone. I played "Amiti� pour Amiti�,"
+a little piece of my own which had just been published by Hofmeister of
+Leipsic.</p>
+
+<div class="figcenter" style="width: 378px;">
+<img src="images/ill_088.jpg" width="378" height="567" alt="LISZT IN MIDDLE LIFE" title="LISZT IN MIDDLE LIFE" />
+<br />
+<span class="caption">LISZT IN MIDDLE LIFE</span>
+</div>
+
+<p>"That's one of your own?" asked Liszt when I had finished. "Well, it's a
+charming little piece." Still nothing was said about my being accepted
+as a pupil. But when we left the Altenburg, he said casually,<a name="page_089" id="page_089"></a> "You
+say you are going to Leipsic for a few days on business? While there you
+had better select your piano and have it sent here. Meanwhile I will
+tell Klindworth to look up rooms for you. Indeed, there is a vacant room
+in the house in which he lives, which is pleasantly situated just
+outside the limits of the ducal park."</p>
+
+<p>I can still recall the thrill of joy which passed through me when Liszt
+spoke these words. They left no doubt in my mind. I was accepted as his
+pupil. We walked down the hill toward the town, Liszt leaving me when we
+arrived at the palace, telling me, however, that he would call later at
+the hotel and introduce me to my fellow-pupils. About eight o'clock that
+evening he came.</p>
+
+<p>After smoking a cigar and chatting with me for half an hour, Liszt
+proposed going down to the caf�, saying, "The gentlemen are probably
+there, as this is about their regular hour for supper." Proceeding to
+the dining-room, we found Messrs. Raff, Pruckner, and Klindworth, to
+whom I was presented in due form,<a name="page_090" id="page_090"></a> and who received me in a very
+friendly manner.</p>
+
+<p>I had no idea then, neither have I now, what Liszt's means were, but I
+learned soon after my arrival at Weimar that he never took pay from his
+pupils, neither would he bind himself to give regular lessons at stated
+periods. He wished to avoid obligations as far as possible, and to feel
+free to leave Weimar for short periods when so inclined&mdash;in other words,
+to go and come as he liked. His idea was that the pupils whom he
+accepted should all be far enough advanced to practise and prepare
+themselves without routine instruction, and he expected them to be ready
+whenever he gave them an opportunity to play. The musical opportunities
+of Weimar were such as to afford ample encouragement to any
+serious-minded young student. Many distinguished musicians, poets, and
+literary men were constantly coming to visit Liszt. He was fond of
+entertaining, and liked to have his pupils at hand so that they might
+join him in entertaining and paying attention to his<a name="page_091" id="page_091"></a> guests. He had
+only three pupils at the time of which I write, namely, Karl Klindworth
+from Hanover, Dionys Pruckner from Munich, and the American whose
+musical memories are here presented. Joachim Raff, however, we regarded
+as one of us, for although not at the time a pupil of Liszt, he had been
+in former years, and was now constantly in association with the master,
+acting frequently in the capacity of private secretary. Hans von B�low
+had left Weimar not long before my arrival, and was then on his first
+regular concert-tour. Later he returned occasionally for short visits,
+and I became well acquainted with him. We constituted, as it were, a
+family, for while we had our own apartments in the city, we all enjoyed
+the freedom of the two lower rooms in Liszt's home, and were at liberty
+to come and go as we liked. Regularly on every Sunday at eleven o'clock,
+with rare exceptions, the famous Weimar String Quartet played for an
+hour and a half or so in these rooms, and Liszt frequently joined them
+in concerted music, old and<a name="page_092" id="page_092"></a> new. Occasionally one of the boys would
+take the pianoforte part. The quartet-players were Laub, first violin;
+St�rr, second violin; Walbr�hl, viola; and Cossmann, violoncello. Before
+Laub's time Joachim had been concertmeister, but he left Weimar in 1853
+and went to Hanover, where he occupied a similar position. He
+occasionally visited Weimar, however, and would then at times play with
+the quartet. Henri Wieniawski, who spent some months in Weimar, would
+occasionally take the first violin. My favorite as a quartet-player was
+Ferdinand Laub, with whom I was intimately acquainted, and I find that
+the greatest violinists of the present time hold him in high estimation,
+many of them regarding him as the greatest of all quartet-players. We
+were always quite at our ease in those lower rooms, but on ceremonial
+occasions we were invited up-stairs to the drawing-room, where Liszt had
+his favorite �rard. We were thus enjoying the best music, played by the
+best artists. In addition to this there were the symphony concerts<a name="page_093" id="page_093"></a> and
+the opera, with occasional attendance at rehearsal. Liszt took it for
+granted that his pupils would appreciate these remarkable advantages and
+opportunities and their usefulness, and I think we did.</p>
+
+<h3><a name="THE_ALTENBURG" id="THE_ALTENBURG"></a>THE ALTENBURG</h3>
+
+<p class="nind">LISZT's private studio, where he wrote and composed, was at the back of
+the main building in a lower wing, and may easily be distinguished in
+the picture by the awnings over the windows. I was not in this room more
+than half a dozen times during my stay in Weimar, and one of these I
+remember as the occasion of Liszt's playing the Beethoven "Kreutzer
+Sonata" with Remenyi, the Hungarian violinist, and giving him a lesson
+in conception and style of performance. Remenyi was a violinist of fine
+musical talent, but not a classicist, his style being after the fashion
+of the class represented by Ole Bull. He was, as is well known, a
+genuine Hungarian, thoroughly at home in the musical characteristics of
+his native<a name="page_094" id="page_094"></a> country. He was unconsciously disposed to color and mark the
+music of all composers with Hungarian peculiarities, and this habit gave
+rise to a story that sometimes he added to the concluding strain of the
+theme in the slow movement of the "Kreutzer Sonata" the peculiar
+Hungarian termination as a final ornament. This story probably
+originated in a spirit of fun. It was, nevertheless, so characteristic
+of Remenyi that it obtained wide circulation.</p>
+
+<div class="figcenter" style="width: 165px;">
+<img src="images/ill_094.png" width="165" height="47" alt="musical notation" title="musical notation" />
+<br />
+</div>
+
+<p>The picture gives a very good view of the house as it appeared in
+1853-54. In the nearest corner of the building were the two large rooms
+on the ground floor to which reference has already been made, of which
+we boys had the freedom at all times, and where strangers were
+unceremoniously received. The F�rstin Sayn-Wittgenstein had apartments,
+I think, on<a name="page_095" id="page_095"></a> the <i>bel �tage</i> with her daughter, the Prinzessin Marie.
+Any one who was to be honored with an introduction to them was taken to
+a reception-room up-stairs; adjoining this was the dining-room. This
+print is from a water-color painted for me by my friend Mr. Thomas Allen
+of Boston. It is copied from a photograph of the original,&mdash;a
+water-color by Carl Hoffman,&mdash;which Mr. Hoffman painted expressly for
+his friend Mr. James M. Tracy, a former pupil of Liszt, who is now a
+professional pianist and teacher in Denver, Colorado, and to whom I am
+indebted for permission to publish it here. Mr. Tracy writes me that it
+has been published before, but without his permission.</p>
+
+<p>We boys saw little of the Wittgensteins, and I remember dining with them
+only once. I sat next to the Princess Marie, who spoke English very
+well, and it may have been due to her desire to exercise in the language
+that I was honored with a seat next to her. Rubinstein met her when he
+was at Weimar (I shall have more to tell of his visit later), and
+composed<a name="page_096" id="page_096"></a> a nocturne which he dedicated to her. When he came to this
+country in 1873 he told me that he had met her again some years later at
+the palace in Vienna, but that she had become haughty, and had not been
+inclined to pay much attention to him. There are many Wittgensteins in
+Russia. When I was in Wiesbaden in 1879-80 I saw half a dozen Russian
+princes of that name. There was but one Rubinstein.</p>
+
+<p>Liszt had the pick of all the young musicians in Europe for his pupils,
+and I attribute his acceptance of me somewhat to the fact that I came
+all the way from America, something more of an undertaking in those days
+than it is now. I became very well acquainted with those whom I have
+mentioned, especially with Klindworth and Raff, and before many days we
+were all "Dutzbr�der."</p>
+
+<div class="figcenter" style="width: 492px;">
+<img src="images/ill_096.jpg" width="492" height="372" alt="THE ALTENBURG, LISZT&#39;S HOUSE AT WEIMAR" title="THE ALTENBURG, LISZT&#39;S HOUSE AT WEIMAR" />
+<br />
+<span class="caption">THE ALTENBURG, LISZT&#39;S HOUSE AT WEIMAR</span>
+</div>
+
+<p>The first evening Raff, whom I had previously never heard of, struck me
+as being rather conceited; but when I grew to know him better, and
+realized how talented he was, I was quite ready to<a name="page_097" id="page_097"></a> make allowance for
+his little touch of self-esteem. We became warm friends, dining together
+every day at the table d'h�te, and after dinner walking for an hour or
+so in the park. Nineteen years later I went abroad again and visited
+Raff at the Conservatory in Frankfort. He interrupted his lessons the
+moment that he heard I was there, came running down-stairs, threw his
+arms around my neck, and was so overjoyed at seeing me that I felt as if
+we were boys once more at Weimar. Of the pupils and of the many
+musicians who came to Weimar to visit Liszt at that time,&mdash;"die goldene
+Zeit" (the Golden Age), as it is still called at Weimar,&mdash;I think
+Klindworth and I are the only survivors. Klindworth is one of the most
+distinguished teachers in Europe, and taught for many years at the
+Conservatory in Moscow. He is now in Potsdam.</p>
+
+<h3><a name="HOW_LISZT_TAUGHT" id="HOW_LISZT_TAUGHT"></a>HOW LISZT TAUGHT</h3>
+
+<p class="nind">WHAT I had heard in regard to Liszt's method of teaching proved to be
+absolutely<a name="page_098" id="page_098"></a> correct. He never taught in the ordinary sense of the word.
+During the entire time that I was with him I did not see him give a
+regular lesson in the pedagogical sense. He would notify us to come up
+to the Altenburg. For instance, he would say to me, "Tell the boys to
+come up to-night at half-past six or seven." We would go there, and he
+would call on us to play. I remember very well the first time I played
+to him after I had been accepted as a pupil. I began with the "Ballade"
+of Chopin in A flat major; then I played a fugue by Handel in E minor.</p>
+
+<p>After I was well started he began to get excited. He made audible
+suggestions, inciting me to put more enthusiasm into my playing, and
+occasionally he would push me gently off the chair and sit down at the
+piano and play a phrase or two himself by way of illustration. He
+gradually got me worked up to such a pitch of enthusiasm that I put all
+the grit that was in me into my playing.</p>
+
+<p>I found at this first lesson that he was<a name="page_099" id="page_099"></a> very fond of strong accents in
+order to mark off periods and phrases, and he talked so much about
+strong accentuation that one might have supposed that he would abuse it,
+but he never did. When he wrote to me later about my own piano method,
+he expressed the strongest approval of the exercises on accentuation.</p>
+
+<h3><a name="PLAY_IT_LIKE_THIS" id="PLAY_IT_LIKE_THIS"></a>"PLAY IT LIKE THIS"</h3>
+
+<p class="nind">WHILE I was playing to him for the first time, he said on one of the
+occasions when he pushed me from the chair: "Don't play it that way.
+Play it like this." Evidently I had been playing ahead in a steady,
+uniform way. He sat down, and gave the same phrases with an accentuated,
+elastic movement, which let in a flood of light upon me. From that one
+experience I learned to bring out the same effect, where it was
+appropriate, in almost every piece that I played. It eradicated much
+that was mechanical, stilted, and unmusical in my playing, and developed
+an elasticity of touch<a name="page_100" id="page_100"></a> which has lasted all my life, and which I have
+always tried to impart to my pupils.</p>
+
+<p>At this first lesson I must have played for two or three hours. For some
+reason or other Raff was not present, but Klindworth and Pruckner were
+there. They lounged on a sofa and smoked, and I remember wondering if
+they appreciated the nice time they were having at my ordeal. However,
+not many days afterward came my opportunity to light a cigar and lounge
+about the room while Liszt put them through their paces.</p>
+
+<p>Two or three hours is not a long time for a professional musician to
+practise, and I had often spent many more hours at the piano, but never
+under such strong incitement. I was exceedingly tired afterward, and
+actually felt stiff the next day, as if I had performed some very
+arduous physical work. Liszt heard of this, and turned it into a joke,
+telling people that at the time set for the next lesson I appeared at
+the Altenburg with my hand in a sling, and said that I had<a name="page_101" id="page_101"></a> strained my
+wrist while hunting, and would be unable to play. I think this is <i>non �
+ver e ben trovato</i>, as I have no recollection of it.</p>
+
+<h3><a name="LISZT_IN_1854" id="LISZT_IN_1854"></a>LISZT IN 1854</h3>
+
+<p class="nind">THE best impression of Liszt's appearance at that time is conveyed by
+the picture which shows him approaching the Altenburg. His back is
+turned; nevertheless, there is a certain something which shows the man
+as he was better even than those portraits in which his features are
+clearly reproduced. The picture gives his gait, his figure, and his
+general appearance. There is his tall, lank form, his high hat set a
+little to one side, and his arm a trifle akimbo. He had piercing eyes.
+His hair was very dark, but not black. He wore it long, just as he did
+in his older days. It came almost down to his shoulders, and was cut off
+square at the bottom. He had it cut frequently, so as to keep it at
+about the same length. That was a point about which he was very
+particular.<a name="page_102" id="page_102"></a></p>
+
+<h3><a name="HIS_FASCINATION" id="HIS_FASCINATION"></a>HIS FASCINATION</h3>
+
+<p class="nind">AS I remember his hands, his fingers were lean and thin, but they did
+not impress me as being very long, and he did not have such a remarkable
+stretch on the keyboard as one might imagine. He was always neatly
+dressed, generally appearing in a long frock-coat, until he became the
+Abb� Liszt, after which he wore the distinctive black gown. His general
+manner and his face were most expressive of his feelings, and his
+features lighted up when he spoke. His smile was simply charming. His
+face was peculiar. One could hardly call it handsome, yet there was in
+it a subtle something that was most attractive, and his whole manner had
+a fascination which it is impossible to describe.</p>
+
+<p>I remember little incidents which are in themselves trivial, but which
+illustrate some character-trait. One day Liszt was reading a letter in
+which a musician was referred to as a certain Mr. So-and-so. He read
+that phrase over two or three<a name="page_103" id="page_103"></a> times, and then substituted his own name
+for that of the musician mentioned, and repeated several times, "A
+<i>certain</i> Mr. Liszt, a <i>certain</i> Mr. Liszt, a <i>certain</i> Mr. Liszt,"
+adding: "I don't know that that would offend me. I don't know that I
+should object to being called 'a <i>certain</i> Mr. Liszt.'" As he said this
+his face had an expression of curiosity, as though he were wondering
+whether he really would be offended or not. But at the same time there
+was in his face that look of kindness I saw there so often, and I really
+believe he would not have felt injured by such a reference to himself.
+There was nothing petty in his feelings.</p>
+
+<h3><a name="LISZTS_INDIGNATION" id="LISZTS_INDIGNATION"></a>LISZT'S INDIGNATION</h3>
+
+<p class="nind">ON one occasion, however, I saw Liszt grow very much excited over what
+he considered an imposition. One evening he said to us: "Boys, there is
+a young man coming here to-morrow who says he can play Beethoven's
+'Sonata in B Flat, Op. 106.' I want you all three to be here."<a name="page_104" id="page_104"></a> We were
+there at the appointed hour. The pianist proved to be a Hungarian, whose
+name I have forgotten.</p>
+
+<p>He sat down and began to play in a conveniently slow tempo the bold
+chords with which the sonata opens. He had not progressed more than half
+a page when Liszt stopped him, and seating himself at the piano, played
+in the correct tempo, which was much faster, to show him how the work
+should be interpreted. "It's nonsense for you to go through this sonata
+in that fashion," said Liszt, as he rose from the piano and left the
+room.</p>
+
+<p>The pianist, of course, was very much disconcerted. Finally he said, as
+if to console himself: "Well, he can't play it through like that, and
+that's why he stopped after half a page."</p>
+
+<p>This sonata is the only one which the composer himself metronomized, and
+his direction is M.M.
+<img src="images/ill_104.png" width="15" height="22" alt="half note" title="half note"
+style="vertical-align:middle;" />
+= 138. A less rapid
+tempo,
+<img src="images/ill_104.png" width="15" height="20" alt="half note" title="half note"
+style="vertical-align:middle;" />
+= 100 or thereabouts, would seem to
+be more nearly correct, but the pianist took it at a much slower rate
+than even this.<a name="page_105" id="page_105"></a></p>
+
+<p>When the young man left I went out with him, partly because I felt sorry
+for him, he had made such a fiasco, and partly because I wished to
+impress upon him the fact that Liszt could play the whole movement in
+the tempo in which he began it. As I was walking along with him, he
+said, "I'm out of money; won't you lend me three louis d'or?"</p>
+
+<p>A day or two later I told Liszt by the merest chance that the hero of
+the Op. 106 fiasco had tried to borrow money of me. "B-r-r-r! What?"
+exclaimed Liszt. Then he jumped up, walked across the room, seized a
+long pipe that hung from a nail on the wall, and brandishing it as if it
+were a stick, stamped up and down the room in almost childish
+indignation, exclaiming, "Drei louis d'or! Drei louis d'or!" The point
+is, however, that Liszt regarded the man as an artistic impostor. He had
+sent word to Liszt that he could play the great Beethoven sonata, not an
+inconsiderable feat in those days. He had been received on that basis.
+He had failed miserably. To this artistic imposition<a name="page_106" id="page_106"></a> he had added the
+effrontery of endeavoring to borrow money from some one whom he had met
+under Liszt's roof.</p>
+
+<h3><a name="OBJECTS_TO_MY_EYE-GLASSES" id="OBJECTS_TO_MY_EYE-GLASSES"></a>OBJECTS TO MY EYE-GLASSES</h3>
+
+<p class="nind">I HAVE mentioned that Liszt was careful in his dress. He was also
+particular about the appearance of his pupils. I remember two instances
+which show how particular he was in little matters. I have been
+near-sighted all my life, and when I went to Weimar I wore eye-glasses,
+much preferring them to spectacles. Eye-glasses were not much worn in
+Germany at that time, and were considered about as affected as the mode
+of wearing a monocle. The Germans wore spectacles. I had not been in
+Weimar long when Liszt said to me: "Mason, I don't like to see you
+wearing those glasses. I shall send my optician to fit your eyes with
+spectacles."</p>
+
+<p>I hardly thought that he was serious, and so paid no attention to him.
+But, sure enough, about a week later there was a knock at my door, and
+the optician<a name="page_107" id="page_107"></a> presented himself, saying he had come at the command of
+Dr. Liszt to examine my eyes and fit a pair of spectacles to them. As I
+was evidently to have no say in the matter, I submitted, and a few days
+later I received two pairs, one in a green and one in a red case. I
+thought them extremely unbecoming, but I was very particular to put them
+on whenever I went to see Liszt.</p>
+
+<p>Not long afterward Liszt went to Paris, and when we called to see him
+after his return, and he was talking about his experiences there, he
+said casually: "By the way, Mason, I find that gentlemen in Paris are
+wearing eye-glasses now. In fact, they are considered quite <i>comme il
+faut</i>, so I have no objection to your wearing yours." As he did not ask
+me to send him the spectacles, I kept them, and have them to this day.</p>
+
+<p>Klindworth, Pruckner, and I had played the Bach triple concerto in a
+concert at the town hall, and had been requested to repeat it at an
+evening concert at the ducal palace. An hour before<a name="page_108" id="page_108"></a> the ducal carriage
+arrived to take me to the concert, a servant came from the Altenburg
+with a package which he said Liszt had requested him to be sure to
+deliver to me. On opening it, I found two or three white ties. It was a
+hint to me from Liszt that I most dress suitably to play at court.</p>
+
+<p>This incident shows the care that Liszt bestowed on little things
+relating to the customs and amenities of social life. He evidently sent
+the ties as a precautionary measure. Possibly he was not sure whether
+Americans were civilized enough to wear white ties with evening dress,
+and was afraid I might appear in a red-white-and-blue one. Seriously,
+however, it was very kind of him to think of a little thing like this.</p>
+
+<h3><a name="A_MUSICAL_BREAKFAST" id="A_MUSICAL_BREAKFAST"></a>A MUSICAL BREAKFAST</h3>
+
+<p class="nind">BEFORE I went to Weimar I had not been of a very sociable disposition.
+At Weimar I had to be. Liszt liked to have us about him. He wished us to
+meet great<a name="page_109" id="page_109"></a> men. He would send us word when he expected visitors, and
+sometimes he would bring them down to our lodgings to see us. In every
+way he tried to make our surroundings as pleasant as possible. It would
+have been strange if, under such circumstances, we had not derived some
+benefit from our intercourse with our great master and his visitors.</p>
+
+<p>I shall always recall with amusement a breakfast which, at Liszt's
+request, Klindworth and I gave to Joachim and Wieniawski, the
+violinists, then, of course, very young men, and to several other
+distinguished visitors. Liszt had been entertaining them for several
+days. We knew that it was about time for him to bring them down to see
+one of us. So I was not surprised when he turned to me one evening and
+said, "Mason, I want you and Klindworth to give us a breakfast
+to-morrow." I asked him what we should have. "Oh," he replied, "some
+<i>Semmel</i> [rolls], caviar, herring," etc.</p>
+
+<p>The next morning Liszt and his visitors came. I remember looking out of
+my<a name="page_110" id="page_110"></a> window and watching them cross the ducal park, over the long
+foot-path which ended directly opposite the house where Klindworth and I
+lived. It had been raining, and the path was slippery, so that their
+footsteps were somewhat uncertain.</p>
+
+<p>The breakfast passed off all right. When he had finished, Liszt said,
+"Now let us take a stroll in the garden." This garden was about four
+times as large as the back yard of a New York house, and it was
+unflagged and, of course, muddy from the rain of the previous night.
+Never shall I forget the sight of Liszt, Joachim, Wieniawski, and our
+other distinguished guests "strolling" through this garden, wading in
+mud two inches deep.</p>
+
+<h3><a name="LISZTS_PLAYING" id="LISZTS_PLAYING"></a>LISZT'S PLAYING</h3>
+
+<p class="nind">TIME and again at Weimar I heard Liszt play. There is absolutely no
+doubt in my mind that he was the greatest pianist of the nineteenth
+century. Liszt was what the Germans call an <i>Erscheinung</i>&mdash;an<a name="page_111" id="page_111"></a>
+epoch-making genius. Taussig is reported to have said of him: "Liszt
+dwells alone upon a solitary mountain-top, and none of us can approach
+him." Rubinstein said to Mr. William Steinway in the year 1873: "Put all
+the rest of us together and we would not make one Liszt." This was
+doubtless hyperbole, but nevertheless significant as expressing the
+enthusiasm of pianists universally conceded to be of the highest rank.
+There have been other great pianists, some of whom are now living, but I
+must dissent from those writers who affirm that any of these can be
+placed upon a level with Liszt. Those who make this assertion are too
+young to have heard Liszt other than in his declining years, and it is
+unjust to compare the playing of one who has long since passed his prime
+with that of one who is still in it. In the year 1873 Rubinstein told
+Theodore Thomas that it was fully worth while to make a trip to Europe
+to hear Liszt play; but he added: "Make haste and go at once; he is
+already beginning to break up, and his playing is not up to the
+standard<a name="page_112" id="page_112"></a> of former years, although his personality is as attractive as
+ever."</p>
+
+<p>In March, 1895, Stavenhagen and Remenyi were dining at my house one
+evening, and the former began to speak in enthusiastic terms of Liszt's
+playing. Remenyi interrupted with emphasis: "You have never heard Liszt
+play&mdash;that is, as Liszt used to play in his prime"; and he appealed to
+me for corroboration, but, unhappily, I never met Liszt again after
+leaving Weimar in July, 1854.</p>
+
+<p>The difference between Liszt's playing and that of others was the
+difference between creative genius and interpretation. His genius
+flashed through every pianistic phrase, it illuminated a composition to
+its innermost recesses, and yet his wonderful effects, strange as it
+must seem, were produced without the advantage of a genuinely musical
+touch.</p>
+
+<p>I remember on one occasion Schulhoff came to Weimar and played in the
+drawing-room of the Altenburg house. His playing and Liszt's were in
+marked contrast. He has been mentioned in an<a name="page_113" id="page_113"></a> earlier chapter as a
+parlor pianist of high excellence. His compositions, exclusively in the
+smaller forms, were in great favor and universally played by the ladies.</p>
+
+<p>Liszt played his own "B�n�diction de Dieu dans la Solitude," as pathetic
+a piece, perhaps, as he ever composed, and of which he was very fond.
+Afterward Schulhoff, with his exquisitely beautiful touch, produced a
+quality of tone more beautiful than Liszt's; but about the latter's
+performance there was intellectuality and the indescribable
+impressiveness of genius, which made Schulhoff's playing, with all its
+beauty, seem tame by contrast.</p>
+
+<p>I was not surprised to hear from Theodore Thomas what Rubinstein had
+told him concerning Liszt's "breaking up," for as far back as the days
+of "die goldene Zeit" it had seemed to me that there were certain
+indications in his playing which warranted the belief that his
+mechanical powers would begin to wane at a comparatively early period in
+his career. There was too little pliancy, flexion, and relaxation in his
+muscles; hence a lack<a name="page_114" id="page_114"></a> of economy in the expenditure of his energies.</p>
+
+<p>He was aware of this, and said in effect on one occasion, as I learned
+indirectly through either Klindworth or Pruckner: "You are to learn all
+you can from my playing, relating to conception, style, phrasing, etc.,
+but do not imitate my touch, which, I am well aware, is not a good model
+to follow. In early years I was not patient enough to 'make haste
+slowly'&mdash;thoroughly to develop in an orderly, logical, and progressive
+way. I was impatient for immediate results, and took short cuts, so to
+speak, and jumped through sheer force of will to the goal of my
+ambition. I wish now that I had progressed by logical steps instead of
+by leaps. It is true that I have been successful, but I do not advise
+you to follow my way, for you lack my personality."</p>
+
+<p>In saying this Liszt had no idea of magnifying himself; but it was
+nevertheless genius which enabled him to accomplish certain results
+which were out of the ordinary course, and in a way which others,<a name="page_115" id="page_115"></a> being
+differently constituted, could not follow. His advice to his pupils was
+to be deliberate, and through care and close attention to important,
+although seemingly insignificant, details to progress in an orderly way
+toward a perfect style.</p>
+
+<p>Notwithstanding this caution, and falling into the usual tendency of
+pupils to imitate the idiosyncrasies and mannerisms, even faults or weak
+points, of the teacher, some of the boys, in their effort to attain
+Lisztian effects, acquired a hard and unsympathetic touch, and thus
+produced mere noise in the place of full and resonant tones.</p>
+
+<p>Before going to Weimar I had heard in various places in Germany that
+Liszt spoiled all of those pupils who went to him without a previously
+acquired knowledge of method and a habit of the correct use of the
+muscles in producing musical effects. It was necessary for the pupil to
+have an absolutely sure foundation to benefit by Liszt's instruction. If
+he had that preparation Liszt could develop the best there was in him.<a name="page_116" id="page_116"></a></p>
+
+<p>There is danger of unduly magnifying the importance of a mere mechanical
+technic. In Liszt's earlier days he inclined in this direction, and
+wrote the "�tudes d'Ex�cution Transcendante." I remember his saying to
+his pupils one day, when these were the subject of our conversation,
+that having completed them, his interest in that direction had ceased
+and he wrote no more. Moreover, he added, "I expected that some day a
+pianist would appear who would make this subject his specialty, and
+would accomplish difficulties that were seemingly impossible to
+perform." It has been said of Liszt that he worshiped this kind of
+technic. I think the assertion does him injustice. A friend of mine who
+visited him in Weimar about the year 1858 wrote that Liszt, speaking of
+one of his pupils, said: "What I like about So-and-so is that he is not
+a mere 'finger virtuoso': he does not worship the keyboard of the
+pianoforte; it is not his patron saint, but simply the altar before
+which he pays homage to the idea of the tone-composer." A perfect
+technic<a name="page_117" id="page_117"></a> is more than a wonderful power of prestidigitation, or facility
+in the manipulation of an instrument. It implies qualities of mind and
+heart which are essential to an all-round musical development and the
+ability to give them adequate expression.</p>
+
+<h3><a name="LISZT_AND_PIXIS" id="LISZT_AND_PIXIS"></a>LISZT AND PIXIS</h3>
+
+<p class="nind">IN his concertizing days Liszt always played without the music before
+him, although this was not the usual custom of his time; and in this
+connection I remember an anecdote told to me by Theimer, one of
+Dreyschock's assistant teachers. Pixis was an old-fashioned player of
+considerable reputation in his day, and was the composer of
+chamber-music, besides pianoforte pieces. Among other works of his was a
+duo for two pianofortes. While this composition was yet in manuscript it
+was played in one of the concerts of Pixis with the assistance of Liszt.
+Pixis, knowing Liszt's habit of playing from memory, requested him on
+this occasion at least to have the music<a name="page_118" id="page_118"></a> open before him on the
+piano-desk, as he himself did not like to risk playing his part without
+notes, and he felt it would produce an unfavorable impression on the
+public if Liszt should play from memory while he, the composer, had to
+rely on his copy. Liszt, as the story goes, made no promise one way or
+the other. So when the time came the pianists walked on the stage, each
+carrying his roll of music. Pixis carefully unrolled his and placed it
+on the piano-desk. Liszt, however, sat down at the piano, and, just
+before beginning to play, tossed his roll over behind the instrument and
+proceeded to play his part by heart. Liszt was young at that time,
+and&mdash;well&mdash;somewhat inconsiderate. Later on he very rarely played even
+his own compositions without having the music before him, and during
+most of the time I was there copies of his later publications were
+always lying on the piano, and among them a copy of the "B�n�diction de
+Dieu dans la Solitude," which Liszt had used so many times when playing
+to his guests that it became associated<a name="page_119" id="page_119"></a> with memories of Berlioz,
+Rubinstein, Vieuxtemps, Wieniawski, Joachim, and our immediate circle,
+Raff, B�low, Cornelius, Klindworth, Pruckner, and others. When I left
+Weimar I took this copy with me as a souvenir, and still have it; and I
+treasure it all the more for the marks of usage which it bears. I also
+have a very old copy of the Handel "E Minor Fugue," which was given to
+me by Dreyschock and which I studied with him and afterward with Liszt.
+Dreyschock had evidently used this same copy when he studied the fugue
+under Tomaschek. It has penciled figures indicating the fingering, made
+by both Dreyschock and Liszt. A few years ago I missed this valuable
+relic for a while, and was much grieved by my loss. Fortunately it was
+discovered in the ash-barrel at the back of the house. Shades of
+Tomaschek, Dreyschock, and Liszt!</p>
+
+<h3><a name="LISZT_CONDUCTING" id="LISZT_CONDUCTING"></a>LISZT CONDUCTING</h3>
+
+<p class="nind">IN his conducting Liszt was not unerring. I do not know how far he may
+have progressed<a name="page_120" id="page_120"></a> in later years, but when I was in Weimar he had very
+little practice as a conductor, and was not one of the highest class. He
+conducted, however, and with good results on certain important
+occasions, such as, for instance, when "Lohengrin" was produced.</p>
+
+<p>On account of his strong advocacy of Wagner and modern music generally,
+he had many enemies, as was to be expected of a man of his prominence.
+If perchance a mishap occurred during his conducting there were always
+petty critics on hand to take advantage of the opportunity and to
+magnify the fault.</p>
+
+<p>One of these occasions happened at the musical festival at Karlsruhe in
+October, 1853, while he was conducting Beethoven's "Ninth Symphony." In
+a passage where the bassoon enters on an off beat the player made a
+mistake and came in on the even beat. This error, not the conductor's
+fault, occasioned such confusion that Liszt was obliged to stop the
+orchestra and begin over again, and the little fellows made the most of
+this royal opportunity to pitch into him.<a name="page_121" id="page_121"></a></p>
+
+<h3><a name="LISZTS_SYMPHONIC_POEMS_REHEARSING_TASSO" id="LISZTS_SYMPHONIC_POEMS_REHEARSING_TASSO"></a>LISZT'S SYMPHONIC POEMS&mdash;REHEARSING "TASSO"</h3>
+
+<p class="nind">WHEN Liszt first began his career as an orchestral composer two parties
+were formed, one of which predicted success, the other disaster. The
+latter asserted that he was too much of a pianist and began too late in
+life for success in this direction. Even in Weimar, in his own
+household, so to speak, opinions were divided. I remember one of my
+fellow-pupils saying that he did not think it was his forte. Raff had
+pretty much the same opinion, and I inclined to agree with them. Liszt
+was in earnest, however, and availed himself of every means of
+preparation for the work. Frequently upon his request the best
+orchestral players came to the Altenburg, and he asked them about their
+instruments, their nature, and whether certain passages were idiomatic
+to them. About the time I came to Weimar to study with him he had nearly
+finished "Tasso," and before giving it the last touches he had a
+rehearsal of it, which we attended. We went to the theater,<a name="page_122" id="page_122"></a> and he took
+the orchestra into a room which would just about hold it. Imagine the
+din in that room! The effect was far from musical, but to Liszt it was
+the key to the polyphonic effects which he wished to produce.</p>
+
+<h3><a name="EXTRACTS_FROM_A_DIARY" id="EXTRACTS_FROM_A_DIARY"></a>EXTRACTS FROM A DIARY</h3>
+
+<p class="nind">AS an illustration of some of the advantages of a residence at Weimar
+almost <i>en famille</i> with Liszt during "die goldene Zeit," a few extracts
+from my diary are presented, showing how closely events followed one
+upon another:</p>
+
+<p>"Sunday, April 24, 1853. At the Altenburg this forenoon at eleven
+o'clock. Liszt played with Laub and Cossmann two trios by C�sar Franck."</p>
+
+<p>This is peculiarly interesting in view of the fact that the composer,
+who died about ten years ago, is just beginning to receive due
+appreciation. In Paris at the present time there is almost a C�sar
+Franck cult, but it is quite natural that Liszt, with his quick and
+far-seeing appreciation, should<a name="page_123" id="page_123"></a> have taken especial delight in playing
+his music forty-seven years ago. Liszt was very fond of it.</p>
+
+<p>"May 1. Quartet at the Altenburg at eleven o'clock, after which
+Wieniawski played with Liszt the violin and pianoforte 'Sonata in A' by
+Beethoven."</p>
+
+<p>"May 3. Liszt called at my rooms last evening in company with Laub and
+Wieniawski. Liszt played several pieces, among them my 'Amiti� pour
+Amiti�.'"</p>
+
+<p>"May 6. The boys were all at the Hotel Erbprinz this evening. Liszt came
+in and added to the liveliness of the occasion."</p>
+
+<p>"May 7. At Liszt's, this evening, Klindworth, Laub, and Cossmann played
+a piano trio by Spohr, after which Liszt played his recently composed
+sonata and one of his concertos. In the afternoon I had played during my
+lesson with Liszt the 'C Sharp Minor Sonata' of Beethoven and the 'E
+Minor Fugue' by Handel."</p>
+
+<p>"May 17. Lesson from Liszt this evening. Played Scherzo and Finale from
+Beethoven's 'C Sharp Minor Sonata.'"<a name="page_124" id="page_124"></a></p>
+
+<p>"May 20, Friday. Attended a court concert this evening which Liszt
+conducted. Joachim played a violin solo by Ernst."</p>
+
+<p>"May 22. Went to the Altenburg at eleven o'clock this forenoon. There
+were about fifteen persons present&mdash;quite an unusual thing. Among other
+things, a string quartet of Beethoven was played, Joachim taking the
+first violin."</p>
+
+<p>"May 23. Attended an orchestral rehearsal at which an overture and a
+violin concerto by Joachim were performed, the latter played by
+Joachim."</p>
+
+<p>"May 27. Joachim Raff's birthday. Klindworth and I presented ourselves
+to him early in the day and stopped his composing, insisting on having a
+holiday. Our celebration of this event included a ride to Tiefurt and
+attendance at a garden concert."</p>
+
+<p>"May 29, Sunday. At Liszt's this forenoon as usual. No quartet to-day.
+Wieniawski played first a violin solo by Ernst, and afterward with Liszt
+the letter's duo on Hungarian airs."<a name="page_125" id="page_125"></a></p>
+
+<p>"May 30. Attended a ball of the Erholung Gesellschaft this evening. At
+our supper-table were Liszt, Raff, Wieniawski, Pruckner, and Klindworth.
+Got home at four o'clock in the morning."</p>
+
+<p>"June 4. Dined with Liszt at the Erbprinz. Liszt called at my rooms
+later in the afternoon, bringing with him Dr. Marx and lady from Berlin,
+also Raff and Winterberger. Liszt played three Chopin nocturnes and a
+scherzo of his own. In the evening we were all invited to the Altenburg.
+He played 'Harmonies du Soir, No. 2,' and his own sonata. He was at his
+best and played divinely."</p>
+
+<p>"June 9. Had a lesson from Liszt this evening. I played Chopin's 'E
+Minor Concerto.'"</p>
+
+<p>"June 10. Went to Liszt's this evening to a bock-beer soir�e. The beer
+was a present to Liszt from Pruckner's father, who has a large brewery
+in Munich."</p>
+
+<p>"Sunday, June 12. Usual quartet forenoon at the Altenburg. 'Quartet, Op.
+161,' of Schubert's was played, also one of Beethoven's quartets."<a name="page_126" id="page_126"></a></p>
+
+<p>The last entry may not seem to be particularly important, but it may be
+as well not to end the quotations from a musical diary with a reference
+to a bock-beer soir�e.</p>
+
+<h3><a name="OPPORTUNITIES" id="OPPORTUNITIES"></a>OPPORTUNITIES</h3>
+
+<p class="nind">THE period covered by these extracts was chosen at random, and they give
+a fair idea of the many musical opportunities which were constantly
+recurring throughout the entire year.</p>
+
+<p>Ferdinand Laub, the leader of the quartet, was about twenty-one years of
+age, and already a violinist of the first rank.</p>
+
+<p>Wieniawski and Joachim, young men of the age of twenty-two and nineteen
+years respectively, were among the most welcome visitors to Weimar.
+Joachim, already celebrated as a quartet-player, was regarded by some as
+the greatest living violinist. The playing of Wieniawski appealed to me
+more than that of any other violinist of the time, and I remember it now
+with intense pleasure.<a name="page_127" id="page_127"></a></p>
+
+<h3><a name="BRAHMS_IN_1853" id="BRAHMS_IN_1853"></a>BRAHMS IN 1853</h3>
+
+<p class="nind">ON one evening early in June, 1853, Liszt sent us word to come up to the
+Altenburg next morning, as he expected a visit from a young man who was
+said to have great talent as a pianist and composer, and whose name was
+Johannes Brahms. He was to come accompanied by Eduard Remenyi.</p>
+
+<p>The next morning, on going to the Altenburg with Klindworth, we found
+Brahms and Remenyi already in the reception-room with Raff and Pruckner.
+After greeting the newcomers, of whom Remenyi was known to us by
+reputation, I strolled over to a table on which were lying some
+manuscripts of music. They were several of Brahms's yet unpublished
+compositions, and I began turning over the leaves of the uppermost in
+the pile. It was the piano solo "Op. 4, Scherzo, E Flat Minor," and, as
+I remember, the writing was so illegible that I thought to myself that
+if I had occasion to study it I should be obliged first to make a copy
+of it. Finally Liszt came down, and after some<a name="page_128" id="page_128"></a> general conversation he
+turned to Brahms and said: "We are interested to hear some of your
+compositions whenever you are ready and feel inclined to play them."</p>
+
+<h3><a name="NERVOUS_BEFORE_LISZT" id="NERVOUS_BEFORE_LISZT"></a>NERVOUS BEFORE LISZT</h3>
+
+<p class="nind">BRAHMS, who was evidently very nervous, protested that it was quite
+impossible for him to play while in such a disconcerted state, and,
+notwithstanding the earnest solicitations of both Liszt and Remenyi,
+could not be persuaded to approach the piano. Liszt, seeing that no
+progress was being made, went over to the table, and taking up the first
+piece at hand, the illegible scherzo, and saying, "Well, I shall have to
+play," placed the manuscript on the piano-desk.</p>
+
+<p>We had often witnessed his wonderful feats in sight-reading, and
+regarded him as infallible in that particular, but, notwithstanding our
+confidence in his ability, both Raff and I had a lurking dread of the
+possibility that something might happen which would be disastrous to our
+unquestioning<a name="page_129" id="page_129"></a> faith. So, when he put the scherzo on the piano-desk, I
+trembled for the result. But he read it off in such a marvelous way&mdash;at
+the same time carrying on a running accompaniment of audible criticism
+of the music&mdash;that Brahms was amazed and delighted. Raff thought, and so
+expressed himself, that certain parts of this scherzo suggested the
+Chopin "Scherzo in B Flat Minor," but it seemed to me that the likeness
+was too slight to deserve serious consideration. Brahms said that he had
+never seen or heard any of Chopin's compositions. Liszt also played a
+part of Brahms's "C Major Sonata, Op. 1."</p>
+
+<h3><a name="DOZING_WHILE_LISZT_PLAYED" id="DOZING_WHILE_LISZT_PLAYED"></a>DOZING WHILE LISZT PLAYED</h3>
+
+<p class="nind">A LITTLE later some one asked Liszt to play his own sonata, a work which
+was quite recent at that time, and of which he was very fond. Without
+hesitation, he sat down and began playing. As he progressed he came to a
+very expressive part of the sonata, which he always imbued<a name="page_130" id="page_130"></a> with extreme
+pathos, and in which he looked for the especial interest and sympathy of
+his listeners. Casting a glance at Brahms, he found that the latter was
+dozing in his chair. Liszt continued playing to the end of the sonata,
+then rose and left the room. I was in such a position that Brahms was
+hidden from my view, but I was aware that something unusual had taken
+place, and I think it was Remenyi who afterward told me what it was. It
+is very strange that among the various accounts of this Liszt-Brahms
+first interview&mdash;and there are several&mdash;there is not one which gives an
+accurate description of what took place on that occasion; indeed, they
+are all far out of the way. The events as here related are perfectly
+clear in my own mind, but not wishing to trust implicitly to my memory
+alone, I wrote to my friend Klindworth,&mdash;the only living witness of the
+incident except myself, as I suppose,&mdash;and requested him to give an
+account of it as he remembered it. He corroborated my description in
+every particular, except<a name="page_131" id="page_131"></a> that he made no specific reference to the
+drowsiness of Brahms, and except, also, that, according to my
+recollection, Brahms left Weimar on the afternoon of the day on which
+the meeting took place; Klindworth writes that it was on the morning of
+the following day&mdash;a discrepancy of very little moment.</p>
+
+<p>Brahms and Remenyi were on a concert tour at the time of which I write,
+and were dependent on such pianos as they could find in the different
+towns in which they appeared. This was unfortunate, and sometimes
+brought them into extreme dilemma. On one occasion the only piano at
+their disposal was just a half-tone at variance with the violin. There
+was no pianoforte-tuner at hand, and although the violin might have been
+adapted to the piano temporarily, Remenyi would have had serious
+objections to such a proceeding. Brahms therefore adapted himself to the
+situation, transposed the piano part to the pitch of the violin, and
+played the whole composition, Beethoven's "Kreutzer Sonata," from
+memory. Joachim, attracted<a name="page_132" id="page_132"></a> by this feat, gave Brahms a letter of
+introduction to Schumann. Shortly after the untoward Weimar incident
+Brahms paid a visit to Schumann, then living in D�sseldorf. The
+acquaintanceship resulting therefrom led to the famous article of
+Schumann entitled "Neue Bahnen," published shortly afterward (October
+23, 1853) in the Leipsic "Neue Zeitschrift f�r Musik," which started
+Brahms on his musical career. It is doubtful if up to that time any
+article had made such a sensation throughout musical Germany. I remember
+how utterly the Liszt circle in Weimar were astounded. This letter was
+at first, doubtless, an obstacle in the way of Brahms, but as it
+resulted in stirring up great rivalry between two opposing parties it
+eventually contributed much to his final success.</p>
+
+<h3><a name="LOHENGRIN_FOR_THE_FIRST_TIME_IN_LEIPSIC" id="LOHENGRIN_FOR_THE_FIRST_TIME_IN_LEIPSIC"></a>"LOHENGRIN" FOR THE FIRST TIME IN LEIPSIC</h3>
+
+<p class="nind">LISZT never questioned Wagner's sincerity. He considered "Lohengrin"<a name="page_133" id="page_133"></a>
+Wagner's greatest work up to the time at which it was composed. It was
+dedicated to Liszt, and, as Raff told me, the good man could not
+conceive that Wagner would dedicate anything but his best and greatest
+to his friend and champion, such was Liszt's faith in the struggling
+composer whose cause he had made his own.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p>
+
+<p>On the occasion of the first performance of a Wagner opera in any
+neighboring town, a delegation from Weimar was apt to be on hand for the
+purpose of making propaganda; and this was the case on Saturday, January
+7, 1854, when the opera of "Lohengrin" was given in Leipsic for the
+first time.</p>
+
+<p>We boys were demonstrative claqueurs, and almost always succeeded in
+making a sensation, especially in a town like Leipsic, where we had
+acquaintances among the Conservatory students and could get them to help
+us.</p>
+
+<p>The general public and a large majority<a name="page_134" id="page_134"></a> of the musicians were not at
+all favorably disposed toward Wagner's music in those days, and in this
+connection a remark of Joachim Raff made to me in 1879-80, on the
+occasion of my second visit to Germany, was significant. Raff had been
+in earlier years, perhaps, the most ardent of all pioneers in the Wagner
+cause. A quarter of a century had elapsed since I had seen Raff, and
+naturally one of my first questions was, "Raff, how is the Wagner
+cause?" "Oh," said he, "the public have gone 'way over to the other
+extreme. You know how hard it was to force Wagner upon them twenty-five
+years ago, and now they go just as much too far the other way and are
+unreasonable in their excessive homage." "Well," I replied, "I suppose
+the matter will find its level and be adjusted as time passes on."</p>
+
+<p>After the performance of "Lohengrin," which, by the way, was successful,
+the whole Liszt party, by invitation, went to supper at the house of the
+concertmeister, Ferdinand David. Quite a number of other guests were
+present. Among them<a name="page_135" id="page_135"></a> I remember with pleasure my Boston friends and
+fellow-townsmen Charles C. Perkins and J. C. D. Parker, who were
+temporarily located in Leipsic, pursuing their musical studies.</p>
+
+<p>Brahms also was present, and during the evening he played the Andante
+from his "F Minor Sonata, Op. 5."</p>
+
+<h3><a name="IN_STUTTGART_HOTEL_MARQUAND" id="IN_STUTTGART_HOTEL_MARQUAND"></a>IN STUTTGART&mdash;HOTEL MARQUAND</h3>
+
+<p class="nind">NOT long after my visit to Raff in 1879-80 I went on a pleasure trip to
+Stuttgart, and on account of old associations stopped at the Hotel
+Marquand. One of the objects of my visit was to meet again my old Weimar
+fellow-pupil Dionys Pruckner, at that time eminent among the staff of
+pianoforte teachers in the famous Stuttgart Conservatory of Music.
+Alighting at the hotel, I was impressed with the marks of consideration
+shown to me by the hotel porter. He was so very attentive that I was
+somewhat puzzled. The explanation was apparent the next day when he
+respectfully inquired if I was the kapellmeister<a name="page_136" id="page_136"></a> of New York! He had
+read the name and address on one of my trunks and jumped at conclusions.
+I told him that I was not that individual, and explained that in New
+York no such office existed, although the title might be with propriety
+applied to the conductor of the Philharmonic Society. However, the idea
+found a lodgment in his head, quite to my advantage, as evidenced by the
+many attentions he paid to me throughout my stay.</p>
+
+<h3><a name="THE_SCHUMANN_FEIER_IN_BONN_1880" id="THE_SCHUMANN_FEIER_IN_BONN_1880"></a>THE SCHUMANN "FEIER" IN BONN, 1880</h3>
+
+<p class="nind">OVER a quarter of a century elapsed after my first meeting with Brahms
+before I saw him again, and then the meeting occurred at Bonn on the
+Rhine, on May 3, 1880. He was there, in company with Joachim and other
+artists, to take part in the ceremonies attendant on the unveiling of
+the Schumann <i>Denkmal</i>.</p>
+
+<p>There were also musical performances, and at a morning recital of
+chamber-music the program consisted solely of Schumann'<a name="page_137" id="page_137"></a>s works, vocal
+and instrumental, with the addition of the Brahms "Violin Concerto,"
+played by Joachim. The concluding number was Schumann's "Piano Quartet
+in E Flat Major, Op. 47," Brahms playing the piano part, and Joachim,
+Heckmann, and Bellman playing respectively violin, viola, and
+violoncello.</p>
+
+<h3><a name="BRAHMSS_PIANOFORTE-PLAYING" id="BRAHMSS_PIANOFORTE-PLAYING"></a>BRAHMS'S PIANOFORTE-PLAYING</h3>
+
+<p class="nind">THE pianoforte-playing of Brahms was far from being finished or even
+musical. His tone was dry and devoid of sentiment, his interpretation
+inadequate, lacking style and contour. It was the playing of a composer,
+and not that of a virtuoso. He paid little if any attention to the marks
+of expression as indicated by Schumann in the copy. This was especially
+and painfully apparent in the opening measures of the first movement.
+This introductory passage is marked, "Sostenuto assai," followed by the
+main movement marked, "Allegro ma non troppo." Instead of accommodating
+himself to the<a name="page_138" id="page_138"></a> quiet and subdued nature of the introduction, the
+pianist quite ignored Schumann's esthetic directions, and began with a
+vigorous attack, which was sustained throughout the movement. The
+continued force and harshness of his tone quite overpowered the stringed
+instruments. As an ensemble the performance was not a success.</p>
+
+<p>On going home to dinner, and learning that Brahms was stopping at the
+hotel, I gave my card to the porter, with instructions to deliver it to
+Brahms as soon as he came in. When about half-way through the table
+d'h�te the porter entered and said that Brahms was in the outer hall,
+waiting to see me. He was very cordial. At the moment I had quite
+forgotten that I had met him at David's house in Leipsic, so I said:
+"The last time I met you was in Weimar on that very hot day in June,
+1853; do you remember it?"</p>
+
+<p>"Very well indeed, and I am glad to see you again. Just now my time is
+very much engaged, but we are going up the<a name="page_139" id="page_139"></a> river on a picnic this
+afternoon&mdash;Joachim and others; will you come along? We are going to a
+summer restaurant on the Rhine, where they have excellent beer, and it
+will be <i>ganz gem�tlich</i>."</p>
+
+<p>I regretted extremely that I had to forego the pleasure of this
+excursion, and fully realized the opportunity I was losing; but my
+party&mdash;there were four of us, my wife and I and two children&mdash;had
+previously arranged our plans, and in order to make connections we were
+obliged to go on to Cologne that day.</p>
+
+<p>Here was a companion-piece to the disappointment occasioned by my having
+to forego the pleasure and profit of a foot-tramp through the Tyrol with
+Richard Wagner, as already related in these "Memories." But so the Fates
+ordained.</p>
+
+<p>Partly on account of the untoward Weimar incident, and partly for the
+sake of his own individuality, I took a peculiar interest in Brahms. His
+work is wonderfully condensed, his constructive power masterly. By his
+scholarly development<a name="page_140" id="page_140"></a> of themes through augmentation, diminution,
+inversion, imitation, and other devices, he seems to be introducing new
+thematic material, while the fact is, as will be seen on close
+investigation, that he is presenting the original theme in varied form
+and shape, and gradually unfolding and expanding its possibilities to
+the uttermost. In other words, his treatment is exhaustive and complete.
+In his later piano compositions this is readily apparent, and as these
+pieces are short, and at the same time complete in form, they furnish
+excellent opportunities to the student for analytical studies. In all
+that relates to the intellectual faculty Brahms is indisputably a
+master. I find this to be the consensus of opinion among intelligent
+musicians. But there are differences of opinion as regards his emotional
+susceptibilities, and it is just this fact that prevents many from fully
+accepting him. The emotional and intellectual should be in equipoise in
+order to attain the highest results, but in the music of Brahms the
+latter seems to predominate.<a name="page_141" id="page_141"></a> In sympathetic and affectionate treatment,
+so far as relates to his piano composition, he does not compare with
+Chopin.</p>
+
+<h3><a name="A_HISTORICAL_ERROR_CORRECTED" id="A_HISTORICAL_ERROR_CORRECTED"></a>A HISTORICAL ERROR CORRECTED</h3>
+
+<p class="nind">I HAVE read in a recent number of a musical magazine the following
+sentence: "We have seen with what ardor the first compositions of this
+serious young man [Brahms] were greeted by Schumann and Liszt."</p>
+
+<p>I have already mentioned the fact that all of the published accounts of
+the first meeting of Liszt and Brahms were far from accurate, and in
+fact convey an impression directly opposite to the truth; and the
+foregoing statement, according to my belief, is just as far from being
+in accordance with the facts. I am quite sure that Liszt was not
+enthusiastic about Brahms at the time of the first interview in Weimar
+heretofore described, and the letter received from my friend Karl
+Klindworth, in Berlin, sustains me in this<a name="page_142" id="page_142"></a> belief. Liszt was of too
+kindly a disposition to treasure up animosity against Brahms on account
+of the mishap on that occasion; but the fact that Brahms was put forward
+by the anti-Wagnerites as their champion may possibly have influenced
+him somewhat. A coolness also sprang up between Joachim and Liszt,
+although during my stay in Weimar the violinist had been welcomed so
+frequently at the Altenburg. During the entire career of Brahms he and
+Joachim were close friends.</p>
+
+<h3><a name="MORE_ABOUT_LISZTS_WONDERFUL_SIGHT-READING" id="MORE_ABOUT_LISZTS_WONDERFUL_SIGHT-READING"></a>MORE ABOUT LISZT'S WONDERFUL SIGHT-READING</h3>
+
+<p class="nind">LISZT's playing of the Brahms scherzo was a remarkable feat, but he was
+constantly doing almost incredible things in the way of reading at
+sight. Another instance of his skill in this direction occurs to me and
+is well worthy of mention.</p>
+
+<p>Raff had composed a sonata for violin and pianoforte in which there were
+ever-varying changes in measure and rhythm;<a name="page_143" id="page_143"></a> measures of <sup>7</sup>&frasl;<sub>8</sub>, <sup>7</sup>&frasl;<sub>4</sub>, <sup>5</sup>&frasl;<sub>4</sub>,
+alternated with common and triple time, and seemed to mix together
+promiscuously and without regard to order. Notwithstanding this apparent
+disorder, there was an undercurrent, so to speak, of the ordinary &frac34; or
+<sup>4</sup>&frasl;<sub>4</sub> time, and to the player who could penetrate the rhythmic mask the
+difficulty of performance quickly vanished. Raff had arranged with Laub
+and Pruckner that they should practise the sonata together, and then, on
+a favorable occasion, play it in Liszt's presence. So on one of the
+musical mornings at the Altenburg these gentlemen began to play the
+sonata. Pruckner, of sensitive and nervous organization, found the
+changes of measure too confusing, especially when played before company,
+and broke down at the first page. Another and yet a third attempt was
+made, but with the like result. Liszt, whose interest was aroused,
+exclaimed: "I wonder if I can play that!" Then, taking his place at the
+instrument, he played it through at sight in rapid tempo and without the
+slightest hesitation. He<a name="page_144" id="page_144"></a> had intuitively divined the regularity of
+movement which lay beneath the surface.</p>
+
+<h3><a name="LISZTS_MOMENTS_OF_CONTRITION" id="LISZTS_MOMENTS_OF_CONTRITION"></a>LISZT'S MOMENTS OF CONTRITION</h3>
+
+<p class="nind">DEEP beneath the surface there was in Liszt's organization a religions
+trend which manifested itself openly now and then, and there were
+occasions upon which his contrition displayed itself to an inordinate
+degree. Joachim Raff, long his intimate friend and associate, told me
+that these periods were sometimes of considerable duration, and while
+they lasted he would seek solitude, and going frequently to church,
+would throw himself upon the flagstones before a <i>Muttergottesbild</i>, and
+remain for hours, as Raff expressed it, so deeply absorbed as to be
+utterly unconscious of events occurring in his presence.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_144.png">
+<img src="images/ill_144_sml.png" width="550" height="385" alt="Autograph of Vieuxtemps" title="Autograph of Vieuxtemps" /></a>
+<span class="caption">AUTOGRAPH OF VIEUXTEMPS</span>
+</div>
+
+<p>Rubinstein also told me that on one occasion he had been a witness of
+such an act on the part of Liszt. One afternoon at dusk they were
+walking together in the cathedral at Cologne, and quite suddenly<a name="page_145" id="page_145"></a>
+Rubinstein missed Liszt, who had disappeared in a mysterious way. He
+searched for quite a while through the many secluded nooks and corners
+of the immense building, and finally found Liszt kneeling before a
+<i>prie-dieu</i>, so deeply engrossed that Rubinstein had not the heart to
+disturb him, and so left the building alone.</p>
+
+<h3><a name="PETER_CORNELIUS" id="PETER_CORNELIUS"></a>PETER CORNELIUS</h3>
+
+<p class="nind">SOMETIME, I think late, in 1853 Peter Cornelius, nephew of the
+celebrated painter of that name, and composer of the comic opera "The
+Barber of Bagdad," came to Weimar and was added to the Altenburg circle.
+He was well known and highly esteemed by musicians, and as he was always
+cheery and bubbling over with musical enthusiasm, I at once became very
+fond of him as a friend, and later on paid due homage to his decided
+talent as a composer. As an illustration of how easy it is to underrate
+the abilities of a new acquaintance the following incident<a name="page_146" id="page_146"></a> is both
+interesting and instructive. In October, 1853, or thereabouts, quite a
+large musical festival took place in Karlsruhe, which was under the
+general direction of Liszt, who also conducted the orchestra. It goes
+without saying that under the management of Liszt a number of selections
+from the Wagner operas were played, and one of these happened to be the
+bridal chorus from "Lohengrin." Wagner at that time was an entirely new
+experience to Cornelius, and after the concert, while speaking to Liszt
+of the beauty of Wagner's music, he instanced this bright and pretty
+melody, emphasizing its beauty as though it were the special object of
+his admiration. We boys, while we recognized the beauty of the bridal
+march and its fitness for the place in which it occurs, were apt to
+coddle ourselves upon our superior knowledge of Wagner, and would have
+saved our enthusiasm for the more completed and distinctly Wagnerian
+characteristics. The enthusiasm of Cornelius for the purely melodic
+phrases of Wagner, which<a name="page_147" id="page_147"></a> were in no wise characteristic of his genius,
+rather led us to look down upon the musical perceptions of Cornelius&mdash;or
+perhaps I should speak only for myself and give these as my personal
+impressions; but it was not long before his great talent was duly
+recognized and acknowledged, at least by musicians. Cornelius was a
+charming fellow, and I enjoyed his society because he was so
+enthusiastically and intensely musical.</p>
+
+<h3><a name="SOME_FAMOUS_VIOLINISTS" id="SOME_FAMOUS_VIOLINISTS"></a>SOME FAMOUS VIOLINISTS</h3>
+
+<p class="nind">I HAVE already mentioned in these papers my meeting with Joachim in
+Leipsic in the year 1849. He was then about eighteen years of age and
+already famous as a violinist. He was of medium height, had broad, open
+features, and a heavy shock of dark hair somewhat like that of
+Rubinstein. I had a letter of introduction to him, which I presented a
+short time after my arrival in Leipsic, and received immediately a
+return call from him. He was kind and affable, and easy to become<a name="page_148" id="page_148"></a>
+acquainted with, but owing to diffidence on my part I did not improve
+the opportunity as I should have done, a circumstance which I now much
+regret. He played the Mendelssohn concerto in one of the Gewandhaus
+concerts within a month of my arrival at Leipsic, and I heard him then
+for the first time, and was much impressed by his beautiful performance.
+Subsequently, when in Weimar, I had the pleasure of meeting him on many
+occasions, for he was in the habit of going there not infrequently, and
+would sometimes take part in the Altenburg private musicales, as well as
+in the public concerts at the theater.</p>
+
+<p>During the year 1845-46 I heard and became well acquainted with three
+famous violinists, Vieuxtemps, Ole Bull, and Sivori, who came to Boston
+and played many times both in public and in private. They were all great
+players, each having his special individuality. Vieuxtemps and Ole Bull
+I met several times in later years, and became familiar with their
+playing. Vieuxtemps came to Weimar<a name="page_149" id="page_149"></a> and played both in private and in
+public. His playing was wonderfully precise and accurate, every tone
+receiving due attention, and his phrasing was delightful. Scale and
+arpeggio passages were absolutely clean and without a flaw. He was
+certainly a player of exquisite taste, and he still preserved his
+characteristics when I heard him years later, in 1853 at Weimar, and in
+1873 at New York. Ole Bull came to Boston a year or so after Vieuxtemps.
+He was a born violinist, and developed after his own fashion and nature,
+in the manner of a genius. Vieuxtemps was the result of scientific
+training and close adherence to well-founded principles. Ole Bull, on
+the other hand, was a law unto himself, and burst out into full blossom
+without showing the various degrees of growth. He did not realize the
+importance of close attention to detail while in the course of
+development.</p>
+
+<p>Sivori was of the gentle, poetic, and graceful class of players. Beauty
+and grace rather than self-assertion characterized his style. Ernst,
+whom I heard in<a name="page_150" id="page_150"></a> Homburg in the year 1852, was a player of great
+intensity of feeling, and was regarded as the most fervent violinist of
+his time. Joachim's style impressed me as classical and rather reserved,
+and while I enjoyed and admired it, there was present no feeling of
+enthusiasm. Wilhelmj, with his broad and noble style, was certainly most
+impressive. Henri Wieniawski had a musical organization of great
+intensity, and this, combined with his perfect technic, made his playing
+irresistible. Ferdinand Laub, for some reason not so well known to the
+general public as he should be, is generally conceded by the most
+distinguished violinists to have been the greatest of all
+quartet-players. Laub was concertmeister during the whole period of my
+stay in Weimar, and was an intimate friend of mine. It will be
+remembered that at that time Bernhard Cossmann was the violoncellist of
+the Weimar string quartet. I owe many delightful moments of musical
+enjoyment to his exquisitely poetical and refined playing. The last time
+I met him was<a name="page_151" id="page_151"></a> at his own house in Frankfort. His wife and children
+were present, and being thus quite <i>en famille</i>, we played together, for
+the sake of old times, the piano and violoncello sonata of Beethoven in
+A major.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_150.png">
+<img src="images/ill_150_sml.png" width="550" height="219" alt="Autograph of Ole Bull" title="Autograph of Ole Bull" /></a>
+<br />
+<span class="caption">AUTOGRAPH OF OLE BULL</span>
+</div>
+
+<p>There are many others whom I am prevented by lack of space from
+mentioning; but I must not omit the name of my friend Adolf Brodsky, a
+violinist of the first rank, and a man of great nobility of character.
+His playing is broad, intelligent, and thoroughly musical, whether as
+soloist or as first violin in chamber quartet music. Sometimes I have
+heard him in the privacy of my own home, where, feeling entire freedom
+from restraint, he has thrown himself intensely into his music, to my
+thorough and complete musical satisfaction.</p>
+
+<h3><a name="REMENYI" id="REMENYI"></a>REMENYI</h3>
+
+<p class="nind">I HAVE already had something to say of Eduard Remenyi, the Hungarian
+violinist who accompanied Brahms to Weimar in 1853. He was a talented
+man, and was<a name="page_152" id="page_152"></a> esteemed by Liszt as being, in his way, a good violinist.
+He remained at Weimar after Brahms left there, and I became intimately
+acquainted with him. He was very entertaining, and so full of fun that
+he would have made a tiptop Irishman. He was at home in the Gipsy music
+of his own country, and this was the main characteristic of his playing.
+He had also a fad for playing Schubert melodies on the violin with the
+most attenuated pianissimo effects, and occasionally his hearers would
+listen intently after the tone had ceased, imagining that they still
+heard a trace of it.</p>
+
+<p>Not long before leaving Weimar I had some fun with him by asking if he
+had ever heard "any bona-fide American spoken." He replied that he did
+not know there was such a language. "Well," said I, "listen to this for
+a specimen: 'Ching-a-ling-a-dardee, Chebung cum Susan.'" I did not meet
+him again until 1878, twenty-four years after leaving Weimar. I was
+going up-stairs to my studio in the Steinway building when<a name="page_153" id="page_153"></a> some one
+told me that Remenyi had arrived and was rehearsing for his concerts in
+one of the rooms above. So, going up, I followed the sounds of the
+violin, gave a quick knock, opened the door, and went in. Remenyi looked
+at me for a moment, rushed forward and seized my hand, and as he wrung
+it cried out: "Ching-a-ling-a-dardee, Chebung cum Susan!" He had
+remembered it all those years.</p>
+
+<h3>SOME DISTINGUISHED OPERA-SINGERS</h3>
+
+<p class="nind">MY concert-playing and teaching have naturally made me more interested
+in instrumental than in vocal music. Moreover, the principal celebrities
+who came to visit Liszt during my sojourn at Weimar were composers and
+instrumentalists. For that reason I met but few distinguished
+opera-singers during my stay abroad. However, I heard the best of them
+in opera or concert.</p>
+
+<p>In Boston, about the year 1846-47, the Havana Italian Opera gave a
+season at the Howard Athen�um of that city, and<a name="page_154" id="page_154"></a> created considerable
+interest. They gave, I think for the first time in this country, Verdi's
+"Ernani," which was received with great favor. The principal soprano was
+Mme. Fortunata Tedesco, who was afterward at the Grand Op�ra in Paris
+from 1851 to 1857. The tenor was Signore Perelli, who had an
+exceptionally fine voice. Both of these singers had well-trained voices
+and were well supported by chorus and orchestra. As this was my first
+experience in opera, it produced a deep and lasting impression.</p>
+
+<p>The opera season in Leipsic in the year 1852, beginning about the 1st of
+February and continuing up to the 1st of May, was notable, for it
+afforded the opportunity of hearing in quick succession three singers of
+world-wide reputation: Henriette Sontag, Johanna Wagner, and De la
+Grange.</p>
+
+<h3><a name="HENRIETTE_SONTAG" id="HENRIETTE_SONTAG"></a>HENRIETTE SONTAG</h3>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_154.png">
+<img src="images/ill_154_sml.png" width="550" height="479" alt="Autograph of Henriette Sontag" title="Autograph of Henriette Sontag" /></a>
+<br />
+<span class="caption">Autograph of Henriette Sontag</span>
+</div>
+
+<p>The singer of whom I have the liveliest impression is Henriette Sontag,
+whom I heard in Leipsic on her first appearance<a name="page_155" id="page_155"></a> after she had been
+twenty years in retirement. The interest I took in the occasion was much
+increased by the fact that I had a seat next to Moscheles, who was very
+communicative, and gave me an interesting history of his long
+acquaintance with Sontag, whom he had heard at her last appearance, I
+think, before her retirement. He was naturally on the <i>qui vive</i>, and
+impatiently waited for the opera to begin. Like many of her other old
+admirers who were in the theater, he was full of expectancy mingled with
+dread of possible failure. She appeared as <i>Maria</i> in Donizetti's "Fille
+du R�giment" In this part the voice of the singer is heard before she
+appears on the stage, and as soon as Moscheles heard Sontag's voice
+trilling behind the scenes, he exclaimed with delight, "It is Sontag!
+Nobody I have heard since she left the stage could do that! She is the
+same Henriette!"</p>
+
+<p>Some of the r�les in which I heard her were <i>Amina</i> in "Sonnambula,"
+<i>Martha</i> in the opera of that name, <i>Susan</i> in "The Marriage of Figaro,"
+and <i>Rosina</i> in "The<a name="page_156" id="page_156"></a> Barber of Seville." I enjoyed the lovely feminine
+quality of her voice and manner. There was something peculiarly charming
+and womanly about her. She sang with unfailing ease and grace, her voice
+being so flexible that it sounded like the trilling of birds. The most
+difficult roulades and cadences were given with absolute accuracy and
+rhythm. It was simply fascinating.</p>
+
+<h3><a name="JOHANNA_WAGNER" id="JOHANNA_WAGNER"></a>JOHANNA WAGNER</h3>
+
+<p class="nind">DURING the month of March of the same year, Johanna Wagner, niece of
+Richard Wagner, sang in several operas. Among those in which I heard her
+were Bellini's "Romeo and Juliet," as <i>Romeo</i>; "Fidelio," as <i>Leonora</i>
+or <i>Fidelio</i>; and "Iphigenia in Aulis," by Gluck, as <i>Iphigenia</i>. Here
+indeed she was a contrast to Sontag, and in these parts she seemed to me
+quite unapproachable. Her voice was large and full, and her acting most
+dramatic. Like all the German singers whom I heard, she lacked the
+nicety of detail, the clear and beautiful phrasing, characteristic of
+the<a name="page_157" id="page_157"></a> Italians I had heard in Boston. But when I grew to know the German
+method, I began to admire it, not so much for the actual singing itself
+as for the combination of qualities that entered into it&mdash;the artistic
+earnestness, the acting, and the musicianship.</p>
+
+<h3><a name="MME_DE_LA_GRANGE" id="MME_DE_LA_GRANGE"></a>MME. DE LA GRANGE</h3>
+
+<p class="nind">IT was my experience that the Germans themselves greatly admired singing
+of the Italian school, for when, following Sontag and Wagner, Mme. de la
+Grange came the next month and sang an engagement in Leipsic (April and
+May, 1852), the management doubled the prices, and, notwithstanding
+this, the house was crowded every time she sang. She was in her prime,
+and one of the finest singers I ever heard. Her style was brilliant and
+dazzling, but never lacking in repose. Her high tones were clear and
+musical, without any trace of shrillness, and in the most rapid passages
+the tones were never slurred or confused, but distinct and in<a name="page_158" id="page_158"></a> perfect
+rhythmic order. The r�les in which she most appealed to me were as
+<i>Queen of the Night</i> in "The Magic Flute," by Mozart, and <i>Rosina</i> in
+"The Barber of Seville," by Rossini. But she also sang both parts of
+<i>Isabella</i> and <i>Alice</i> in Meyerbeer's "Robert the Devil" in the most
+admirable manner.</p>
+
+<h3><a name="DER_VEREIN_DER_MURLS" id="DER_VEREIN_DER_MURLS"></a>"DER VEREIN DER MURLS"</h3>
+
+<p class="nind">LISZT was the head and front of the Wagner movement; but except when
+visitors came to Weimar and were inveigled into an argument by Raff, who
+was an ardent disciple of the new school, there was but little
+discussion of the Wagner question. Pruckner started a little society,
+the object being to oppose the Philistines, or old fogies, and uphold
+modern ideas. Liszt was the head and was called the Padishah (chief),
+and the pupils and others, Raff, B�low, Klindworth, Pruckner, Cornelius,
+Laub, Cossmann, etc., were "Murls." In a letter to Klindworth, then in
+London, Liszt writes of Rubinstein: "That is a<a name="page_159" id="page_159"></a> clever fellow, the most
+notable musician, pianist, and composer who has appeared to me among the
+modern lights&mdash;with the exception of the Murls. Murlship alone is
+lacking to him still." On the manuscript of Liszt's "Sonate" he himself
+wrote, "F�r die Murlbibliothek."</p>
+
+<h3><a name="THE_WAGNER_CAUSE_IN_WEIMAR" id="THE_WAGNER_CAUSE_IN_WEIMAR"></a>THE WAGNER CAUSE IN WEIMAR</h3>
+
+<p class="nind">MY admiration for Wagner did not go to the extreme of Liszt's and of my
+fellow-pupils'. Liszt rarely expressed his opinion of Wagner, because he
+took it for granted that everybody knew it, and he was not a
+controversialist. I know that he considered those people who refused to
+follow Wagner as old fogies, and my colleagues used to twit me for not
+being as enthusiastic as they were. Certain passages in his operas have
+always given me great musical enjoyment and delight, but here and there
+are crudities which, as it seemed to me, were unpardonable in a great
+composer. Under these circumstances I could not pose as a genuine Murl,
+although this<a name="page_160" id="page_160"></a> fact did not disturb the genial and fraternal relations
+which existed between my colleagues and me; and on occasion also I was
+equal to the best of them in exercising the specialty of a genuine Murl
+claqueur.</p>
+
+<p>I think that Wagner will always rank among the greatest composers, but
+will not always remain as pre�minent as he is now in the popular
+estimation. Some of his compositions are wonderfully intricate, although
+musical, but at times his faults appear and disturb the balance of
+things in such a way that the music loses the effect of spontaneity and
+becomes forced.</p>
+
+<p>In the Weimar days the general objection of the "old fogies" was that
+his music lacked melody. Doubtless by melody they meant the little tunes
+of the anti-Wagner period; but the fact is that Wagner has contributed
+his share to increasing the scope of melody and enlarging its
+boundaries. It may be that he has gone too far in this direction and has
+completely obliterated all limitations, thus approaching dangerously
+near confusion.<a name="page_161" id="page_161"></a> It was said that he had no melody, but his scores are
+full of it. There are sometimes so many melodies in combination, each
+exercising its individuality and proceeding independently, that the
+"tune effect" is obscured and lost in the crowd of accompanying tunes.
+But to me Wagner's melody seems restless. It comes on suddenly and
+progresses without periods of repose. There is almost constant motion,
+which produces a feeling of unrest. A sentence must have its commas,
+semi-colons, and periods, and punctuation is as necessary in music as it
+is in letters.</p>
+
+<p>I have never quite understood just what it is in Wagner's music that so
+fascinates many people whom I know to be unmusical.</p>
+
+<h3><a name="RAFF_IN_WEIMAR" id="RAFF_IN_WEIMAR"></a>RAFF IN WEIMAR</h3>
+
+<p class="nind">OF my Weimar comrades, Joachim Raff, it is hardly necessary to say,
+became the most distinguished. My first impression of him was not wholly
+favorable. He was hard to become acquainted with and not disposed to
+meet one half-way. He was<a name="page_162" id="page_162"></a> fond of argument, and if one side was taken
+he was very apt to take the other. He liked nothing better than to get
+one to commit himself to a proposition and then to attack him with all
+his resources, which were many. Upon better acquaintance, however, one
+found a kind heart and faithful friend whose constancy was to be relied
+on. He was very poor, and there were times when he seemed hardly able to
+keep body and soul together. Once he was arrested for debt. The room in
+which he was confined, however, was more comfortable, if anything, than
+his own. He had a piano, a table, music-paper, and pen and ink sent
+there. How this was accomplished I do not know, but I think Liszt must
+have had a hand in it. Raff enjoyed himself composing and playing, and
+we saw to it that he had good fare. The episode made little impression
+on him: so long as he could compose he was happy. However, the matter
+was compromised, and in a short time he returned to his own lodgings. He
+was a hard worker and composed incessantly,<a name="page_163" id="page_163"></a> with only a brief interval
+for dinner and a little exercise. We habitually sat together, and
+afterward usually took a short walk. I enjoyed his conversation
+exceedingly and derived much profit from it.</p>
+
+<p>At about five o'clock in the afternoon, looking out of my window, I
+would frequently see Raff coming over the path leading through the park,
+with a bundle of manuscript under his arm. He liked to come and play to
+me what he had composed. His playing was not artistic, because he paid
+little attention to it, and he did not attempt to elaborate or finish
+his style.</p>
+
+<p>He composed very rapidly, and many of his compositions do not amount to
+much. He could not get decent remuneration for good music, and he had to
+live; therefore he wrote many pieces that were of the jingling sort,
+because his publishers paid well for them. Sometimes, however, he turned
+out a composition which was really worthy, and among his works are
+symphonies, sonatas, trios, and chamber-music which gained him
+reputation. His symphony "Im Walde"<a name="page_164" id="page_164"></a> is well known in the musical world,
+and his "Cavatina" for violin, although not a piece of importance, is
+one of the most popular and effective violin solos and exists in various
+arrangements. At times he was much dejected, and there was a dash of
+bitterness in his disposition. I think he felt that, being obliged to
+turn out music for a living, he would never attain the rank to which his
+talents entitled him.</p>
+
+<p>In promoting the cause of Wagner, Raff did considerable work for which
+Liszt got the credit. I think that at one time Raff acted as Liszt's
+private secretary; but he had decided ideas of his own, and knew how to
+express them. Being generally in close accord with Liszt, and having a
+ready pen, he rendered great assistance in promulgating the doctrines of
+the new school by means of essays, brochures, and newspaper articles. Of
+course much that he wrote was based upon suggestions made by Liszt. Raff
+was a tower of strength in himself, while at the same time acting as
+Liszt's mouthpiece in the Wagner propaganda.<a name="page_165" id="page_165"></a></p>
+
+<h3><a name="DR_ADOLF_BERNHARD_MARX" id="DR_ADOLF_BERNHARD_MARX"></a>DR. ADOLF BERNHARD MARX</h3>
+
+<p class="nind">WHEN Dr. Adolf B. Marx of Berlin was in Weimar in June, 1853, it was by
+invitation of Liszt for the purpose of bringing out a new oratorio which
+he had just composed. As usual on such occasions, we gave him a warm
+reception, and Liszt arranged a midday dinner at the Hotel zum
+Erbprinzen, at which some eight or ten guests were present. In the
+afternoon we all attended a rehearsal of the oratorio, which lasted from
+four o'clock until eleven o'clock P.M. According to my present
+recollections, the work did not have a brilliant success. I was reminded
+of this event by the receipt of the following letter in March, 1901,
+from an old friend, Mr. Adolph Stange, who happened to be present on the
+occasion:</p>
+
+<div class="blockquot2">
+<p class="r">
+<span class="smcap">Suwalki, Poland, Russia,</span><br />
+24 January, 1901.<br />
+</p>
+
+<p><span class="smcap">Dear Dr. Mason</span>: When you wrote your "Memories of a Musical Life,"
+July-October, 1900, of Century Illustrated Monthly Magazine, you
+probably did not have any presentiment<a name="page_166" id="page_166"></a> that there is in a distant
+country, far from you, somebody who only by one day younger than
+yourself (born January 25, 1829) will be reading with the greatest
+interest your excellent and truthful description of different
+musical celebrities and authorities. Being myself for many years a
+pupil of Gerke and of Henselt in St. Petersburg, I had been with
+many of the eminent men you name personally acquainted; with
+Moscheles and Rubinstein I had more often and more intimate
+relations, and my delight was naturally great in reading your true
+and graphic account of some of my former musical friends. It is
+indeed with a feeling of admiration and gratitude that I am now
+addressing these lines to its author. Your interesting description
+of your stay at Weimar in 1853 gave me special pleasure, as in that
+same year, in May, June, and July, I had also been with Liszt in
+Weimar, and I remember you, dear Dr. Mason, perfectly, as well as
+Klindworth, Pruckner, the two Wieniawskis, Winterberger, Raff, and
+others; they are all living in my memory. That period of my youth
+is full of the most beautiful and noble impressions.</p>
+
+<p>Your account of that incomparable meister we both, I dare say,
+equally admire, awakened in me Liszt's greatness as artist, and
+still more, if I may say so, the greatness of his nature and
+character, so richly endowed with so many generous and noble
+instincts; and I recall with<a name="page_167" id="page_167"></a> delight to my mind our pleasant walks
+in the Schlossgarten, where we visited Klindworth in his modest
+apartments; the supper at the Hotel zum Erbprinzen, where Liszt
+wished to get acquainted with the card-game "preference," which I
+had to show him; our visits to the Schloss, in the ground floor of
+which we listened to Liszt's divine playing and afterward got
+invited to dine up-stairs with the Princess Wittgenstein and her
+charming daughter. I believe you had already left Weimar when
+Professor Adolf Marx came from Berlin to visit Liszt and brought
+with him the score of his new oratorio. Marx wished to say a few
+words about its performance to Liszt before the first rehearsal,
+but was much disappointed, as he told me, not to find an
+appropriate moment to speak with the meister, whose attention was
+constantly taken up by his pupils. On the day of the rehearsal,
+Marx, who was sitting next to me, again expressed his regret at not
+having found an opportunity to talk the matter over with Liszt.
+Shortly after the rehearsal had commenced I felt several times
+Marx's elbows, which, giving way to his enthusiasm, came in close
+and sensible contact with mine. At last he exclaimed: "Liszt
+guesses my most secret thoughts and intentions in my own
+composition!" ...</p>
+
+<p>Let me, dear Dr. Mason, assure you what real and intense enjoyment
+I experienced by<a name="page_168" id="page_168"></a> the perusal of your "Musical Memories," and beg
+to thank you from all my heart for giving me the possibility of
+recalling once over again those dear and ever-present reminiscences
+of a bygone but ever-delightful time in my life. It is seldom one
+can read in a biography a description like yours, which expresses
+in a few words, with so much reality, truthfulness, and
+impartiality, the characteristics of a whole series of well-known
+artists. Finally, you will ask: "Stranger, who art thou?" I will
+not, like <i>Lohengrin</i>, make a mystery of it, but answer your
+question: I wanted to become what you are now! After my return from
+Weimar, however, where I had been for a time Liszt's pupil, I
+entered into Russian state service, remaining, nevertheless, during
+my whole life, though a dilettante, a great and fervent admirer of
+that art, and a real artist in my heart. I sign, with veneration to
+your person, Dr. Mason, and have the honor to remain,</p>
+
+<p class="r">
+<span style="margin-right: 2em;">Yours very truly,</span><br />
+<span class="smcap">Adolph Stange</span>.<br />
+</p></div>
+
+<h3><a name="BERLIOZ_IN_WEIMAR" id="BERLIOZ_IN_WEIMAR"></a>BERLIOZ IN WEIMAR</h3>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_168.png">
+<img src="images/ill_168_sml.png" width="550" height="304" alt="Autograph of Hector Berlioz" title="Autograph of Hector Berlioz" /></a>
+<br />
+<span class="caption">Autograph of Hector Berlioz</span>
+</div>
+
+<p>Hector Berlioz came to Weimar occasionally, and I remember particularly
+one of his visits, which took place in May,<a name="page_169" id="page_169"></a> 1854. He was famous as
+an orchestral conductor, and I saw him in this capacity in a concert the
+program of which consisted exclusively of his own compositions. These
+were especially attractive on account of their magnificent orchestral
+coloring. In this regard he was certainly wonderful, and produced many
+gorgeous effects. His masterly skill and intelligence in the treatment
+and development of his themes were also everywhere apparent. Every
+detail received careful attention, and the result was admirable.</p>
+
+<p>Not long afterward he gave a similar concert in the Leipsic Gewandhaus
+Hall, on which occasion the Weimar contingent was of course present.
+There was no need of our services as claqueurs, however, for the hall
+was crowded and the audience demonstrative.</p>
+
+<p>Schubert was spontaneous and inspired, and thus stands in contrast to
+Berlioz. Melody gushed from Schubert at such a rate, and musical ideas
+crowded upon each other so rapidly, that he did not take time to work up
+his compositions. There<a name="page_170" id="page_170"></a> are a few which he elaborated with care, but
+they are the exceptions, and emphasize the general spontaneity of his
+work. If he had constructive power,&mdash;and certain passages in his work
+show that he had,&mdash;he nevertheless failed to make adequate use of it.
+His music is charming and delightful on account of its melodious
+freshness and na�vet�. It appeals directly to the heart. The only
+drawback is his servile adherence to conventionalities, such, for
+instance, as the old method of invariably repeating every section of a
+movement.</p>
+
+<p>Beethoven stands as the model of constructive power and emotional
+expression in happy equipoise. Both the head and the heart are
+satisfactorily employed, and in his orchestral treatment they find full
+expression. This is true of all of his concerted works; but his weak
+point is manifested in his pianoforte compositions, especially in the
+sonatas, which are not idiomatic of the instrument for which they were
+written. It is not intended to find fault with the music <i>per se</i>. It is
+simply to say that his ideas are all orchestrally<a name="page_171" id="page_171"></a> conceived, and as
+they are not in the nature of the pianoforte, that instrument is
+inadequate to their true expression. The sonatas are not pianistic,
+idiomatic&mdash;<i>klavierm�ssig</i>. Had he written them for orchestra, we would
+have had thirty-two symphonies.</p>
+
+<p>Chopin's compositions are the very essence and consummation of the
+piano, and he is, therefore, the pianoforte composer <i>par excellence</i>.
+On the other hand, his orchestral work is weak and incompetent, as, for
+example, the accompaniment to his concertos and some other pieces.</p>
+
+<p>Schumann is at home in both directions. He is polyphonic in orchestral
+treatment, and at the same time thoroughly pianistic. Without suggesting
+comparisons, his music is <i>musical</i> and complete. Beethoven's is heroic.</p>
+
+<h3><a name="ENTERTAINING_LISZTS_YOUNG_BEETHOVEN" id="ENTERTAINING_LISZTS_YOUNG_BEETHOVEN"></a>ENTERTAINING LISZT'S "YOUNG BEETHOVEN"</h3>
+
+<p class="nind">LISZT sometimes left Weimar for a few days in order to be present at or
+to conduct<a name="page_172" id="page_172"></a> music festivals. On one of these occasions, early in June,
+1854, I remained alone at home on account of slight illness. As
+Klindworth had gone to London for concert-playing and
+pianoforte-teaching, I had moved into a suite of rooms in the Hotel zum
+Erbprinzen. As a matter of interest to pianists I here note the fact
+that these identical rooms had been occupied by Hummel several years
+previously.</p>
+
+<p>On the afternoon of the day on which Liszt left with his cort�ge the
+head waiter came to me, saying that a young man who had just arrived was
+in the caf� inquiring for Liszt and seemed disappointed on learning of
+his absence. "I told him," said the waiter, "that you were the only one
+of the family here. Will you see him?" I assented, and in a few moments
+he ushered in a young man about twenty-four years of age, of strong
+features and with a great shock of dark hair, who introduced himself as
+Anton Rubinstein. I explained to him that Liszt had gone away for three
+or four days to conduct a festival, that I could not say precisely<a name="page_173" id="page_173"></a> when
+he would return; but in the meantime, if I could make him feel at home,
+I should be very glad.</p>
+
+<p>After some conversation he asked me to play. I remember very well how he
+looked sitting on the sofa, and the position of the piano in the room. I
+played, but he did not. I had a suspicion that he was inveigling me into
+playing without any intention of allowing me to take his measure. He sat
+there like a gruff Russian bear; or perhaps my imagination helped to
+produce this impression.</p>
+
+<p>Rubinstein was already quite well known as a child prodigy, but of
+course not nearly so famous as he afterward became. I do not recollect
+paying him very much attention during Liszt's absence, but, then, he did
+not allow me&mdash;he was rambling about all the time; nor did I hear him
+play before Liszt came back. When Liszt returned, Rubinstein was
+immediately invited to take up his residence on the Altenburg. I
+remember that there, one afternoon, he played many of his own
+compositions. His playing was<a name="page_174" id="page_174"></a> full of rush and fire, and characterized
+by strong emotional temperament. He had a big technic and reveled in
+dash and fire. Those who heard Mark Hambourg here during the winter of
+1899-1900 can form a very good idea of Rubinstein's personal appearance
+at the time of which I write, and also his very pronounced style of
+playing. His early touch lacked the mellow and tender beauty of tone
+which distinguished it in later years.</p>
+
+<h3><a name="RUBINSTEINS_OPPOSITION_TO_WAGNER" id="RUBINSTEINS_OPPOSITION_TO_WAGNER"></a>RUBINSTEIN'S OPPOSITION TO WAGNER</h3>
+
+<p class="nind">RUBINSTEIN's well-known dislike of Wagner, it seems to me, was
+temperamental in a large degree, and it was quite natural that he was
+not in agreement with him. Doubtless Chopin would not have approved of
+Wagner's music, whatever he might have thought of his method. The
+melodies of Chopin and Rubinstein are full of sentiment and well
+defined, and their compositions run in entirely opposite channels from
+those of Wagner, whose music is a vast sensuous upheaval, which<a name="page_175" id="page_175"></a>
+proceeds uninterruptedly from the beginning of an act to the end.</p>
+
+<p>All musicians have a good deal of self-esteem. Rubinstein had his own
+way of composing, which corresponded to his musical temperament. He had
+to write everything just as it suited his musical ear, and he could not
+conceive of any one else having as fine a musical ear as he. At all
+events, he never stopped long enough to find out if any one else had.
+Few musicians do. Liszt was fond of Rubinstein, and used to call him the
+"young Beethoven," on account of a certain fancied resemblance he bore
+to the great composer. He also recognized Rubinstein's great ability as
+a pianist, although I think that as a player he rated Tausig much
+higher. Many years after I left Weimar a relative of mine met Liszt in
+Rome. She had a short time previous to this heard Rubinstein in concert,
+and was in a state of great enthusiasm about his playing, and so
+expressed herself to Liszt. His sole comment was, "Have you ever heard
+Tausig?" The inference was<a name="page_176" id="page_176"></a> that those who had heard Rubinstein and not
+Tausig had missed hearing the greater of the two. I think Liszt regarded
+Tausig as the best of all his pupils.</p>
+
+<p>As I have said once before in these pages, I never saw Liszt after
+leaving Weimar in July, 1854. I occasionally received letters from
+him&mdash;several of them quite long and exceedingly entertaining. One of
+these (the original in French) is reproduced here because it is
+characteristic of his pleasantry and good humor:</p>
+
+<div class="blockquot2"><p><span class="smcap">My dear Mason</span>: Although I do not know at what stage of your
+brilliant artistic peregrinations these lines will reach you, I
+feel assured that you are not ignorant that I am very, very
+sincerely and affectionately obliged to you for keeping me in kind
+remembrance, a fact to which the musical journals which you have
+sent me bear good witness. The "Musical Gazette" of New York has in
+particular given me genuine satisfaction, not alone on account of
+the agreeable and flattering things concerning me personally which
+it contains, but furthermore because this journal seems to me to
+inculcate an excellent and<a name="page_177" id="page_177"></a> superior direction of opinion in your
+country. As you know, my dear Mason, I have no other self-interest
+than to serve the good cause of art so far as is possible, and
+wherever I find men who are making conscientious efforts in the
+same direction, I rejoice and am strengthened by the good example
+which they give me. Be so good as to present to your brother, the
+head editor of the "Musical Review", as I suppose, my very sincere
+thanks and compliments. If he would like to receive some
+communication from Weimar upon matters of interest which occur in
+the musical world of Germany, I will willingly have them sent to
+him through the medium of Mr. Pohl, who, by the way, does not live
+any longer at Dresden, where the numbers of the "Musical Gazette"
+were addressed by mistake, but at Weimar in the Kaufstrasse. His
+wife, one of the best harpists that I know, stands among the
+virtuosos of our "Chapelle", and is an important factor in the
+representation of the opera, as also in concerts.</p>
+
+<p>Apropos of concerts, in a few days I will send you the program of a
+series of symphonic performances, which ought to have been
+established here several years ago, and to which I consider it an
+honor and a duty to give definite encouragement from the year 1855.</p>
+
+<p>I expect Berlioz toward the end of January. We shall then hear his
+trilogy "L'Enfance du<a name="page_178" id="page_178"></a> Christ", of which you already know "La Fuite
+en Egypte". To this he has added two other short oratorios, "Le
+Songe d'Herode" and "L'Arriv�e � Sa�s".</p>
+
+<p>The dramatic symphony "Faust" (in four parts, with solos and
+choruses) will also be given in full during his stay here.</p>
+
+<p>In regard to visits from artists who have been personally agreeable
+to me during the last month, I would name Clara Schumann and
+Litolff.</p>
+
+<p>In Brendel's journal, "Neue Zeitschrift", you will find an article
+signed with my name, on Mme. Schumann, whom I have again heard with
+that sympathy and absolute admiration which her talent compels.</p>
+
+<p>As for Litolff, I confess that he has made a very vivid impression
+on me. His fourth concerto symphony (manuscript) is a very
+remarkable composition, and he played it in so masterly a manner,
+with such verve, with such boldness and certainty, that I derived
+intense pleasure from it.</p>
+
+<p>If there was a little of the quadruped in the amazing execution of
+Dreyschock (and this comparison should not vex him; is not the lion
+classed among quadrupeds as well as the poodle?), in that of
+Litolff, there is certainly something <i>winged</i>; moreover, he has
+all the superiority over Dreyschock that a biped having ideas,
+imagination, and sensibility has over another biped which imagines
+itself<a name="page_179" id="page_179"></a> possessed of all this wealth&mdash;often very embarrassing!</p>
+
+<p>Do you continue your familiar intercourse with the Old Cognac in
+the New World, my dear Mason? Let me again commend <i>measure</i> to
+you, an essential quality for musicians. In truth, I am not too
+well qualified to extol the <i>quantity</i> of this <i>quality</i>, for, if I
+remember rightly, I have often employed tempo rubato when I was
+giving my concerts (work which I would not begin again for anything
+in the world), and even quite recently I have written a long
+symphony in three parts, called "Faust" (without text or vocal
+parts), in which the <i>horrible</i> measures <sup>7</sup>&frasl;<sub>8</sub>, <sup>7</sup>&frasl;<sub>4</sub>, <sup>5</sup>&frasl;<sub>4</sub> alternate
+with common time and &frac34;. By virtue of which I conclude that you
+should be satisfied with <sup>7</sup>&frasl;<sub>8</sub> of a little bottle of old cognac in
+the evening, and never exceed five quarts!</p>
+
+<p>Raff, in his first volume of "Wagner Frage", has thoroughly
+realized something like <i>five quarts</i> of doctrinal sufficiency, but
+that is an unadvisable example to copy in a critical matter, and
+above all in the matter of cognac and other spirits!</p>
+
+<p>My dear Mason, excuse these bad jokes, justified only by my good
+intentions; that you may bear yourself valiantly, physically and
+morally, is the most cordial wish of</p>
+
+<p class="r">
+<span style="margin-right: 2em;">Your very friendly affectionate</span><br />
+<span class="smcap">F. Liszt</span>.</p>
+</div>
+
+<div class="blockquot2">
+
+<p><span class="smcap">Weimar</span>, December 14, 1854.</p>
+
+<p><a name="page_180" id="page_180"></a></p>
+
+<p>You did not know Rubinstein in Weimar?<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> He spent some time here,
+and was conspicuously different from the opaque mass of self-styled
+<i>composer-pianists</i> who do not even know what it is to play the
+piano, still less with what fuel it is necessary to heat one's self
+in order to compose, so that with what they lack in talent for
+composition they fancy themselves pianists, and vice versa.</p>
+
+<p>Rubinstein will publish forthwith about fifty
+compositions&mdash;concertos, trios, symphonies, songs, light pieces,
+etc., which deserve notice.</p>
+
+<p>Laub has left Weimar. Ed. Singer takes his place in our orchestra.
+The latter gives much pleasure here, and is pleased himself also.</p>
+
+<p>Cornelius, Pohl, Raff, Pruckner, Schreiber, and all the new school
+of the new Weimar send you their friendliest greetings, to which I
+add a hearty <i>shake-hand</i>.</p>
+
+<p class="r">F. L.</p></div>
+
+<p>Other letters received from Liszt are perhaps not very important, but
+with one exception never having been published before, they are printed
+in the Appendix.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_180.png">
+<img src="images/ill_180_sml.png" width="550" height="569" alt="Autograph of Ferdinand Laub" title="Autograph of Ferdinand Laub" /></a>
+<br />
+<span class="caption">Autograph of Ferdinand Laub</span>
+</div>
+
+<p>Pupils of Liszt and Thalberg and their pupils in search of an
+entertaining diversion may amuse themselves by tracing<a name="page_181" id="page_181"></a> their
+musical pedigree back to Bach, Mozart, and Beethoven, and thus lay claim
+to very distinguished ancestry, as shown in the following table:</p>
+
+<ul><li>Liszt, Franz, born Oct. 22, 1811.</li>
+<li>Czerny, Carl, born Feb. 21, 1791.</li>
+<li>Beethoven, Ludwig van, born Dec. 16, 1770.</li>
+<li>Neefe, Christian G., born Feb. 5, 1748.</li>
+<li>Hiller, Johann A., born Dec. 25, 1728.</li>
+<li>Homilius, G. A., born Feb. 2, 1714.</li>
+<li>Bach, Johann Sebastian, born March 21, 1685.</li>
+<li>Thalberg, Sigismond, born Jan. 7, 1812.</li>
+<li>Hummel, J. N., born Nov. 14, 1778.</li>
+<li>Mozart, Wolfgang A., born Jan. 27, 1756.</li>
+</ul>
+
+<p>If there be any whose pride is not sufficiently nourished by this
+display, they may go still further and show, by authentic records, a
+descent through Bach from Josquin Desprez, the most eminent
+contrapuntist of the Netherlands school, who lived about 1450-1521.</p>
+
+<p>During the winter of 1879-80, which I spent at Wiesbaden on account of
+ill health, I received a very cordial invitation to visit Liszt at
+Weimar some time in July, and made plans to do so, which<a name="page_182" id="page_182"></a> were
+frustrated, however, through unforeseen circumstances. B�low, when on
+his first visit here, in 1875, told me that the old charm had entirely
+passed away. The "Golden Time" was among the things that were.</p>
+
+<p>The last message I had from Liszt was brought to me by Mr. Louis
+Geilfuss of Steinway &amp; Sons, who met Liszt in one of the streets of
+Bayreuth only a few days before his death, which occurred somewhat
+unexpectedly on July 31, 1886.<a name="page_183" id="page_183"></a></p>
+
+<h2><a name="AT_WORK_IN_AMERICA" id="AT_WORK_IN_AMERICA"></a>AT WORK IN AMERICA</h2>
+
+<p class="nind"><span class="letra">W</span>HEN I returned from Europe in 1854 my parents had moved from Boston,
+and were living at Orange, New Jersey.</p>
+
+<p>On landing in New York, I hurried to Boston, and went immediately to the
+house of Mr. Webb. This had been my constant purpose ever since the time
+I left America in 1849. In due course Miss Webb and I became engaged,
+and were married on March 12, 1857.</p>
+
+<p>My first enterprise after returning from Germany was a concert tour.
+This I believe to have been the first exclusively pianoforte recital
+tour ever undertaken in this country. Gottschalk, who was here at that
+time, had traveled about giving concerts, but he was never without a
+singer or associate of some kind.<a name="page_184" id="page_184"></a></p>
+
+<p>In 1863 I had attended a recital given in Frankfort, Germany, by
+Ferdinand Hiller, the program of which consisted exclusively of his own
+compositions, concluding with a free improvisation on themes suggested
+by the audience. My recitals were fashioned after this, only I played
+very few of my own pieces. The programs were somewhat similar to those
+of the present time, ranging from Beethoven and Chopin to Liszt. At that
+time Bach's name, according to my recollection, was never seen on a
+pianoforte-recital program. A large number of these compositions, such
+as Liszt's "Twelfth Rhapsody" and Chopin's "Fantasie Impromptu," were
+played for the first time in this country at these concerts.</p>
+
+<h3><a name="TOURING_THE_COUNTRY" id="TOURING_THE_COUNTRY"></a>TOURING THE COUNTRY</h3>
+
+<p class="nind">MY friend Oliver Dyer managed the tour. My brothers Daniel and Lowell
+were at this time booksellers and publishers in New York, under the
+firm-name of Mason Brothers, and Mr. Dyer was connected<a name="page_185" id="page_185"></a> with them in
+business. He was a man of action, and possessed good literary ability.
+He had lived for a time in Washington as reporter of speeches made in
+Congress, and later on he was connected with Robert Bonner on the
+"Ledger".</p>
+
+<p>He arranged a pamphlet in which he set forth and doubtless embellished
+the facts connected with my sojourn in Germany and the favor with which
+my playing had been received. When, in the course of our tour, we
+arrived at a town where a lecture was to be given,&mdash;not an uncommon
+occurrence,&mdash;he would take down the lecture stenographically and write
+notices of it for the local papers. The editors appreciated this favor,
+and were so kindly disposed toward us that they would print any advance
+notices he chose to write about me. In what he wrote of me, however, I
+was not willing to have him go to extremes, though he would frequently
+slip something into the paper without my knowledge, leaving me to find
+fault with him the next day.</p>
+
+<p>All along the route it was difficult to<a name="page_186" id="page_186"></a> persuade people that an
+entertainment of pianoforte-playing exclusively could be made
+interesting. They had never heard of such a thing, and insisted that
+there ought to be some singing for the sake of variety. We stopped in
+Albany, Troy, Utica, and many other places on the way to Chicago, where
+I gave two concerts, one of which took place on New Year's eve. After
+the concert I attended a large reception given in a private residence. I
+remember being struck by the fact, as it seemed to me, that there were
+so many young ladies at this reception, and I asked the hostess if there
+were no married ladies in Chicago. "Why, Mr. Mason," she replied, "there
+are only two or three unmarried ladies in the room." At that period
+Chicago was full of young men who had come from the Eastern States,
+principally New England. After staying in Chicago for two or three years
+and getting well started in business they would get married, many of
+them going to their native places for their brides. This accounted for
+the youthful appearance of<a name="page_187" id="page_187"></a> the assemblage, and illustrates in part the
+very rapid growth of Chicago.</p>
+
+<p>Up to the time we arrived in Chicago we had rainy weather constantly,
+and partly on this account we were out of pocket. Dyer was for going
+back to New York by the quickest route. I said: "No; I am going back
+through the same towns, and shall give concerts in every one of them. If
+the people liked my playing well enough they will come again and bring
+their neighbors. If they did not like it, I shall soon find it out." As
+it turned out, I had much larger audiences all the way home.</p>
+
+<h3><a name="YANKEE_DOODLE_AND_OLD_HUNDRED" id="YANKEE_DOODLE_AND_OLD_HUNDRED"></a>"YANKEE DOODLE" AND "OLD HUNDRED"</h3>
+
+<p class="nind">COPYING the custom of Ferdinand Hiller, I used to close my concerts by
+an improvisation upon themes suggested by the audience. All sorts of
+themes were put into the hat&mdash;from Mozart, Beethoven, "Jordan is a hard
+road to travel," "We won't go home till morning," and many negro
+melodies. I had a faculty of developing<a name="page_188" id="page_188"></a> a subject in such a way as to
+hold my audience.</p>
+
+<p>One night somebody sent up the request that I should play simultaneously
+"Old Hundred" with one hand and "Yankee Doodle" with the other. This I
+did, merely to show that even two such dis-similar melodies could be
+played together in a musical way. There was a good deal of applause, but
+also considerable hissing from the religions element, so I made a speech
+explaining that I meant no disrespect to "Old Hundred" by placing it in
+such close connection with "Yankee Doodle," and that the melody which
+had to a certain extent been adopted as a national air was on that
+account worthy of being played with any hymn.</p>
+
+<p>Fifteen years later, in 1870, George F. Root, who had assisted my father
+in his musical convention work in the East, but who had settled in
+Chicago and was doing the same kind of pioneer work in the West, was
+holding a summer musical convention in South Bend, Indiana. He wished to
+introduce piano as well as vocal<a name="page_189" id="page_189"></a> teaching, and invited me to take
+charge of the piano classes. It was a fearfully hot summer, and during
+the month I was in South Bend the temperature was continuously close to
+100�. Toward the close of the season concerts were given, and it was so
+hot that in lieu of a dress-coat I wore a linen duster, cut off at the
+waist.</p>
+
+<p>At the last concert I received a request from two or three people to
+play "Yankee Doodle" with one hand and "Old Hundred" with the other.
+Possibly they had heard me do so in 1855. Remembering my experience
+then, I made a few remarks, in which I told them that some little
+feeling had been created fifteen years before by my doing the same
+thing, but that&mdash;and here I got a little mixed&mdash;in playing "Yankee
+Doodle" with "Old Hundred" I did not intend any disrespect to "Yankee
+Doodle." At this the audience began to laugh. Schuyler Colfax, who was
+then Vice-President of the United States, was on the stage behind me,
+and I could hear him chuckling. I thought to myself, "Well, I have made
+some funny<a name="page_190" id="page_190"></a> mistake, though I don't know what it is, so I won't go back
+and try to correct it."</p>
+
+<p>Afterward Mr. Colfax, who was a noted speaker, told me that whenever he
+made a <i>lapsus linguae</i>, if it amused the audience he never attempted to
+correct it.</p>
+
+<p>On my return from this concert tour to New York, I established the
+series of chamber-music concerts which, begun as an experiment,
+continued thirteen years. I also settled down as a teacher. While I had
+returned from Weimar with the full intention of continuing my career as
+a piano-virtuoso, and while my concert tour had been promising enough, I
+found that the public demanded a constant repetition of pieces to which
+it happened to take a liking, and I knew that I should soon weary of
+playing the same things over and over again. Moreover, I felt that from
+my father I had inherited a certain capacity for giving instruction, and
+that the chamber-music concerts and engagements with the Philharmonic
+and at other concerts in New York and elsewhere would serve to keep up
+my practice as a virtuoso.<a name="page_191" id="page_191"></a></p>
+
+<h3><a name="SETTLING_DOWN_TO_TEACH" id="SETTLING_DOWN_TO_TEACH"></a>SETTLING DOWN TO TEACH</h3>
+
+<p>In 1855 I accepted as pupils some four or five young ladies who were
+being educated at a fashionable boarding-school in New York. One of
+these girls was very bright and intelligent but without special musical
+talent. She was extremely averse to application in study, and the
+problem for me was to invent some way by which mental concentration
+could be compelled, for from the moment she sat down to the piano to
+practise she was constantly looking at the clock to see if her
+practice-hour was up. After a little study I found that in playing a
+scale up one octave and back, without intermission, in <sup>9</sup>&frasl;<sub>8</sub> time, there
+are necessarily nine repetitions of the scale before the initial tone
+falls again on the first part of the measure. Thus,</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_191.png">
+<img src="images/ill_191_sml.png" width="300" height="64" alt="musical notation" title="musical notation" /></a>
+</div>
+
+<p class="nind">and so on until
+another accent falls upon the initial C. Such an exercise is called<a name="page_192" id="page_192"></a> a
+rhythmus, and the repetitions compel mental concentration just as surely
+as the addition of a column of figures does. I found that if the compass
+was extended four octaves, thus, from</p>
+
+<div class="figcenter" style="width: 357px;">
+<img src="images/ill_192.png" width="150" height="53" alt="musical notation" title="musical notation" />
+</div>
+
+<p class="nind">the nine repetitions of the scale
+would require from three to four minutes if played at a moderate rate of
+speed. I saw at once that a state of mental concentration could not be
+avoided by the pupil, and that in this exercise lay a basic principle. I
+gave the exercise to my pupil. The result was that when the next
+lesson-hour came around and I asked her how she found the new exercise,
+she exclaimed: "How do I like it? Why, you have played a pretty trick on
+me! It took me nearly an hour to accomplish it; but I like it. Why did
+you not give it to me before!" "Because," I said, "I invented it simply
+in order to compel your attention to your work." Following up the
+principle of grouping the tones, I applied the rhythmic process not only
+to<a name="page_193" id="page_193"></a> all sorts of scale passages, but included in the treatment
+arpeggios, broken chords, octaves, and in fact all passages idiomatic of
+the pianoforte. The work of amplification was readily accomplished, and
+the result was a complete method in which for the first time, so far as
+I am aware, scientific rhythmic treatment was elaborated. This
+"Accentual Treatment of Exercises," as I called the system, was first
+published in the Mason &amp; Hoadley Method, New York, 1867. The importance
+of accentual treatment is now recognized in every modern method.</p>
+
+<p>The idea of starting a series of matin�es of chamber-music occurred to
+me. I wished especially to introduce to the public the "Grand Trio in B
+Major, Op. 8," by Johannes Brahms, and to play other concerted works,
+both classical and modern, for this kind of work interested me more than
+mere piano-playing. So I asked Carl Bergmann, who was the most noted
+orchestral conductor of those days, and thus well acquainted with
+musicians, to get together a good string quartet. This he accomplished
+in a day or two, and<a name="page_194" id="page_194"></a> made me acquainted with Theodore Thomas, first
+violin; Joseph Mosenthal, second violin; and George Matzka, viola,
+Bergmann himself being the violoncellist. We very soon began rehearsing,
+and our first concert, or rather matin�e, took place in Dodworth's Hall,
+opposite Eleventh street, and one door above Grace Church in Broadway.
+The program was as follows:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+<tr><td colspan="2" align="center">Tuesday, November 27, 1855</td></tr>
+<tr><td colspan="2"> &nbsp;</td></tr>
+
+<tr><td valign="top">1.</td><td>Quartet in D Minor, Strings</td><td valign="bottom"><i>Schubert</i></td></tr>
+
+<tr><td valign="top">2.</td><td>Romance from Tannh�user,<br />
+"Abendstern"</td><td valign="bottom"><i>Wagner</i></td></tr>
+
+<tr><td valign="top">3.</td><td>Pianoforte Solo, Fantasie Impromptu,<br />
+Op. 66 (first time)</td><td valign="bottom"><i>Chopin</i></td></tr>
+<tr><td> </td><td>Deux Pr�ludes, D flat and G,<br />
+Op. 24</td><td valign="bottom"><i>Heller</i></td></tr>
+
+<tr><td valign="top">4.</td><td>Variations Concertante for<br />
+Violoncello and Piano, Op. 17</td><td valign="bottom"><i>Mendelssohn</i></td></tr>
+
+<tr><td valign="top">5.</td><td>"Feldw�rts flog ein V�glein"</td><td valign="bottom"><i>Nicolai</i></td></tr>
+
+<tr><td valign="top">6.</td><td>Grand Trio in B Major, Op. 8,<br />
+Piano, Violin, and Cello (first<br />
+time)</td><td valign="bottom"><i>Brahms</i></td></tr>
+</table>
+
+<p>It will be observed that we started out with a novelty, Brahms's Trio,
+which was played then for the first time in America.<a name="page_195" id="page_195"></a> I repeated it in
+Boston a few weeks later with the assistance of some members of the
+Mendelssohn Quintet Club. It received appreciation on both occasions and
+was listened to attentively, but without enthusiasm. The newspapers
+spoke well of it in general, but there were some who regarded it as
+constrained and unnatural. The vocal pieces were inserted in deference
+to the prevailing idea of the period that no musical entertainment could
+be enjoyed by the public without some singing. We quickly got over that
+notion, and thenceforth, with rare exceptions, our programs were
+confined to instrumental music.</p>
+
+<p>It was my purpose in organizing these concerts to make a point of
+producing chamber-work, which had never before been heard here,
+especially those of Schumann and other modern writers.</p>
+
+<h3><a name="THEODORE_THOMAS_AT_TWENTY" id="THEODORE_THOMAS_AT_TWENTY"></a>THEODORE THOMAS AT TWENTY</h3>
+
+<p class="nind">THE organization as originally formed would probably have remained
+intact during<a name="page_196" id="page_196"></a> all the years the concerts lasted had it not become
+apparent almost from the start that Theodore Thomas had in him the
+genius of conductorship. He possessed by nature a thoroughly musical
+organization and was a born conductor and leader.</p>
+
+<p>Before we had been long together it became apparent that there was more
+or less friction between Thomas and Bergmann, who, being the conductor
+of the Germania and afterward of the Philharmonic orchestras, also a
+player of long experience and the organizer of the quartet, naturally
+assumed the leadership in the beginning. The result was that Bergmann
+withdrew after the first year, and Bergner, a fine violoncellist and
+active member of the Philharmonic Society, took his place. The
+organization was then called the Mason and Thomas Quartet, and so styled
+it won a wide reputation throughout the country. I should say in passing
+that Bergmann was an excellent though not a great conductor.</p>
+
+<div class="figcenter" style="width: 561px;">
+<img src="images/ill_196.jpg" width="561" height="359" alt="MATZKA MOZENTHAL BERGNER THOMAS MASON
+THE MASON-THOMAS QUARTET" title="THE MASON-THOMAS QUARTET" />
+<span class="caption"><small>MATZKA &nbsp; &nbsp;     MOZENTHAL &nbsp; &nbsp;      BERGNER &nbsp; &nbsp;      THOMAS &nbsp; &nbsp;      MASON</small>
+<br />
+THE MASON-THOMAS QUARTET</span>
+</div>
+
+<p>From the time that Thomas took the<a name="page_197" id="page_197"></a> leadership free and untrammeled,
+the quartet improved rapidly. His dominating influence was felt and
+acknowledged by us all. Moreover, he rapidly developed a talent for
+making programs by putting pieces into the right order of sequence, thus
+avoiding incongruities. He brought this art to perfection in the
+arrangement of his symphony concert programs.</p>
+
+<p>Our viola, Matzka, was also an excellent musician, and for many years
+the first viola of the Philharmonic orchestra. Mosenthal, who played
+second violin, achieved a wide reputation as composer and conductor, in
+which latter capacity he did splendid work for the Mendelssohn Glee
+Club. He was also one of the best teachers of piano and violin in New
+York.</p>
+
+<h3><a name="THOMAS_AS_CONDUCTOR" id="THOMAS_AS_CONDUCTOR"></a>THOMAS AS CONDUCTOR</h3>
+
+<p class="nind">THOMAS's fame as a conductor has entirely overshadowed his earlier
+reputation as a violinist. He had a large tone, the tone of a player of
+the highest rank. He<a name="page_198" id="page_198"></a> lacked the perfect finish of a great violinist,
+but he played in a large, quiet, and reposeful manner. This seemed to
+pass from his violin-playing into his conducting, in which there is the
+same sense of largeness and dignity, coupled, however, with the artistic
+finish which he lacked as a violinist. He is a very great conductor, the
+greatest we have ever had here, not only in the Beethoven symphonies and
+other classical music, but in Liszt, Wagner, and the extreme moderns.
+Why should he not conduct Wagner as well as anybody else, or better?
+Everything is large about Wagner, and everything is large about Thomas.
+His rates of tempo are in accord with those of the most celebrated
+conductors whom I heard fifty years ago. In modern times the tendency
+has been toward an increased rate of speed, and this detracts in large
+measure from the impressiveness of the works, especially those of
+Mozart, Beethoven, Von Weber, and others.</p>
+
+<p>That the skilful orchestral conductor does not rely solely upon the ear
+but<a name="page_199" id="page_199"></a> sometimes receives assistance from the eye in his work is
+illustrated by an experience of Theodore Thomas which he related while
+dining at my house some two years since. On one occasion, when a benefit
+concert was tendered to him, the orchestra was increased to jubilee
+dimensions, and I think there were sixteen violoncello-players, with
+other instruments in due proportion. During the final rehearsal Mr.
+Thomas became aware of some imperfections, probably of phrasing, and
+traced the error to the violoncellists, but could not at first detect
+the individual whose fault it was. On closer scrutiny he observed that
+one of them was bowing in the wrong way, and thus obscuring the
+phrasing.</p>
+
+<p>The newspapers, in reviewing the concert, mentioned this incident as
+illustrating the wonderfully sensitive ear of the conductor, whereas on
+this occasion, at least, the eye was the detective agent.</p>
+
+<p>It is possible, however, for a trained ear to detect errors in mere
+manipulation,<a name="page_200" id="page_200"></a> and I am reminded by one of my former pupils that, having
+taken advantage, during one of his lessons, of my momentary absence in
+an adjoining room, to play a passage according to his own ideas of
+proper technic, he was astonished to hear me call out to him that he had
+used the wrong finger in striking one of the keys.</p>
+
+<p>That Thomas had entire confidence in himself was shown in the outset of
+his career. One evening, as he came home tired out from his work, and
+after dinner had settled himself in a comfortable place for a good rest,
+a message came to him from the Academy of Music, about two blocks away
+from his house in East Twelfth street. An opera season was in progress
+there. The orchestra was in its place, and the audience seated, when
+word was received that Ansch�tz, the conductor, was ill. The management
+had not provided against that contingency, and was in a position of much
+embarrassment. Would Thomas come to the rescue? He<a name="page_201" id="page_201"></a> had never
+conducted opera, and the work for the evening's performance was an opera
+with which he was unfamiliar. Here was a life's opportunity, and Thomas
+was equal to the occasion. He thought for a moment, then said, "I will."
+He rose quickly, got himself into his dress-suit, hurried to the Academy
+of Music, and conducted the opera as if it were a common experience. He
+was not a man to say, "Give me time until next week." He was always
+ready for every opportunity.</p>
+
+<div class="figcenter" style="width: 323px;">
+<img src="images/ill_200.jpg" width="323" height="322" alt="THEODORE THOMAS ABOUT TWENTY-FOUR YEARS OLD" title="THEODORE THOMAS ABOUT TWENTY-FOUR YEARS OLD" />
+<span class="caption">THEODORE THOMAS<br />
+ABOUT TWENTY-FOUR YEARS OLD</span>
+</div>
+
+<p>On Christmas day, 1900, a friend presented me with a calendar for the
+year 1901. It has a leaf for each day of the year. The calendar
+evidently required much labor in preparation, and necessitated
+correspondence with many friends at home as well as abroad, and many are
+the cordial responses that were received. The result is a daily pleasure
+and surprise. The leaf for February 11, 1901, the day of my present
+writing, has reference to the third concert of chamber-music, eighth
+season of Mason and Thomas, which took<a name="page_202" id="page_202"></a> place on Tuesday evening,
+February 10, 1862:</p>
+
+<div class="blockquot2"><p class="c">Tuesday, February 10, 1862</p>
+
+<p>The third soir�e of Mason and Thomas had the following program:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+<tr><td align="left">Quartet, C Major, No. 2</td><td align="right"><i>Cherubini</i></td></tr>
+<tr><td align="left">Piano Trio, D Major, Op. 70, No. 1 &nbsp;  &nbsp;  &nbsp; </td><td align="right"><i>Beethoven</i></td></tr>
+<tr><td align="left">Quartet, A Major, Op. 41, No. 3</td><td align="right"><i>Schumann</i></td></tr>
+</table>
+
+<p>A program as interesting and fresh to-day as thirty-eight years
+ago. The weather was very cold,&mdash;below zero,&mdash;and during the largo
+of the trio the gas gave out. We continued playing for some time,
+but finally had to stop. The "Geister" [the composition here
+referred to is called by the Germans the "Geister Trio"] did not
+assist us! Do you remember the fact?</p>
+
+<p>Es ist schon lange her.</p>
+
+<p class="r"><span class="smcap">Theodore Thomas.</span></p></div>
+
+<h3><a name="KARL_KLAUSER_MUSICAL_DIRECTOR_AT_MISS_PORTERS_SCHOOL" id="KARL_KLAUSER_MUSICAL_DIRECTOR_AT_MISS_PORTERS_SCHOOL"></a>KARL KLAUSER, MUSICAL DIRECTOR AT MISS PORTER'S SCHOOL</h3>
+
+<p class="nind">THROUGH Mosenthal our quartet became acquainted with Mr. Karl Klauser,
+who was an active and enthusiastic musician of thorough education, and
+who has accomplished<a name="page_203" id="page_203"></a> a great deal of useful work both as a compiler and
+teacher of classic and modern compositions. Mr. Klauser is a native of
+St. Petersburg, born of German parents; he came to New York in 1850, and
+was engaged as musical director in Miss Porter's famous school for young
+ladies in 1855, a post which he filled with credit and ability for many
+years. He was enthusiastically fond of chamber-music, and frequently
+attended the rehearsals of our quartet; and it was through him that we
+were induced to give recitals in Farmington six months after our
+beginning in New York. On Thursday, June 26, 1856, our program was as
+follows:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+<tr><td>String Quartet in E flat, No. 4</td><td><i>Mozart</i></td></tr>
+<tr><td>Trio, Piano, Violin, and Violoncello, G Minor, Op. 15, No. 2 &nbsp; &nbsp; &nbsp; </td><td><i>Rubinstein</i></td></tr>
+<tr><td>Variations from Quartet No. 5</td><td><i>Beethoven</i></td></tr>
+<tr><td colspan="2">Also solos for pianoforte and for violoncello.</td></tr>
+</table>
+
+<p>On the following day another recital was given, with an entire change of
+program.</p>
+
+<p>At that time one of the undergraduates<a name="page_204" id="page_204"></a> of the school was a young girl
+who is now the wife of a distinguished lawyer of New York, and is
+herself prominent in good works. Not long ago I received from her the
+following very agreeable letter about the early Farmington days:</p>
+
+<div class="blockquot2"><p><span class="smcap">My dear Dr. Mason</span>: I am glad to hear that you are to share your
+pleasant "Memories" with your friends. I hope, in looking back to
+the happy times when you were young, you will not forget your
+annual visits to dear old Farmington; for if you do not remember
+them in words, many old admirers will wonder how you could fail to
+make much of occasions so precious to them.</p>
+
+<p>As one of Miss Porter's girls, who can now live over again the
+coming to town of William Mason, Theodore Thomas, J. Mosenthal, G.
+Matzka, F. Bergner, and the long-looked-for chamber-concerts, I
+feel sure that in all of your generous giving of a God-given
+genius, you never gave more real pleasure than you gave those
+school-girls and teachers hungry for a taste of life outside the
+school, and for good music, the best of all company. You were then
+to them what you only hoped to be after years of hard work,&mdash;great
+men in your profession,&mdash;and they could not have dressed with more
+care or been more excited if they<a name="page_205" id="page_205"></a> had been going to listen with
+royalty to the greatest of the old masters.</p>
+
+<p>Among the choicest of my pictures of Farmington days is that of the
+girls in white and dainty pinks and greens and blues, with flowers
+to wear and flowers to throw to you, almost dancing down that
+beautiful street on a summer day to "the concert," and in the
+foreground a quaint dark figure whom all the girls remember on
+festive occasions as bearing the burden of her choice with a New
+England sense of propriety at war with her keen sympathy with all
+that is natural in young people, and with the pride in her
+good-looking family which made her blind to their youthful follies.
+That was long ago when we were giddy girls, but the verdict of our
+heads and hearts was a true one.</p>
+
+<p>Sure that your memories, dear Dr. Mason, must be bright in the
+sunlight of so many warm friendships, I am listening to the music
+of long ago.</p>
+
+<p>March 31, 1901.</p></div>
+
+<h3><a name="LOUIS_MOREAU_GOTTSCHALK" id="LOUIS_MOREAU_GOTTSCHALK"></a>LOUIS MOREAU GOTTSCHALK</h3>
+
+<p class="nind">I KNEW Gottschalk well, and was fascinated by his playing, which was
+full of brilliancy and bravura. His strong, rhythmic accent, his vigor
+and dash, were exciting<a name="page_206" id="page_206"></a> and always aroused enthusiasm. He was the
+perfection of his school, and his effects had the sparkle and
+effervescence of champagne. He was as far as possible from being an
+interpreter of chamber or classical music, but, notwithstanding this,
+some of the best musicians of the strict style were frequently to be
+seen among his audience, among others Carl Bergmann, who told me that he
+always heard Gottschalk with intense enjoyment. He first made his mark
+through his arrangement of Creole melodies. They were well defined
+rhythmically, and he played them with absolute rhythmic accuracy. This
+clear definition in his interpretation contributed more than anything
+else to the fascination which he always exerted over his audience. He
+did not care for the German school, and on one occasion, after hearing
+me play Schumann at one of the Mason-Thomas matin�es, he said: "Mason, I
+do not understand why you spend so much of your time over music like
+that; it is stiff and labored, lacks melody, spontaneity, and na�vet�.
+It will eventually<a name="page_207" id="page_207"></a> vitiate your musical taste and bring you into an
+abnormal state."</p>
+
+<p>Although an enthusiastic admirer of Beethoven symphonies and other
+orchestral works, he did not care for the pianoforte sonatas, which he
+said were not written in accordance with the nature of the instrument.
+It has been said that he could play all of the sonatas by heart; but I
+am quite sure that Mr. Richard Hoffman, who was his intimate friend,
+will sustain me in the assertion that such was not the fact.</p>
+
+<p>I have known Mr. Hoffman for more than fifty years, having met him for
+the first time in the year 1847 or thereabout. His playing is still
+characterized by precision, accuracy, and clearness in phrasing, with an
+excellent technic, combined with repose. I have many times enjoyed his
+artistic interpretations, and I heard him with great pleasure not a long
+while ago, on the occasion of his fiftieth anniversary as a teacher in
+this country.</p>
+
+<p>Returning to Gottschalk, a funny thing<a name="page_208" id="page_208"></a> happened one day. At the time of
+which I write, forty-five years ago, William Hall &amp; Sons' music-store
+was in Broadway, corner of Park Place, and was a place of rendezvous for
+musicians. Going there one day, I met Gottschalk, who, holding up the
+proof-sheet of a title-page which he had just received from the printer,
+said: "Read that!" What I read was, "The Latest Hops," in big block
+letters after the fashion of an outside music title-page. "What does
+this mean?" I asked. "Well," he replied, "it ought to be 'The Last
+Hope,' but the printer, either by way of joke or from stupidity, has
+expressed it in this way. There is to be a new edition of my 'Last
+Hope,' and I am revising it for that purpose."</p>
+
+<p>I have in my autograph-book a letter of his, undated, but written in the
+late fifties:</p>
+
+<div class="blockquot2"><p><span class="smcap">My dear M.</span>: If you have nothing to do, come and spend the evening
+with me on Sunday next. No formality. Smoking required, impropriety
+allowed, and complete liberty,<a name="page_209" id="page_209"></a> with as little music as possible.
+I was going to mention that we will have a glass of wine and
+chicken salad.</p>
+
+<p class="r">
+<span style="margin-right: 6em;">Your friend,</span><br />
+<span class="smcap">Gottschalk</span>.</p>
+
+<p>149 East Ninth Street.</p></div>
+
+<div class="figcenter" style="width: 349px;">
+<a href="images/ill_208.png">
+<img src="images/ill_208_sml.png" width="349" height="550" alt="Autograph of Moreau Gottschalk" title="Autograph of Moreau Gottschalk" /></a>
+<br />
+<span class="caption">Autograph of Moreau Gottschalk</span>
+</div>
+
+<h3><a name="PROPAGANDA_FOR_SCHUMANNS_MUSIC" id="PROPAGANDA_FOR_SCHUMANNS_MUSIC"></a>PROPAGANDA FOR SCHUMANN'S MUSIC</h3>
+
+<p class="nind">GOTTSCHALK's remark about my liking for Schumann's music was at that
+time echoed by others, for when I returned from Germany and found
+Schumann virtually unknown here, I made it my mission to introduce his
+music into this country&mdash;a labor of love in which I was afterward
+greatly aided by the quartet concerts and by my teaching. Shortly after
+my return from Germany I went to Breusing's, then one of the principal
+music-stores in the city,&mdash;the Schirmers are his successors,&mdash;and asking
+for certain compositions by Schumann, I was informed that they had his
+music in stock, but as there was no demand for it, it was packed away in
+a bundle and kept in the basement. Pretty soon, however, my pupils<a name="page_210" id="page_210"></a>
+began calling for Schumann's pieces, and Schumann moved up from the
+cellar to the main floor. His music was expensive, because it was
+published in sets, and if a pupil wanted to buy one of the "Novellettes"
+or "Kinderscenen," it was necessary to purchase the whole collection.
+After a while, however, some of the music-dealers began to publish a
+number of the pieces separately. This had the effect in some measure of
+opening up the sale of his music to pupils and amateurs.</p>
+
+<h3><a name="SIGISMOND_THALBERG" id="SIGISMOND_THALBERG"></a>SIGISMOND THALBERG</h3>
+
+<p class="nind">THALBERG's playing was characterized by grace, elegance, and perfection
+of finish in detail. His style was suave, courteous, and aristocratic.
+Being a pupil of Hummel, who had in turn taken lessons of Mozart for two
+years, it was quite within the line of descent that he should have
+acquired the extremely smooth legato touch of those masters. As
+distinguished from any pianist-composer up to his time, his specialty
+was the surrounding of a<a name="page_211" id="page_211"></a> melody with arabesques and ornamental passages
+of scales and arpeggios played with rapidity, clearness, and brilliancy.
+Parish Alvars, the harpist, had originated this device, and Thalberg
+adapted it to the pianoforte, for which instrument it was better suited
+and more effective than on the harp.</p>
+
+<p>The important influence of the upper-arm muscles in the production of
+powerful and resonant tones seems to have been but little known in those
+days. Leopold de Meyer's constant use of these, as noted elsewhere, was
+apparently unconscious and instinctive.</p>
+
+<p>Thalberg's octave-playing was not altogether elastic and free from
+rigidity, for in long-continued and rapid octave passages a close
+observer would have noticed a contraction of his facial muscles and a
+compression of the lips, which would have been avoided under the
+conditions of properly devitalized upper-arm muscles and loose wrists.</p>
+
+<p>Shortly after his arrival in our country he went by invitation to my
+brother's<a name="page_212" id="page_212"></a> house in West Orange, New Jersey, on a visit of some weeks.
+This afforded an opportunity which was not neglected, and as a result I
+became well acquainted with him and his method of practice. In this way
+he was virtually one of my best teachers, although no regular lessons
+were received from him. Moreover, in several of his concerts I played
+with him his duo for two pianofortes on themes from "Norma," and these
+were occasions of great artistic profit. One learned much, also, from
+hearing him practise. His daily exercises included scale and arpeggio
+passages played at various rates of speed and with different degrees of
+dynamic force. These were always put into rhythmic form, and the
+measures, sometimes in triple and sometimes in quadruple time in many
+varieties, were invariably indicated by means of accentuation. Dynamic
+effects, such as crescendos and diminuendos, also received due
+attention. In short, as it seems to me, he made it a point&mdash;as well in
+the cultivation and development of physical technic<a name="page_213" id="page_213"></a> as in his
+public performances&mdash;to play <i>musically</i> at all times.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_212.png">
+<img src="images/ill_212_sml.png" width="550" height="414" alt="Autograph of Sigismond Thalberg" title="Autograph of Sigismond Thalberg" /></a>
+<br />
+<span class="caption">Autograph of Sigismond Thalberg</span>
+</div>
+
+<p>Thalberg's technic seemed to be confined mainly to the finger, hand,
+wrist, and lower-arm muscles, but these he used in such a deft manner as
+to draw from his instrument the loveliest tones. He was altogether
+opposed to the high-raised finger of some of the modern schools, and in
+his work entitled "L'Art du Chant applique au Piano" he cautions
+students against this habit. The same advice had been previously given
+by Carl Czerny in his "Letters on the Art of Playing the Pianoforte,"
+namely: "Do not strike the keys from too great a height, as in this case
+a thud will accompany the tone."</p>
+
+<p>Thalberg adds: "Gew�hnlich arbeitet man zu viel mit den Fingern und zu
+wenig mit dem Geiste" ("Generally one works too much with the fingers
+and too little with the intelligence").</p>
+
+<p>This is reasonable advice, for a touch which starts off simply for
+strength and mechanical development, separate from other traits, becomes
+eventually so obstinately<a name="page_214" id="page_214"></a> fixed and determined that its influence will
+dominate and stand constantly in the way of poetic and musical
+development. In this connection it is well to remember and apply the
+proverb: "An ounce of prevention is worth a pound of cure."</p>
+
+<p>He was very fond of his grand pianofortes, both of which were made by
+�rard of Paris. One of these instruments was drawn upon a much larger
+scale than had previously been made by this or, so far as I know, by any
+other manufacturer. The tone was powerful and of a lovely musical
+character. Thalberg's idea was that the better the instrument the
+greater the advantage afforded the virtuoso, not only for public
+playing, but as well for the purpose of practice and musical development
+I remember his telling me that a fine instrument even suggested ideas to
+the composer and furthered his work. An experience of many years has
+proved to me the soundness of his theory and the importance of its
+practical application.</p>
+
+<p>The not uncommon assertion that "any piano will do for a beginner" is
+wrong in<a name="page_215" id="page_215"></a> principle. How absurd to assert that any associates will do
+for children in the beginning! It is just at this tender age when
+impressions are so easily received that the best musical advantages
+should be afforded. What can be better adapted to the cultivation of a
+musical ear than the constant presence of musical tones of the highest
+quality and purity? The ear requires close musical companionship in
+order to promote corresponding development.</p>
+
+<p>The cultivation of a physical technic is important, indeed
+indispensable, but it should not precede or be separated from musical
+companionship. Its development should at all stages be surrounded by a
+musical atmosphere in which its adaptability to the expression of
+poetical ideas may be developed. The heart and head should be closely
+united.</p>
+
+<h3><a name="PEDAL_AND_PEDAL_SIGNS_WHY_NOT_DISPENSE_WITH_THE_LATTER" id="PEDAL_AND_PEDAL_SIGNS_WHY_NOT_DISPENSE_WITH_THE_LATTER"></a>PEDAL AND PEDAL SIGNS&mdash;WHY NOT DISPENSE WITH THE LATTER?</h3>
+
+<p class="nind">PROLONGED or organ tones are not possible on the pianoforte. From the
+moment<a name="page_216" id="page_216"></a> the hammer strikes the string the tone begins to diminish in
+volume and soon fades away. One of the chief arts of the pianist is to
+sustain a tone throughout the full value of the note which represents
+it, and this is accomplished either by steady pressure on the key or by
+the use of the open pedal, frequently misnamed the loud pedal. The use
+of the word "loud" in this connection is illogical and misleading. The
+word "open" is much better, because this pedal, when pressed, causes the
+dampers to be raised from the strings, thus leaving them open, and so
+prolonging the tones. Furthermore, the open pedal is constantly used in
+the softest and most delicate passages. Its mission is simply to prolong
+the tones, whether loud or soft. In either case the tone dies rapidly
+away, and the pianist, sensitively aware of this, and feeling the
+necessity of keeping up the volume of sound, is led unconsciously to
+anticipate or take the next tone a little before its due time. The
+effect of this process in continuation is to produce a feeling of unrest
+on the part of the hearer, and is fatal to repose. On this<a name="page_217" id="page_217"></a> account
+Thalberg earnestly recommends to piano-students that "the tones
+invariably be held throughout their absolute or exact value" (see "L'Art
+du Chant"). Tones can be sustained, so far as this is possible on the
+pianoforte, in two ways, namely, by means of the open pedal or by
+holding down the keys firmly during the exact value represented by the
+notes. How can this value be determined? Solely through the medium of
+the ear. "The proof of the pudding is in the eating." The proof of
+musical sounds, as to quality and duration, is in the listening.</p>
+
+<p>This being granted, it seems to follow that all signs, such as "Ped.,"
+*, or &#8730; &#8730;, etc., should be discarded as being even
+worse than useless, for when pupils pay careful attention to them they
+are apt to be guided solely by the eye. They press down the pedal at the
+sign "Ped.," and release it at the following asterisk (*), doing this in
+a merely perfunctory way, and hence they either fail to produce a true
+legato effect or err in the opposite direction of an over-legato, which
+results in a confusion of sounds. This may be<a name="page_218" id="page_218"></a> best avoided by
+practising on an instrument of fine musical quality and beautiful
+singing tone, which promotes the habit of listening attentively, and
+thus contributes in the highest degree to the development and training
+of the ear.</p>
+
+<p>It is true that musical temperament is inborn, and those who possess it
+have native insight, and hence develop with rapidity. There are,
+however, very many who are not "to the manner born." Such are obliged to
+acquire habits through persistent and persevering effort. All travel the
+same road, but the genius flies while the less gifted plods along.
+However, for the benefit and consolation of the latter, I remind them
+that the tortoise left the hare asleep and won the race. The ear should
+be cultivated for music, the eye for painting, the mind in both; and the
+heart especially in music, because the latter is the "language of the
+emotions."</p>
+
+<p>A little pedal study from my work entitled "Touch and Technic" (Part IV,
+page 18), will serve to illustrate what I mean. It is on an elementary
+plane and<a name="page_220" id="page_220"></a><a name="page_219" id="page_219"></a> can easily be accomplished by a beginner with a little care
+and ordinary perseverance.</p>
+
+<div class="figcenter" style="width: 298px;">
+<a href="images/ill_219.png">
+<img src="images/ill_219_sml.png" width="298" height="550" alt="PEDAL STUDY FOR THE PIANOFORTE
+
+(To be played throughout with one finger)" title="PEDAL STUDY FOR THE PIANOFORTE" /></a>
+<span class="caption">PEDAL STUDY FOR THE PIANOFORTE<br />
+(To be played throughout with one finger)</span>
+</div>
+
+<p>It is to be played with only one finger, and the tones of the melody
+must receive special emphasis so as to stand out clearly, and they must
+be sustained by means of the open pedal throughout the exact length of
+time represented by the notes. The crescendo and diminuendo must be
+observed according to direction, and as a help to this effect the soft
+pedal may be used simultaneously, either all of the time or
+occasionally, in an experimental way and according to fancy. This
+promotes the faculty of judgment and leads to individuality, a very
+desirable result.</p>
+
+<p>The melody is on the middle line and the accompaniment on the outer
+lines. The melody must predominate in power, and must be sustained
+throughout the exact value of its representative notes, which are mostly
+dotted halves, viz.:
+<img src="images/ill_220.png" width="18" height="19" alt="dotted quarter-note" title="dotted quarter-note"
+style="vertical-align:middle;" />. This is accomplished
+by firmly pressing the open pedal, the finger in the meanwhile playing
+the accompaniment. Thus<a name="page_221" id="page_221"></a> the tone is sustained solely by means of the
+pedal. Carefully observe the effects of crescendo
+<span style="white-space:nowrap;">
+&lt; and diminuendo &gt;.</span> Play strictly in
+time.</p>
+
+<p>In the final measure still continue the pedal pressure after the C in
+the treble has been played. There are now four tones sounding together.
+Now replace the finger, silently and without striking, on the melody key
+E. While still pressing this key raise the foot from the pedal. This
+leaves the E sounding alone. Hold down the key until the tone has quite
+died away.</p>
+
+<h3><a name="RUBINSTEIN_AND_THE_AUTOGRAPH-HUNTER" id="RUBINSTEIN_AND_THE_AUTOGRAPH-HUNTER"></a>RUBINSTEIN AND THE AUTOGRAPH-HUNTER</h3>
+
+<p class="nind">ONE afternoon I accompanied Rubinstein from his hotel to Steinway Hall,
+where he was to give a recital. Just outside of the stage-entrance were
+two young ladies, one of whom stepped forward and, handing me a sheet of
+paper and a pencil, begged me to ask Rubinstein for his autograph, and
+to leave it for her in the dressing-room<a name="page_222" id="page_222"></a>, so that she could get it
+after the recital. I told her that Rubinstein did not like writing
+autographs; that he was a man of kindly disposition, but sometimes acted
+from impulse; nevertheless, I would see what could be done. So,
+following Rubinstein up-stairs to the retiring-room, I handed him the
+writing materials, stating the young lady's request.</p>
+
+<p>He took them, saying nothing, but walked with an air of determination to
+the window, opened it, and threw them into the street "Mason," he said,
+"I don't like your country. People pry too much into private affairs."
+He then went on to speak of newspaper writers who had interviewed him
+and ingeniously beguiled him into speaking of many things which
+concerned solely his own personality, and the next day published all of
+these things in detail. He said: "There is absolutely no privacy in this
+country." "Rubinstein," I said, "I can quite appreciate your position,
+and understand why you should have come to such conclusions, but<a name="page_223" id="page_223"></a> I am
+sure that upon due reflection you will realize that you are doing us an
+injustice. You have been incessantly occupied during your sojourn here,
+have hurried from place to place, given concerts with hardly any
+intermission, and naturally have had no time to see people in their
+homes. You have not been able to judge of our domestic life or to mingle
+in society and study our habits." He admitted this at once and made due
+acknowledgment. Wieniawski, who was once with us when a similar
+conversation occurred just before the close of their stay here, said:
+"Mason, I regret extremely that I have not been able to go out to Orange
+to visit you. We have traveled constantly and rushed from place to place
+in order to fulfil concert engagements, so that there has been no time
+for social intercourse. I don't wish you to gather from my apparent
+neglect an idea that Poles are unsociable; on the contrary, I assure you
+we are very fond of social life."</p>
+
+<p>Rubinstein came here with a great reputation, and achieved a good
+success. He<a name="page_224" id="page_224"></a> had transcendent ability, accompanied, however, by certain
+limitations. By nature impulsive and excitable, he often lost
+self-control, and in consequence he frequently anticipated his climax.
+He was like a general who excelled in a brilliant sortie, but who had
+not the dogged persistence necessary to a long-sustained battle, and at
+the critical points he was constantly losing his self-poise. When,
+however, he did effect a climax, it was apt to be a great one, a
+jubilee. Liszt, on the other hand, was remarkable for his reserve force
+and for the discretion with which he made use of it; for if, perchance,
+he missed a climax he immediately made preparation for a new one, and
+was always sure to reach the zenith at precisely the right moment.</p>
+
+<p>There were occasions on which Rubinstein played with the most wonderful
+repose, and at such times his playing was musical and poetic in the
+highest degree. This was particularly the case in slow or moderate
+movements characterized by tenderness, affection, and fervor. But in<a name="page_225" id="page_225"></a>
+the rapid and spirited movements his tendency was to run away and
+finally to lose self-possession&mdash;an affliction to which the large
+majority of concert pianists are subject. Violinists and singers are not
+nearly so much so, because they can prolong their tones with steady
+force, or diminish and increase the tone at will. As I have already
+pointed out, the case is different with the pianist, for after the
+piano-key has been struck the tone immediately begins to decrease in
+power, and this incites the player to produce another tone; so he
+proceeds a little too quickly, constantly gaining a little in speed and
+crowding one tone upon the other. The effect is exasperating to the
+listener, who becomes more and more restless, until finally all quiet
+and repose is utterly lost.</p>
+
+<p>The unevenness in Rubinstein's playing I believe to have been wholly due
+to the temperamental moods of a man of extreme artistic sensitiveness.
+He was a thoroughly conscientious artist and worked at the piano
+incessantly many hours a day. I remember his once saying<a name="page_226" id="page_226"></a> to me: "I
+dislike nothing more than to have people say to me, as they frequently
+do, 'But you do not have to practise, for you are a born genius and get
+everything by nature.' It is provoking to listen to such stuff after
+having worked so hard."</p>
+
+<h3><a name="EVOLUTION_IN_MUSICAL_IDEAS_BEETHOVEN_PIANOFORTE_RECITALS" id="EVOLUTION_IN_MUSICAL_IDEAS_BEETHOVEN_PIANOFORTE_RECITALS"></a>EVOLUTION IN MUSICAL IDEAS BEETHOVEN PIANOFORTE RECITALS</h3>
+
+<p class="nind">NO pianist ever dreamed of playing Beethoven's sonatas in public in
+those days. They were reserved for the parlor; and one, or two at most,
+were enough for an evening. The mental absorption of this amount was
+sufficient. Lighter pieces filled out the program. I am quite sure that
+it was B�low who first played several of Beethoven's sonatas
+consecutively at a recital. I learned of this through Anton Rubinstein
+when he was here in 1873. He spoke of it as being an extraordinary
+thing, and added that, as a musician, he could not give it his approval.
+It might be a scientific thing to do, but was certainly not congenial to
+a true<a name="page_227" id="page_227"></a> musical nature, which required variety. A dinner consisting of
+heavy dishes throughout, without the interspersion of condiments,
+vegetables, and tarts to stir and incite the appetite, would be both
+distasteful and fatal to good digestion. The pieces selected for the
+musical feast should be homogeneously arranged; and so should the
+various courses of the dinner.</p>
+
+<p>However, notwithstanding what Rubinstein said in 1873, I noticed that,
+but a comparatively short time afterward, he also began the practice of
+giving recitals at which he played several sonatas in sequence. It is
+possible that he did this less to gratify his own personal artistic
+tastes than in deference to those of the public who had not his musical
+organization, and so could stand the intensity of the thing while he
+profited by the physical practice.</p>
+
+<h3><a name="RUBINSTEINS_FAVORITE_SEAT_AT_A_PIANOFORTE_RECITAL" id="RUBINSTEINS_FAVORITE_SEAT_AT_A_PIANOFORTE_RECITAL"></a>RUBINSTEIN'S FAVORITE SEAT AT A PIANOFORTE RECITAL</h3>
+
+<p class="nind">RUBINSTEIN, as a listener, was particular as to the location of his seat
+at a concert<a name="page_228" id="page_228"></a> or recital of pianoforte music, and always sought a place
+in one of the galleries on the left hand, facing the stage. Thus he sat
+in the corner diagonal to the pianoforte, looking over the right
+shoulder of the player.</p>
+
+<p>It is true that even on the ground floor or parterre of a hall this
+position affords a great advantage, and the tones of the pianoforte are
+essentially more full of resonance and musical tone than in any other
+location. This may be accounted for on the theory that the raised lid of
+the instrument deflects the sound in that direction. There is a
+corresponding disadvantage in a position on the opposite side of the
+house, especially if seated on the ground floor near the stage. I have
+frequently tried both of these positions, and always with the same
+result; hence I have learned to make due allowance in judging of the
+pianist. A listener unaware of this difference may seriously err in
+estimating the tone quality of the instrument.<a name="page_229" id="page_229"></a></p>
+
+<h3><a name="BACHS_TRIPLE_CONCERTO_AND_LES_AGREMENTS" id="BACHS_TRIPLE_CONCERTO_AND_LES_AGREMENTS"></a>BACH'S "TRIPLE CONCERTO" AND "LES AGR�MENTS"</h3>
+
+<p class="nind">IN Bach's time many embellishments were used in playing the clavichord.
+They were all included under the general title <i>Les Agr�ments</i>, or, in
+German, <i>Manieren</i>. Of these the mordent, almost identical with the
+modern <i>Pralltriller</i>, was in most frequent use. It is quite a little
+thing and simple enough, but there are few players who succeed in giving
+it the right snap or rattle, without which its true significance is
+wholly lost. I have already mentioned playing this concerto with
+Klindworth and Pruckner at a court concert in Weimar. While previously
+rehearsing it, Liszt was very particular in his directions, especially
+regarding the mordents, and we did our best to follow them. Moreover,
+Liszt was an authority. He always made thorough investigation of a
+subject before expressing an opinion upon it, and he was very careful to
+give a historically accurate and truthful rendering of these
+old-fashioned ornaments. I<a name="page_230" id="page_230"></a> afterward found that when three pianists
+came together for the purpose of playing this concerto a good deal of
+time was wasted in discussing the proper way of playing the mordent. It
+was on the program of the Mason-Thomas matin�es in New York more than
+once, and on one occasion we had the assistance of the well-known
+pianists Messrs. Timm and Scharfenberg. There was no friction at that
+time, as the three performers were of one mind.</p>
+
+<p>In May, 1873, Theodore Thomas arranged a grand musical festival in New
+York, of which Rubinstein was the principal attraction. The "Triple
+Concerto" was one of the features of the festival. Rubinstein played the
+first piano, and Mills and I the other two.</p>
+
+<p>The concerto has the accompaniment of a string quartet, which may be
+doubled or increased to the size of a small orchestra if desired. It was
+thought best to have a preliminary rehearsal for the three pianos alone,
+and a time was appointed for our meeting together at my studio in<a name="page_231" id="page_231"></a>
+Steinway Hall. Mr. Thomas, not being familiar with the concerto, wished
+to be present in order to become acquainted with it, and at the
+appointed time was the first to make his appearance. I told him that
+Rubinstein, not precise in historical methods, would play the mordents
+in accordance with the mood in which he happened to be. "However," I
+continued, "I have an old book by Friedrich Wilhelm Marpurg, published
+in Berlin in 1765, in which he gives written examples of all of the
+<i>Manieren</i>. We will show this to Rubinstein and have some fun. But I do
+not propose to waste time in discussions. He can play as he likes, and
+Mills and I will follow suit."</p>
+
+<p>Rubinstein shortly made his appearance, and Mills came a little later. I
+told Rubinstein about my ancient authority, adding that we should be
+spared the tediousness of a discussion as to the manner of playing. "Let
+me see the old book," said Rubinstein. Running over the leaves, he came
+to the illustrations of the mordent. The moment his eyes fell upon<a name="page_232" id="page_232"></a> them
+he exclaimed: "All wrong; here is the way I play it," and going to the
+piano, he played as follows:</p>
+
+<div class="figcenter" style="width: 354px;">
+<img src="images/ill_232_a.png" width="200" height="69" alt="musical notation" title="musical notation" />
+</div>
+
+<p>This is what Marpurg calls a kind of double mordent, or <i>Doppelschlag</i>.
+The three keys are struck almost simultaneously, but the middle one only
+is held down, while the upper and lower ones are immediately released,
+thus producing the effect of a turn. The true way of playing the mordent
+is thus:</p>
+
+<div class="figcenter" style="width: 256px;">
+<img src="images/ill_232_b.png" width="150" height="59" alt="musical notation" title="musical notation" />
+</div>
+
+<p>However, we adopted Rubinstein's way without comment.</p>
+
+<div class="figcenter" style="width: 100%;">
+<a href="images/ill_232_1.png">
+<img src="images/ill_232_1_sml.png" width="262" height="550" alt="Autograph of Anton Rubinstein" title="Autograph of Anton Rubinstein" /></a>
+<a href="images/ill_232_2.png">
+<img src="images/ill_232_2_sml.png" width="276" height="550" alt="Autograph of Anton Rubinstein" title="Autograph of Anton Rubinstein" /></a>
+<br />
+<span class="caption">Autograph of Anton Rubinstein</span>
+</div>
+
+<p>What I have written about Rubinstein and Bach's "Triple Concerto in D
+Minor" recalls to my mind an occasion when I played it with Mr.
+Boscovitz and Mme. Essipoff at the latter's last recital here, I think
+in the year 1876. When, at the rehearsal, we came to discuss the
+mordents,<a name="page_233" id="page_233"></a> Essipoff exclaimed: "I cannot play those things; show me
+how they are done." After repeated trials, however, she failed to get
+the knack of playing them, as, indeed, so many pianists do, so at the
+recital she omitted them and left their performance to Boscovitz and me.
+I think the effect of the concerto was not marred by the omission. The
+incident just related most not be construed as in any degree a
+disparagement of Mme. Essipoff's playing; as an artist she belongs
+easily in the first rank of women players and her style is charming.</p>
+
+<p>In taking leave of my old book by Marpurg I present a specimen of advice
+which he addresses to pianoforte-students, namely: "In regard to
+deportment and manners [at the pianoforte], one should take care to
+avoid making faces, bobbing the head, snorting, twisting the mouth,
+gritting the teeth, and all such ridiculous things. In the absence of
+the teacher, a pupil who has fallen into such ungainly habits can
+correct them by means of a mirror placed in front on the music-rack."<a name="page_234" id="page_234"></a>
+The foregoing is as honest a translation from the German as I am able to
+make. Daring a half-century's experience in pianoforte-teaching I do not
+remember a single case among my pupils of one who stood in need of this
+advice.</p>
+
+<h3><a name="A_SIGNIFICANT_AUTOGRAPH_FROM_RUBINSTEIN" id="A_SIGNIFICANT_AUTOGRAPH_FROM_RUBINSTEIN"></a>A SIGNIFICANT AUTOGRAPH FROM RUBINSTEIN</h3>
+
+<p class="nind">JUST before leaving Weimar I had asked Rubinstein to write in my
+autograph-book, and he immediately complied.</p>
+
+<p>The theme, which he wrote in the key of E flat major, is characteristic
+of him. It is strong and has a vigorous upward movement. It suggests the
+young man just starting out in life, with the vitality and courage of
+early manhood. It is dated "Weymar, le 5. Juin, 1854."</p>
+
+<p>I did not see Rubinstein again until 1873, the year of his visit to this
+country. Happening in his room one day with my book, the idea occurred
+to me of asking him to write in it again, under his former<a name="page_235" id="page_235"></a> signature.
+For some reason he was averse to doing so, but finally consented. At a
+glance the second theme seems like the first, but on examination the
+difference will appear. He has transposed the theme to E flat minor, and
+its character is entirely changed. The young man has reached the summit
+of the hill and realizes that he is now upon the descent. The allegro
+maestoso of former years has changed to an adagio, and, as Rubinstein
+aptly writes, it is "not the same."</p>
+
+<p>An autograph written for me by Joachim Raff is also interesting. On the
+night before I left Weimar, June 25, 1854, Raff and I had supper at the
+Erbprinz together, and as the evening wore on we somehow got into a
+heated discussion about <i>Zukunftsmusik</i>, taking opposite sides. However,
+as a matter of course, we made up before parting. He had previously
+written his musical autograph in the book, but now he added a kind
+thought to speed me on my way, namely: "That he may live well, work
+well, and soon return to Weimar music. Mitternachtscheide."<a name="page_236" id="page_236"></a></p>
+
+<h3><a name="RUBINSTEIN_PADEREWSKI_AND_YANKEE_DOODLE" id="RUBINSTEIN_PADEREWSKI_AND_YANKEE_DOODLE"></a>RUBINSTEIN, PADEREWSKI, AND "YANKEE DOODLE"</h3>
+
+<p class="nind">NOT long before Rubinstein's departure for Europe he wrote a large
+number of variations on "Yankee Doodle," and meeting me shortly
+afterward, he informed me of the fact, and added: "I have inscribed your
+name at the head of the title-page, and they are now in the hands of the
+publisher." He said further, and in a seemingly apologetic tone: "They
+are good, I assure you, and I have taken much pleasure in writing them."
+He played this composition at his farewell concert in New York, and in
+point of fact the variations were very well made; but I think that much
+of his playing at the concert referred to was improvised.</p>
+
+<p>The second season Paderewski was here I sat next to him at a dinner
+given just after his arrival. During conversation he said somewhat
+suddenly: "Mr. Mason, I have just composed a fantasy on 'Yankee Doodle,'
+and have dedicated it to you."<a name="page_237" id="page_237"></a></p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_236.png">
+<img src="images/ill_236_sml.png" width="550" height="515" alt="Autograph of I. J. Paderewski" title="Autograph of I. J. Paderewski" /></a>
+<br />
+<span class="caption">Autograph of I. J. Paderewski</span>
+</div>
+
+<p>He looked at me, and thought he saw a curious expression in my
+face,&mdash;although I was quite unaware of such a thing,&mdash;and continued,
+"You don't like it!" "Oh, I do," I protested, "and esteem the dedication
+as a great honor." "I see you don't," he said. "Well," I replied, "I
+already have one 'Yankee Doodle' from Rubinstein, and was thinking that
+the coincidence of your dedicating me another was very curious, that is
+all. Let me explain to you that 'Yankee Doodle' does not stand in the
+same relation to the United States as 'God Save the Queen' to England,
+'Gott erhalte Franz den Kaiser' to Austria, or the 'Marseillaise' to
+France. 'Yankee Doodle' was written by an Englishman in derision of us."
+I am afraid that my remarks discouraged him, for he never finished the
+composition. He played it to me as far as he had progressed with it, and
+it is certainly the best treatment of the theme I have ever heard. He
+had given it respectability, and, indeed, he told me that he really
+liked the tune.<a name="page_238" id="page_238"></a></p>
+
+<h3><a name="MEETINGS_WITH_VON_BULOW" id="MEETINGS_WITH_VON_BULOW"></a>MEETINGS WITH VON B�LOW</h3>
+
+<p class="nind">VON B�low, who had been a pupil of Liszt a year or two before my time,
+would occasionally return to Weimar from his concert tours, and during
+these visits I became well acquainted with him. In certain ways he was a
+wonderful man. He had an extraordinary memory and remarkable technic. He
+was invariably accurate and precise in his careful observance of rhythm
+and meter by means of proper accentuation, and the clear phrasing
+resulting therefrom made up a good deal for the absence of other
+desirable features, for his playing was far from being impassioned or
+temperamental. His Chopin-playing always impressed me as dry, and his
+Beethoven interpretations lacked warmth and fervency.</p>
+
+<p>I remember he once said to me: "Rubinstein can make any quantity of
+errors during his performance, and nobody is disturbed by it; but if I
+make a single mistake it will be noticed immediately by<a name="page_239" id="page_239"></a> every one in
+the audience, and the effect will be spoiled."</p>
+
+<p>Personally, Von B�low and I got along very well together. He always made
+kind inquiry for me when he met common friends in Europe, and he once
+presented me with an autograph of Brahms which he valued highly. The
+following letter he wrote me shortly after his arrival in this country,
+in response to an invitation to make me a few days' visit in Orange, New
+Jersey, where I was then residing.</p>
+
+<div class="blockquot2"><p class="r">
+<span class="smcap">Boston</span>, October 21, 1875.<br />
+</p>
+
+<p><span class="smcap">My dear Colleague</span>: I have just now received your kind note, and
+although I have not a single moment of leisure, I want to thank you
+and to tell you how happy I should be to meet you again after
+nearly a quarter of a century out of sight.</p>
+
+<p>Alas! it is quite impossible for me to make you a visit before my
+arrival in New York. I must work very hard in spite of a bad health
+and a not at all Rubinstein-like constitution.</p>
+
+<p>As this specimen of cablegrammatical shows, I am unable to express
+myself in your language without a heap of wrong notes in every
+line. It was but two years ago, when I made my first appearance in
+old England<a name="page_240" id="page_240"></a> (much less sympathetic to me than New England), that I
+began to stammer the Anglo-Saxon idiom. Please kindly excuse the
+shortness and weakness of my reply.</p>
+
+<p>Many thousand most friendly compliments from our common co-pupil
+Carl Klindworth,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> whom I saw last summer in Tyrol; we often spoke
+of you.</p>
+
+<p class="r">
+<span style="margin-right: 2em;">Yours most truly,</span><br />
+<span class="smcap">Hans von B�low</span>.<br />
+</p></div>
+
+<p>I know from what Von B�low himself told me that he accepted
+philosophically the trouble between himself and his wife Cosima Liszt,
+and her subsequent marriage to Wagner. Soon after he arrived in New
+York, in 1876, I called on him, and during our conversation I broached
+the subject in a tentative way. I was not sure that his feelings toward
+Wagner were not so hostile that mention of the Bayreuth master would
+have to be avoided, and I thought it just as well to arrive immediately
+at a clear understanding of the matter.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_240.png">
+<img src="images/ill_240_sml.png" width="550" height="604" alt="Autograph of Hans von B�low" title="Autograph of Hans von B�low" /></a>
+<br />
+<span class="caption">Autograph of Hans von B�low</span>
+</div>
+
+<p>"B�low," I said, "you will excuse me if<a name="page_241" id="page_241"></a> I touch on a rather
+delicate subject. Of course your friends abroad know just what your
+present attitude is toward Wagner; but over here we know little or
+nothing about it. Perhaps you would like to enlighten me. I hope,
+however, I have not touched on a painful subject."</p>
+
+<p>"Not at all," he exclaimed. "What happened was the most natural thing in
+the world. You know what a wonderful woman Cosima is&mdash;such intellect,
+such energy, such ambition, which she naturally inherits from her
+father. I was entirely too small a personality for her. She required a
+colossal genius like Wagner's, and he needed the sympathy and
+inspiration of an intellectual and artistic woman like Cosima. That they
+should have come together eventually was inevitable."</p>
+
+<h3><a name="EDVARD_GRIEG" id="EDVARD_GRIEG"></a>EDVARD GRIEG</h3>
+
+<p class="nind">ON July 1, 1890, my daughter, sister-in-law, and I were in Bergen,
+Norway, having just returned from a very pleasant trip to the North
+Cape.<a name="page_242" id="page_242"></a></p>
+
+<p>Being so near Grieg's home, an hour and a half's drive from Bergen, and
+having received an invitation to visit him, we presented ourselves at
+his "Villa Troldhangen" in the afternoon. The day was bright and lovely,
+and thus we saw Grieg's place under the most favorable aspect. Our
+reception by Mr. and Mrs. Grieg was most hospitable, and we felt
+immediately at home. After half an hour's conversation, we all strolled
+through the beautiful grounds, which in many places are thick with trees
+and shrubs, while here and there are clearings through which the waters
+of the fiord shine bright and clear. The wild flowers, with their rich,
+brilliant colors, were especially attractive; indeed, this is everywhere
+in Norway an attractive feature.</p>
+
+<p>Mr. Grieg is a man of high intelligence and culture, and is thoroughly
+natural and genial. I have very pleasant memories of our cordial
+reception and delightful visit.<a name="page_243" id="page_243"></a></p>
+
+<h3><a name="RATES_OF_TEMPO_THE_PRESENT_TIME_COMPARED_WITH_FIFTY_YEARS_AGO" id="RATES_OF_TEMPO_THE_PRESENT_TIME_COMPARED_WITH_FIFTY_YEARS_AGO"></a>RATES OF TEMPO&mdash;THE PRESENT TIME COMPARED WITH FIFTY YEARS AGO</h3>
+
+<p class="nind">IN recalling Liszt's playing I cannot help noticing the marked
+difference in modern rates of tempo as compared with those which were
+considered authentic fifty years ago. This is noticeable in many of
+Chopin's compositions, especially the larger ones, such as the sonatas,
+ballades, fantasies, etc., with all of which I am very familiar, having
+heard them played not only by Liszt in Weimar, but in other German
+cities, and by artists of the highest rank, many of whom were
+contemporaries and personal friends of Chopin. They all seemed to adopt
+a certain rate of speed, as if in conformity with the composer's
+intention, and it was in agreement with my own intuitions. Dreyschock
+and Liszt had often heard the composer play his own pieces and must
+certainly have been familiar at least with his rates of tempo. I was
+very close to the Chopin day, having been in Germany only a few months
+when he died. Two<a name="page_244" id="page_244"></a> of my teachers and nearly all of the musicians I had
+met were his contemporaries and had heard him play his own compositions.
+I certainly ought to have the Chopin traditions.</p>
+
+<h3><a name="ELECTROCUTING_CHOPIN" id="ELECTROCUTING_CHOPIN"></a>ELECTROCUTING CHOPIN</h3>
+
+<div class="figcenter" style="width: 100%;">
+<a href="images/ill_244a.png">
+<img src="images/ill_244a_sml.png" width="337" height="550" alt="Autograph of Edvard Grieg" title="Autograph of Edvard Grieg" /></a>
+<a href="images/ill_244b.png">
+<img src="images/ill_244b_sml.png" width="375" height="550" alt="Autograph of Edvard Grieg" title="Autograph of Edvard Grieg" /></a>
+<br />
+<span class="caption">Autograph of Edvard Grieg</span>
+</div>
+
+<p>The question is, Should Chopin be played in accordance with the spirit
+of the time in which he lived, should his works be played in the tempo
+in which he played them, or, because electricity has brought about so
+many changes and has enabled us to do so many things much more rapidly
+than formerly, should Chopin's music be electrified, or, as it seems to
+me, electrocuted? I think there is a general tendency to play the rapid
+movements in Chopin, and, in fact, in all composers not of the extreme
+modern type, too fast. To play these movements rapidly and give the
+phrases with absolute clearness, one must have such breadth, command of
+rhythm, and repose in action that he can put the tones together like a
+string of<a name="page_245" id="page_245"></a> pearls, so that each is rounded into shape, and the
+phrase is a complete and definite series of tones, and not like a lot of
+over-boiled peas, so soft that they all mash together. In too rapid
+playing the effect of speed is lost. The Chopin "Waltz in D Flat Major"
+is often played much too fast. The theme is said to have been suggested
+to the composer by a lap-dog in his room suddenly beginning to chase his
+tail. Whether true or not, the story is suggestive. Destroy the contour
+of that waltz by playing it at too high a rate of speed, and the dog is
+no longer chasing his tail, but dashing aimlessly about the room.</p>
+
+<p>Nor should the tempo be too slow. Slow movements are effective, but
+sufficient animation must prevail to impart life and fervency to the
+music. A stream may flow so sluggishly that the water loses its
+clearness. This is not repose, but stagnation. During the musical season
+of 1899-1900 in New York I heard modern pianists play some of Chopin's
+compositions so slowly that the effect produced<a name="page_246" id="page_246"></a> upon me was like that
+of a music-box running down. One endures it for a while, but finally is
+wrought up to such a feeling of impatience as to induce the exclamation,
+"Either stop that thing altogether or wind it up."</p>
+
+<h3><a name="TEMPO_RUBATO" id="TEMPO_RUBATO"></a>TEMPO RUBATO</h3>
+
+<p class="nind">IN modern times there is also a tendency to excessive use of tempo
+rubato.</p>
+
+<p>I have recently heard the second part, of Chopin's "C Sharp Minor
+Scherzo"&mdash;the choral with arpeggio passages&mdash;played by a celebrated
+pianist in such a way that, mathematically adjusted, about one measure
+was added to every section of four.</p>
+
+<p>The player was afterward highly extolled on account of his wonderful
+rubato effects. The truth is that he was all the while simply playing
+mathematically out of time. Rubato ("robbed") is a slight modification
+of rhythmic flow in alternation with a corresponding compensation; it is
+like excitement in verbal narrative;<a name="page_247" id="page_247"></a> it is alternately losing and
+making up, but within judicious bounds, so that in the end the balance
+is preserved. The nature of music is essentially "tune and time"&mdash;in
+other words, emotion and intelligence, or heart and head, in loving and
+well-balanced combination. These conditions are absolute and can never
+be violated without disaster. Hence a true rubato must be played in
+time, but accommodatingly.</p>
+
+<h3><a name="UNUSUAL_PUPILS_TRANSPOSINGmdashPOSITIVE_AND_RELATIVE_PITCH" id="UNUSUAL_PUPILS_TRANSPOSINGmdashPOSITIVE_AND_RELATIVE_PITCH"></a>UNUSUAL PUPILS&mdash;TRANSPOSING&mdash;POSITIVE AND RELATIVE PITCH</h3>
+
+<p class="nind">I ONCE gave to an intelligent pupil the task of transposing one of
+Bach's inventions into various keys. My directions were that at her next
+lesson she should be prepared to play it successively in three or four
+different keys. As she came to my studio for her lesson but once a
+month, there was ample time for preparation, and she succeeded in
+accomplishing the feat with ease and without error. But, more than this,
+she continued her transposing<a name="page_248" id="page_248"></a> until she had completed the round of all
+the twelve keys without a mistake&mdash;a rare and creditable performance,
+deserving the emulation of all young ladies and gentlemen engaged in the
+study of musical development and the cultivation of pianoforte technic.</p>
+
+<p>Another case is that of a young lady pupil not remarkably musical, but
+who has an ear for positive pitch. By this is meant that she could
+immediately name the pitch of any tone on hearing it sung or played. All
+competent musicians possess the power of relative pitch. I mean by this
+that if a definite pitch is given to one who has a musical ear, the
+pitch of any other tone immediately following or sounding in connection
+will be instantly perceived, and the interval between the two tones&mdash;in
+other words, their pitch relationship&mdash;at once understood.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_248.jpg">
+<img src="images/ill_248_sml.jpg" width="550" height="374" alt="THE STUDIO IN THE STEINWAY BUILDING&mdash;WEST SIDE" title="THE STUDIO IN THE STEINWAY BUILDING&mdash;WEST SIDE" /></a>
+<br />
+<span class="caption">THE STUDIO IN THE STEINWAY BUILDING&mdash;WEST SIDE</span>
+</div>
+
+<p>The power of positive pitch has been regarded by many as a very
+desirable gift, but judging from the experience of the pupil of whom I
+am writing, it would appear to be just the other way. This<a name="page_249" id="page_249"></a> young
+lady, to whom I had also given the task of transposition into various
+keys, complained, on coming for her next lesson, that the effect upon
+her was very disagreeable, in fact, extremely painful. She explained
+that she was obliged to look at the music on the pianoforte-desk while
+transposing, and that on account of her quick perception of positive
+pitch she heard in companionship both the tones of the original key and
+those of the key to which she was transposing, thus producing a jargon
+and discord which was distressing. This at first seemed very strange to
+me, indeed almost incredible, but not having an ear for positive pitch
+myself, either by nature or through cultivation, I could not judge from
+personal experience, so, having confidence in her sincerity, simply gave
+her assertion credence.</p>
+
+<p>Later on, however, her statement received confirmation through the
+authentic testimony of a German musician and conductor of high eminence.
+At the time this gentleman came to our country,<a name="page_250" id="page_250"></a> somewhat over fifteen
+years ago, the standard of concert pitch was slightly lower in Europe
+than with us. Since then it has been adjusted and is now uniform the
+world over. This discrepancy caused our German friend extreme annoyance,
+for having an acute and delicate perception of positive pitch, it pained
+and confused him to hear the familiar symphonies and other works of the
+great masters played in a higher pitch than that to which he had become
+accustomed. This is, therefore, the penalty for an ear for positive
+pitch.</p>
+
+<p>Some of the greatest musicians have possessed this faculty, notably
+Mozart, but others of equal rank were without it. Of course a musical
+ear of the most delicate sensibility as to relative pitch is common to
+all of them, and this by the grace of God, as the Germans happily
+express it.</p>
+
+<p>Another case is that of a lady having by nature an ear for positive
+pitch, who occasionally attends church with me. She is constantly
+disturbed by the difference of pitch between the tones of the<a name="page_251" id="page_251"></a> organ and
+the pitch indicated by the notes of the tones in the hymn-book. She
+reasons that either the tones of the organ are above standard pitch or
+else the organist transposes the music. At any rate, the two vary by the
+interval of a semitone.</p>
+
+<p>Theodore Thomas is not only able to detect the disagreement, but at the
+same time perceives whether it is by reason of transposition from the
+original key or on account of the tones of the organ differing from
+standard pitch.</p>
+
+<h3><a name="APPLEDORE_ISLES_OF_SHOALS" id="APPLEDORE_ISLES_OF_SHOALS"></a>APPLEDORE, ISLES OF SHOALS</h3>
+
+<p class="nind">MY first visit to Appledore was in August, 1863, two of my brothers
+having discovered the island, so to speak, the year before. We were
+enthusiastic fishermen, and during our summer vacation almost lived on
+the ocean. Furthermore, during almost the entire year I was engaged in
+teaching or in public appearances as a concert-player, so that in my
+vacation I detested the very sight or even thought<a name="page_252" id="page_252"></a> of a pianoforte.
+Appledore afforded an ideal retreat where retirement verging almost on
+oblivion was possible, and thus it happened that I had spent many
+summers there before my musical vocation was brought to light.</p>
+
+<p>A few years later my friend Professor John K. Paine of Harvard
+University also discovered the Shoals, and from that time came year
+after year without intermission. After a year or two he had a piano sent
+down from Boston for the summer and placed in the reception-room in
+Celia Thaxter's cottage. I had the pleasure of Mrs. Thaxter's
+acquaintance, but up to that time simply in a formal way, and beyond a
+call on my arrival and one on taking leave, I had little association
+with her; Professor Paine, however, quickly formed a habit of playing
+Beethoven's sonatas to her, and she very shortly showed a delight in
+music, and especially in Beethoven's sonatas, with which she became
+quite familiar. In the year 1864 Isidor Eichberg accompanied my brothers
+and myself to the island, and that led,<a name="page_253" id="page_253"></a> still later on, to Mr. Julius
+Eichberg's becoming an habitu� of the island. He brought his violin with
+him, and with Mr. Paine frequently played compositions of Bach for piano
+and violin. Finally I was drawn into the current, and played, with
+Eichberg, Schumann's and other sonatas. As I grew older I gave less time
+to fishing. Moreover, whereas I had formerly spent only a couple of
+weeks or so at the island, I now began to go early in July and stay
+until September, so that in the nature of things I could not fish all
+the time, and gradually formed a habit of playing in Mrs. Thaxter's
+cottage every day from eleven o'clock in the morning until the arrival
+of the boat, about an hour and a half later.</p>
+
+<p>Hers was an interesting and enthusiastic nature, which attracted to her
+many literary and artistic people. She held, in a most charming and
+informal way, what may really be called a salon. The walls of her parlor
+were covered with paintings and pictures of all kinds, many of them the
+work and gifts of personal friends.<a name="page_254" id="page_254"></a> As she herself expressed it, "a
+beautiful thought was always suggested whenever and wherever she
+looked."</p>
+
+<p>Her love of flowers amounted almost to a passion, and no expenditure of
+time or strength given to garden work was grudged, even when the effort
+of very early rising was involved. And when did garden ever better repay
+the personal love and care of the gardener? Where were ever seen such
+radiant, waving poppies, such hundred-hued pansies, such stately and
+brilliant hollyhocks, and such fragrant sweet peas? And upon entering
+the parlor, it seemed as if one had hardly left the garden, so many and
+so beautiful were the masses of flowers.</p>
+
+<p>As I have said, Mrs. Thaxter was very fond of music, and every morning
+welcomed those of her friends who shared this taste to hear any artist
+who might be on the island.</p>
+
+<p>It was my pleasure, being so much at Appledore, to play a great deal in
+these informal ways. The doors wide open to the sun and salt breezes,
+the people sitting<a name="page_255" id="page_255"></a> in the room and grouped on the piazza, shaded by its
+lovely vines, the beautiful vistas of gaily colored flowers, sea and sky
+beyond, made a charming and ever-to-be-remembered scene.</p>
+
+<p>Chopin and Schumann were the favorite composers, their compositions
+being constantly requested. After a while I enlarged the repertoire by
+introducing several of Edward MacDowell's smaller works. These found
+immediate favor. Some half-dozen years ago, having become acquainted
+with and thoroughly enthusiastic over the "Sonata Tragica" of this
+composer, I began to play it early in the summer on arriving at the
+Shoals. At first the audience was somewhat reserved in the expression of
+an opinion, but after a few hearings the composition found friends who
+really appreciated and enjoyed it. Being curious to ascertain what
+result a closer acquaintanceship with the work would bring about, and
+wishing to do some missionary work, I formed the resolution of playing
+it once a day during the season, and announced<a name="page_256" id="page_256"></a> my intention to the
+audience. With but the exception of a few days, the scheme was carried
+out, and with gratifying success, for the "Sonata Tragica" became
+eventually the favorite of the majority, and it was constantly called
+for.</p>
+
+<p>One or two ladies who found it tedious at the outset became thorough
+converts, and finally experienced genuine musical enjoyment from it. On
+the publication of the "Sonata Eroica" a few years later a similar
+result was reached, but not in the same degree as in the case of the
+"Tragica."</p>
+
+<p>This incident is related to illustrate the remarkable effect of musical
+surroundings and the great advantage of living in a musical atmosphere.
+Here were people of intelligence and culture who, under adverse
+circumstances, would not have appreciated the beauty of these
+intellectual works, but who after closer association were led to
+perceive their beauty and who learned to love them.</p>
+
+<p>Sundays were celebrated by the playing<a name="page_257" id="page_257"></a> of Beethoven's sonatas. Every
+one seemed to look forward to and enjoy these pleasant mornings. Mrs.
+Thaxter was a delightful hostess, and possessed the rare quality of
+bringing out the best in those about her.</p>
+
+<p>During the summer of 1894 Mrs. Thaxter seemed as well and active as
+usual, still working in her garden, still the lively center of her group
+of friends and admirers. One day she did not appear, nor the next, and
+then we heard she had peacefully passed away.</p>
+
+<p>None who were at Appledore then will easily forget that 26th of August,
+nor the day she was buried on her island home.</p>
+
+<p>The funeral service was held in the well-known sitting-room; the address
+was made by her old friend the Rev. Dr. James De Normandie, and, by
+request of her sons, I played Schumann's "Romance in F Sharp," and
+Dvo&#345;�k's "Holy Mount,"</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">The tides of Music's golden sea</td></tr>
+<tr><td align="left">Setting toward Eternity.</td></tr>
+</table>
+
+<p><a name="page_258" id="page_258"></a></p>
+
+<p>When the simple service was over the coffin was followed by her old and
+faithful friends and the island fishermen to the grave by that of her
+father and mother. The long procession of people, through the gray mist,
+winding in and out along the rocky way, the leaden sky and sea, the
+hushed voices of the children, usually ringing out so merrily from rocks
+and hotel piazzas, accentuated the sense of our loss.</p>
+
+<p>At the grave, all lined with bayberry and flowers, the coffin was
+lowered, and each of those present came forward and laid upon it a few
+of the flowers she loved so dearly.<a name="page_259" id="page_259"></a></p>
+
+<h2><a name="MUSIC_IN_AMERICA_TO-DAY" id="MUSIC_IN_AMERICA_TO-DAY"></a>MUSIC IN AMERICA TO-DAY</h2>
+
+<p class="nind"><span class="letra">A</span> YEAR or two ago a young lady came to my studio and asked for a single
+lesson. She told me that she had been studying in Germany for some
+years, and named the city, which is one of the well-known musical
+centers. She was then going to the West on her way home, and stopped a
+day over in New York expressly for a lesson from me. I heard her play
+several pieces, and was surprised and pleased with her manner and style.
+She phrased with intelligence and gave due attention to rhythmic
+requirements. Her tone was large, full, and musically resonant, and
+could not have been produced otherwise than through the agency of the
+upper-arm muscles, which were constantly in active use. The flexibility
+and<a name="page_260" id="page_260"></a> elasticity of hands and wrists were also apparent, and finally the
+evident repose in action of all of these qualities capped the climax. I
+said to her: "My dear young lady, I cannot add to your playing, for it
+is already finished and artistic. I might possibly suggest a different
+rendering in certain parts, but, after all, this would amount only to a
+matter of taste. If you had studied exclusively under my guidance for a
+course of years, and I had succeeded in doing my best, aided by your own
+intelligence and careful practice, I should have sought to bring about
+just the result which you have reached. I think your teacher must be a
+young man." "He is," she replied; "but why?" "Because," I answered, "his
+method is free from the stiffness and rigidity of the old German school.
+Has he, perhaps, a method of his own?" Her immediate reply was, "He uses
+your method." She also told me her teacher's name, which I have now
+unfortunately forgotten. I think this teacher deserves to have more
+pupils!<a name="page_261" id="page_261"></a></p>
+
+<p>But the time has gone by when it was necessary for students of the piano
+to go abroad to complete a musical education. There are now teachers of
+the piano of the first rank in all of our principal cities, who secure
+better results with American pupils than foreign teachers do, because
+they have a better understanding of our national character and
+temperament. Such men among my own former pupils are E. M. Bowman in New
+York, S. S. Sanford in New Haven, W. S. B. Matthews and William H.
+Sherwood in Chicago, and many others who are distinguished in their
+profession as teachers, and who have done and are doing much in
+furtherance of sound musical education and in the cultivation of a
+refined, musical taste in America. Our country has also produced
+composers of the first rank, and the names MacDowell, Parker, Kelley,
+Whiting, Paine, Buck, Shelley, Chadwick, Brockway, and Foote occur at
+once to the mind. Enormous progress in the art and science of music has
+been made in America since I began my studies in<a name="page_262" id="page_262"></a> Germany in the year
+1849. Our teachers meet in great numbers in convention during the summer
+months and in summer schools and classes, and it is difficult to
+overestimate the beneficent results which flow from these assemblies.
+They create a musical atmosphere, in which teachers and pupils live and
+move and have their being. They afford opportunities for the intelligent
+discussion of mooted questions and for the interchange of ideas, and
+lead to a wider dissemination of the best educational methods.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/ill_262.png">
+<img src="images/ill_262_sml.png" width="550" height="580" alt="Autograph of Kneisel Quartet" title="Autograph of Kneisel Quartet" /></a>
+<br />
+<span class="caption">Autograph of Kneisel Quartet</span>
+</div>
+
+<p>Harvard, Yale, Columbia, and Princeton all have their chairs of music,
+and doubtless this is true of others of our universities and colleges.
+The city of New York has become one of the great musical centers of the
+world. The Philharmonic Society, the opera season, the Kneisel Quartet,
+and many others of high artistic merit, afford opportunities for the
+gratification of musical taste which are hardly to be excelled
+elsewhere; and the popularity of these and of the countless pianoforte
+recitals and chamber-music concerts bears<a name="page_263" id="page_263"></a> eloquent testimony to the
+growth of an intelligent musical taste among us. Boston and Chicago have
+their world-renowned orchestras, led by Gericke and Thomas, who are
+passed masters of their art. The cities of Pittsburg, Cincinnati, and
+St. Louis have their orchestras, each under competent leadership. The
+most celebrated artists at home and from abroad are heard in our
+principal cities. The season just closed (1900-01) is in striking
+contrast to those of my early manhood. Among the many prominent pianists
+who have played to us there are some of extraordinary talent, who give
+abundant promise of brilliant future achievement.</p>
+
+<p>Ernst von Dohn�nyi, born at Pressburg, July 27, 1877, is a wonderfully
+talented musical composer and at the same time a pianist whose technic
+is complete, combining as it does the emotional, intelligent, and
+mechanical elements in happy union and adjustment. Von Dohn�nyi has by
+nature as intense, thorough, and complete a musical organization as<a name="page_264" id="page_264"></a>
+ever came within my experience. He composes with marvelous spontaneity
+and rapidity. His ideas are fresh and original, and their expression and
+elaboration are effected with the freedom of an improvisation, thus in
+no way emphasizing their mechanical setting forth.</p>
+
+<p>He is just completing, in the twenty-fourth year of his age, an
+elaborate symphony in D minor for grand orchestra, the scheme of which
+is as follows: I. Allegro; II. Adagio; III. Scherzo; IV. Intermezzo; V.
+Finale: Introduction, Tema con Variazioni; Fuga.</p>
+
+<p>This is a massive production, apparently the result of inherent
+qualities carried into act by impulse, in other words, of spontaneous
+achievement. It is so instinctive and impulsive that the art of its
+construction hardly occurs to the hearer at first, but as an
+afterthought excites wonder and admiration.</p>
+
+<p>Early in March of the present year (1901), Von Dohn�nyi, his wife, and a
+few other friends, among them Emil Pauer, dined at my house, and during
+the evening<a name="page_265" id="page_265"></a> Von Dohn�nyi played his symphony on the pianoforte. This
+instrument is naturally quite inadequate to the interpretation of such a
+work, but Von Dohn�nyi's technic is so complete, his tone so massive
+while intensely musical, and his enthusiasm so contagious that we became
+conscious of an ever-increasing interest, steadily growing in intensity.
+The occasion and its experience will not be forgotten by any of those
+present.</p>
+
+<p>A week later the Von Dohn�nyis spent the evening with us just before
+their departure on the following day for Europe, and he played again a
+portion of the work, deepening and confirming the impression made at the
+first hearing. The future of this young man is full of promise. His
+teacher in composition was Hans Koessler in Pesth; his pianoforte
+teacher was Stephen Thom�n of the same city. Later on he had eight
+lessons of Eugen d'Albert in Berlin, after which the latter said to him:
+"You can go on by yourself now; I have taught you all I can."</p>
+
+<p>Leopold Godowsky is a pianist of the<a name="page_266" id="page_266"></a> first class, but above all he is a
+specialist, and altogether unapproachable in his specialty. His left
+hand is in every respect the equal of his right, and passages of extreme
+intricacy and rapidity come out with an astonishing clearness of detail.
+Nothing in his work, however minute, is slighted, but musical expression
+and finish of execution are above criticism. His specialty is his
+rearrangement and working up of many of Chopin's �tudes in such manner
+that several of the various themes of these are, so to speak,
+intertwined. In some instances three different melodies can be heard
+progressing simultaneously in loving union, with a smoothness, delicacy,
+and accuracy in counterpoint which is simply marvelous. There is never a
+suspicion of haste in his playing, no matter how rapid the rate of
+speed. His manner is full of repose&mdash;respectful, earnest, and
+sympathetic; thus there is no suggestion of violence to the composer's
+original production.</p>
+
+<p>I know that among my best friends, whose judgment I esteem, there are
+some<a name="page_267" id="page_267"></a> who do not hold the same opinion, and who think that the
+composer's work should be left intact. It seems to me, however, that
+much depends upon the manner of treatment. The French proverb runs: "Il
+y a fagots et fagots"; or, in the more homely phrase of dear old Boston,
+"There are beans, and then there are beans." Moreover, the fact that
+these compositions are �tudes (studies), and therefore avowedly for the
+purpose of developing physical technic as well as poetic style, should
+be duly considered in judging of their <i>raison d'�tre</i>. Similar
+treatment of the sonatas, ballades, and nocturnes would surely be a
+different thing. Furthermore, the solid and dignified Brahms&mdash;one of the
+three B's of B�low's trinity&mdash;set an example, by rearranging a rondo by
+Von Weber, which he turns upside down, so to speak, making a bass of
+what in the original is the right-hand part. Brahms has also utterly
+destroyed the charm of Chopin's "�tude in F Minor, Op. 25, No. 2," which
+lies in the very rapid and delicately pianissimo playing<a name="page_268" id="page_268"></a> of passages of
+triplets in the right hand as against duals in the left. In the original
+these passages are throughout of single tones in both hands, and hence
+can be performed in the most dainty and fascinating manner; but Brahms
+has changed the right hand part to double thirds and; sixths, thus
+completely altering the character of the music, and doing violence to
+the exquisitely light, delicate, and graceful effect of the original
+version. In passing judgment upon the work of Brahms, however, it must
+not be forgotten that he publishes this in company with several other
+arrangements, under the general title, "Studien f�r das Pianoforte,"
+thus indicating that his object is the development of physical technic.</p>
+
+<p>In this connection, I remember Rubinstein's telling me as long ago as
+1873, in the artists' retiring-room during one of his recitals at
+Steinway Hall, that he used in his boyhood's days "to do all sorts of
+things with Chopin's �tudes," as he expressed it, "in order to exercise
+and strengthen the fingers." By way of illustration,<a name="page_269" id="page_269"></a> he went to an
+upright piano which happened to be in the room, and began playing with
+his left hand alone the right-hand part of the chromatic-scale �tude;
+"Op. 10, No. 2," and this he did with fluency.</p>
+
+<p>Godowsky has played his arrangements to me on several occasions at my
+studio and at home <i>en famille</i>, and has invariably produced a state of
+happy good humor which was of long duration and which in large measure
+returns to me as I write.</p>
+
+<p>April 20, 1901. Yesterday evening I attended the farewell concert of
+Ossip Gabrilowitsch, the talented young Russian pianist. He was at his
+best, and proved his right to stand in the front rank of modern
+pianists. His playing throughout of a program of compositions of
+Beethoven, Brahms, Chopin, and Liszt was masterly, combining as it did
+genuine musical quality, intelligence in phrasing, and great brilliancy,
+as well as poetry in interpretation. He is yet a young man and has not
+reached the full climax of his power, and will doubtless show still
+further<a name="page_270" id="page_270"></a> development in the next few years. Other pianists who have
+played in New York during the season of 1900-01, and who deserve to be
+classed with the highest, are Harold Bauer, who has deservedly won a
+very high reputation through his splendid ability in all styles of piano
+music, and Arthur Friedheim, whose recent concert was brilliant in high
+degree, and who on that occasion gave an interpretation of Liszt's great
+"Sonata in B Minor" which it seems to me was not surpassed by the master
+himself&mdash;and I have heard Liszt play this work many times. Richard
+Burmeister also gave a masterly interpretation of this same sonata
+earlier in the season. This is the sonata, by the way, of which mention
+has been made, in the earlier part of these "Memories," as having been
+played by Liszt on the occasion of the first visit of Brahms to Liszt,
+in the year 1853.</p>
+
+<p>We have also had Teresa Carre�o, Adele aus der Ohe, and Fannie
+Bloomfield-Zeisler, all of them of the first rank and established
+reputation. Of these the first-named<a name="page_271" id="page_271"></a> is a friend of long standing, for
+my first acquaintance with her dates back to the early sixties, when she
+first came to New York as a child prodigy. I well remember the
+impression she made upon me at that time, both from her artistic playing
+and her charming appearance in short dresses and "pantalets," the
+fashion for children of that day. A friendship was immediately begun and
+established, which still continues.</p>
+
+<p>Josef Hofmann, with his tremendous technic and executive skill, has
+given pleasure to many; and Arthur Whiting, Howard Brockway, and Henry
+Holden Huss have ably upheld the reputation of American virtuosos and
+composers.</p>
+
+<p>In bringing these papers to a close, I desire to make my grateful
+acknowledgment to the friends and pupils of many years who united in
+celebrating the seventieth anniversary of my birth by presenting me with
+a beautiful silver loving-cup, which I fondly cherish as an evidence of
+affectionate regard, and which will be ever filled and overflowing with<a name="page_272" id="page_272"></a>
+loving memories, not alone of those who united in the gift, but of the
+many others whom I have known in the course of an unusually long
+professional career. To one and all I offer my heartfelt thanks.<a name="page_273" id="page_273"></a></p>
+
+<h2><a name="APPENDIX" id="APPENDIX"></a>APPENDIX</h2>
+
+<p><a name="page_274" id="page_274"></a></p>
+
+<p><a name="page_275" id="page_275"></a></p>
+
+<h3><span class="smcap">Part I</span><br /><br />
+EARLY LIFE OF LOWELL MASON</h3>
+
+<p class="hang">ADDRESS OF WILLIAM S. TILDEN, PRESIDENT OF THE MEDFIELD HISTORICAL
+SOCIETY, AT CHENERY HALL, MEDFIELD, FRIDAY, JANUARY 8, 1892, THE
+CENTENNIAL ANNIVERSARY OF THE BIRTH OF DR. LOWELL MASON</p>
+
+<p><span class="smcap">Fellow-Citizens</span>: Most that has been hitherto said and written has been
+rather concerning the public and professional career of Dr. Mason; and
+we shall doubtless have presented many interesting mementos to-day, in
+letter and address, relating to those things in which he is most
+generally known. What I have to present in this paper will refer
+particularly to his birth, parentage, and early surroundings, of which
+comparatively little has been said.<a name="page_276" id="page_276"></a></p>
+
+<p>Lowell Mason was of English descent, being in the sixth generation from
+Thomas Mason and Margery Partridge. Thomas, born in England, was the son
+of Robert, who settled in Dedham, from whence he, with his brother
+Robert, came to Medfield in the second year of its settlement. The
+marriage of Thomas Mason and Margery Partridge, April 23, 1653, is the
+first recorded marriage in this old town. He received his house-lot by
+original grant from the town. It was upon North street, where Amos E.
+Mason now lives, the homestead having never been out of the possession
+of the Mason family. Thomas Mason and two of his sons were killed by the
+Indians on that fateful morning in February, 1676, when the town was
+burned. His eldest son was killed the following year, while fighting the
+Indians at the "Eastward" (now Maine), leaving one boy, Ebenezer, who
+was seven years of age only when his father was killed, and who,
+therefore, became the progenitor of the line from which Lowell Mason
+sprang. The son of<a name="page_277" id="page_277"></a> this Ebenezer, Thomas Mason, left the homestead on
+North street, and settled in the extreme northeast corner of the town,
+at what is now known as the Charles Newell place. He married the
+daughter-in-law of Samuel Sady, who kept a tavern on North street, where
+the Pfaff mansion now stands; and his son Barachias, grandfather of
+Lowell, inherited, through his mother, that place, and settled upon it,
+where he lived with his son Johnson, father of Lowell. There the man
+whose nativity we celebrate to-day was born. The building has been
+preserved, and is, no doubt, the "farm-house," so called, on Adams
+Avenue.</p>
+
+<div class="figcenter" style="width: 387px;">
+<img src="images/ill_277.jpg" width="387" height="451" alt="LOWELL MASON
+FROM A DAGUERREOTYPE" title="LOWELL MASON
+FROM A DAGUERREOTYPE" />
+<span class="caption">LOWELL MASON<br />
+FROM A DAGUERREOTYPE</span>
+</div>
+
+<p>The first twenty years of his life were spent in his native town of
+Medfield; and very little has ever been written about this portion of
+his life, and much of that somewhat incorrectly. His biographers seem to
+have endeavored to add to his fame by magnifying his want of
+opportunities for education and culture in his youth. In a discourse
+upon Mr. Mason's life and labors, the Rev. George B. Bacon,<a name="page_278" id="page_278"></a> his pastor,
+says: "Mr. Mason had no advantages of education. He was the son of a
+mechanic in a small New England town. He began almost in his cradle that
+fight for a living which left small opportunity for study or culture."
+Another writer says: "He spent twenty years of his life doing nothing
+but playing upon all sorts of musical instruments, and there was no one
+to teach him their use." We feel inclined to believe that these
+statements were half-truths only, and are not a complete statement, by
+any means, of the conditions and pursuits of his youth.</p>
+
+<p>We think it can be shown that while Medfield is proud of having such a
+son, he was fortunate in having such a birthplace. We believe in the
+influence of heredity in genius, but also in the influence of
+environments. He was especially favored in both these respects,
+descending for generations from an honored ancestry and surrounded in
+his youth by educated people of high moral and religious character. His
+parents were in fairly comfortable circumstances, and he was, as is<a name="page_279" id="page_279"></a>
+usual in such cases, permitted considerable freedom in following the
+promptings of his natural genius, which, springing as he did from a
+musical family, early showed tendency toward that branch of art.</p>
+
+<p>Dr. Holmes says: "If we wish to educate a boy properly, we must begin
+with his grandfather." Barachias Mason was a graduate of Harvard
+University in 1742, but one hundred and fifty years ago. He was a
+schoolmaster, a teacher of singing-schools, and a selectman of the town
+for several years. This certainly is a fair start, on Dr. Holmes's
+principle. His son, Colonel Johnson Mason, Lowell's father, lived with
+him, and inherited the homestead, where he kept a public school for many
+years. He was a merchant. In this pursuit, it seems, young Lowell
+assisted him in his boyhood, as we learn that, on the occasion of his
+narrow escape from drowning in 1806, he was out with a team on business
+for his father, near what is now poor-farm bridge, where he was rescued
+from a watery grave by two<a name="page_280" id="page_280"></a> boys about his own age after having sunk for
+the third time. Colonel Mason manufactured straw goods to some extent.
+He was also an ingenious mechanic, inventing some useful machines used
+in the straw business of those days. He was town clerk for nineteen
+years, town treasurer, and a member of the legislature; he was a
+musician, a player on musical instruments, particularly the violoncello,
+and, together with his wife, sang in the parish choir for more than
+twenty years. When the musical talent of the town united, on a
+Fourth-of-July occasion in 1840, to supply the music, Colonel Mason
+stood at the head of the basses, although then over seventy years of
+age. He was also a prominent military man, commissioned captain in 1800,
+and lieutenant-colonel in 1803. It will thus be seen that he was one of
+the most intelligent and influential men in the town.</p>
+
+<p>So much for the parentage; now for the neighborhood influences about the
+Mason family. The nearest neighbor was the Rev. Thomas Prentiss,
+minister of the old<a name="page_281" id="page_281"></a> parish church from 1770 to 1814, and who sent four
+boys to Harvard College, one of whom was of Lowell Mason's own age, a
+schoolmate and playmate. His seatmate in the North School, which he
+attended, and a lifelong friend, was the late Joseph Allen, D.D., of
+Northboro, Massachusetts, who ever said that Lowell Mason was one of the
+best scholars in the school; and the schools of the town being then
+under the supervision of Dr. Prentiss, they were doubtless fairly good
+schools. Ellis Allen, another friend and schoolmate, said that Lowell
+Mason was the most popular and talented, as well as the handsomest,
+young man in town. The next neighbor on the other side was George
+Whitefield Adams (brother of the celebrated historian, Hannah Adams),
+who built organs at his homestead, where Dr. Bent now lives; and,
+without doubt, Lowell was familiar with that instrument, as he was with
+many others&mdash;the violin, violoncello, flute, and clarinet particularly.
+He led the Medfield Band in his day, playing the clarinet. Mr. Adams
+went to Savannah in 1812,<a name="page_282" id="page_282"></a> accompanied by Nathaniel Bosworth of this
+town, and young Mason went with them, journeying the entire distance
+with horse and wagon. Another near neighbor was Amos Albee, a
+schoolmaster and musician of some note in those days, author of "Norfolk
+Collection of Church Music." He assisted Mason in his musical studies,
+as reliable accounts inform us. Libbeus Smith, a relative of the Mason
+family, was also a singing-master here during the early years of this
+century. James Clark, a fine player on the violin, lived in Medfield in
+those days. From these facts it is easy to determine that, though the
+musical advantages of the times would not perhaps satisfy the demands of
+modern culture, yet the place was by no means devoid of influences
+calculated to encourage the special development of a young man musically
+inclined.</p>
+
+<p>Lowell Mason commenced teaching singing-schools when only a boy. He led
+the parish choir when about sixteen years of age, and conducted the
+music at the ordination of Dr. Ranger of Dover in<a name="page_283" id="page_283"></a> 1812, writing an
+anthem for the occasion, aided, it is said, by his neighbor Amos Albee.
+The Medfield Choir assisted at these ceremonies, Mr. Ellis Allen and his
+wife, from whom this account is obtained, being among them on that day.
+Lowell's two brothers, Johnson and Timothy, were also good musicians,
+and remained prominent in the church choir, both socially and
+instrumentally, for many years after he left Savannah. They became
+musical leaders in Cincinnati and Louisville. The old choir in those
+days was large, and it was made up from the most influential people in
+the town, which is an excellent thing for a church choir. The following
+are some of those who were members of it while young Mason took charge
+of the music: his father and mother, with his two brothers above named;
+Major Fiske, father of the late Captain Isaac Fiske; Captain William
+Peters, grandfather of Mr. William P. Hewins; Captain Wales Plimpton,
+father of Deacon G. L. Plimpton; Oliver Wheelock, a merchant of the
+town; Amos Mason, father of A. E.<a name="page_284" id="page_284"></a> Mason; Ellis Allen, father of the
+Allen brothers, from whose reminiscences we gather many of these facts.
+The old choir, it will be seen, was highly favored, in a military point
+of view, having a colonel, a major, and two captains. Mr. Mason often
+said, in after years, that there was more musical talent in Medfield
+than in any other town of its size in the State. This we can with
+confidence believe.</p>
+
+<p>It is not, therefore, strange, with his inherited tastes and capacities,
+and surrounded as he was by musical people, that he should devote much
+of his time to music. It was his common practice, tradition tells us, to
+play from the meeting-house steps, summer evenings, upon the flute or
+clarinet, to the young people who would congregate around the
+locality&mdash;in this way, doubtless, doing much to contribute to the growth
+of a musical taste among the companions of his youth. The atmosphere of
+liberal culture which characterized his neighborhood aided him in taking
+a more intelligent view of musical matters, without which natural
+abilities,<a name="page_285" id="page_285"></a> and even special training, produce comparatively meager
+results; and the young person who knows nothing but music cannot expect
+a very high place in public estimation.</p>
+
+<p>That he had much ability as a practical musician is shown by the fact
+that when he went to the South he was able to give entertainments with
+his voice and violoncello alone, which brought him at once to the front
+with the musical public in Savannah; and his tact, executive ability,
+and intelligence gave him a position as teller in a bank. About this
+time the conscious purposes of his life were changed, and the mode of
+life characteristic of his early years gave place to one of deep-seated
+religious convictions. He became a member of the Presbyterian Church in
+Savannah, where he held the position as director of music for many
+years. He was also superintendent of the first Sunday-school ever formed
+in that city.</p>
+
+<p>As an instance of his natural tact and <a name="page_286" id="page_286"></a>shrewdness, it is related of him
+that while a resident of Savannah he undertook the instruction of a new
+band that was being formed somewhere in that region. On the first
+evening a considerable number of instruments were brought in with which
+he was unacquainted, and some of them, even, he had never heard of. He
+got over this difficulty by telling the owners of them that it would be
+necessary for him to take them all home, that they might be "fixed and
+toned up." When he brought them back, at the next meeting, he had
+mastered them all, and proceeded to give his instructions accordingly.</p>
+
+<p>He had a remarkable degree of personal magnetism, which gave him that
+wonderful control which he possessed over classes and conventions. When
+he taught or lectured, all eyes were upon him, all ears were attentive,
+all wills were moved by his. This, with his natural aptitude for
+teaching, gave him the prominence which he so readily won in the chief
+cities where his mature life was spent. Soon after his return to
+Boston,<a name="page_287" id="page_287"></a> about 1827, after fifteen years' sojourn in Savannah, he
+attained great popularity as a singing-teacher. He organized a class for
+the well-to-do ladies and gentlemen of Boston who wished to perfect
+themselves in music, the instruction to be by the new method, and
+gratuitous. Five hundred singers attended, and at the close voted him a
+bonus of five dollars each, or twenty-five hundred dollars for the term.
+He was in constant demand as a teacher and director, and it would be
+strange if those who had occupied the field before him, and who were now
+compelled to take a back seat or migrate to "fresh fields and pastures
+new," should not manifest some feeling of opposition. This he had to
+meet, in one form or another, during his twenty-five years' residence in
+Boston. The writers on musical matters during that period show very
+plainly that such was the case, often giving expression to personal
+feeling.</p>
+
+<p>But as a teacher he had no superior, and but few equals, in this
+country; and this not only musically speaking, but<a name="page_288" id="page_288"></a> pedagogically as
+well. Horace Mann said he would walk fifty miles to see him teach if he
+could not otherwise have that privilege. Secretary Dickinson, of our
+State Board of Education, says: "My first notions of what good teaching
+is were derived from seeing Lowell Mason give a singing-lesson"; and
+this although our honored secretary has no knowledge of musical tones.
+George J. Webb, one of the best musicians in Boston, and himself
+associated with Mr. Mason for many years as a teacher in the Boston
+Academy of Music, said that he had seen him teach hundreds of times, but
+never without astonishment at his wonderful power before a class. Dr.
+George F. Root says that he always became intensely interested in
+listening to Mr. Mason teaching even so simple a thing as the property
+of long and short musical sounds. The writer of this sketch was himself
+a member of the Boston Academy of Music at its latest session in 1851;
+and it is not too much to say that he has never seen any one, from that
+day to this, manifest such ability to hold a<a name="page_289" id="page_289"></a> large class of teachers
+and musicians to the consideration of the topic under discussion.</p>
+
+<p>He was employed by the State Board of Education to teach music in the
+normal schools and in the teachers' institutes for many years. Through
+his influence singing was introduced into the Boston public schools as a
+regular branch of study, which occurred in 1838. He introduced into this
+country the inductive method of teaching singing, formulating a system
+from the study of Pestalozzi and other eminent European teachers. His
+system to this day molds the instruction, to a great extent, throughout
+the United States. Modifications have been made, but the principles
+which underlie all good elementary instruction in music were undeniably
+first inculcated and placed before the people by him. He had, and still
+has, a wide reputation; but it is not greater than his genius.</p>
+
+<p>While we acknowledge with pride the honor bestowed upon the town of his
+nativity, on the other hand, we think that<a name="page_290" id="page_290"></a> this "obscure New England
+village" is entitled to some credit for the formative influences which
+sent forth such a son. Some one has said: "The first great requisite to
+a man's amounting to anything is to be well born." He was born of the
+sturdy yeomanry of Medfield. We cannot but think that the influence
+emanating from the men, his neighbors and early counselors, who made the
+old town what it was a hundred years ago, and what it is even down to
+the present, contributes no little to the successful career of him whose
+centennial we celebrate to-day.<a name="page_291" id="page_291"></a></p>
+
+<h3><a name="Part_II" id="Part_II"></a><span class="smcap">Part II</span><br /><br />
+LISZT'S LETTERS</h3>
+
+<div class="blockquot2"><p><span class="smcap">My dear Sir</span>: It will certainly give me great pleasure to see and
+hear you again at Weimar, but I trust that you will excuse me if I
+do not accept the proposition you make, that of giving you regular
+lessons, from which, moreover, I fancy you would have little to
+gain.</p>
+
+<p>As for your idea of settling for some time at Weimar, it would be
+well for me to discuss it a little with you before you carry it
+out. The distance from Leipsic being so short, it would cause you
+but little inconvenience to pay me a short visit here, in the
+course of which it will be easy for me to say exactly what I
+believe will be best for you.<a name="page_292" id="page_292"></a></p>
+
+<p>Accept, my dear sir, the expression of my feelings of esteem and
+consideration for you.</p>
+
+<p class="r"><span class="smcap">F. Liszt.</span></p>
+
+<p><span class="smcap">Weimar</span>, August 3, 1851.</p>
+</div>
+
+<div class="blockquot2"><p><span class="smcap">Dear Mr. Mason</span>: Your welcome letter gives me very hearty pleasure,
+and I beg you to rest assured of the continuance of my most
+affectionate feelings for you.</p>
+
+<p>I often hear of your triumphs in America, and I rejoice to know
+that your talent is rightly appreciated and praised. Your
+compositions have not reached me yet, but I am all ready to make
+them very welcome.</p>
+
+<p>In a fortnight I start for Weimar. The Tonk�nstler Versammlung is
+to take place this year at Meiningen, from the 22d to the 25th of
+August. I shall attend it, as also the Wartburg Jubilee Festival,
+at which my oratorio "Sainte Elisabeth" will be given on the 28th
+of August. Perhaps I may meet there Mr. Theodore Thomas and Mr. S.
+B. Mills, of whom you<a name="page_293" id="page_293"></a> have spoken to me. The ability of Mr. Thomas
+I have heard highly praised; I have to thank him particularly for
+the interest which he takes in my "Po�mes Symphoniques." Those
+artists who desire to give themselves the trouble of understanding
+and interpreting my works are separated, by that alone, from the
+ranks of the commonplace. I, more than any one, owe them gratitude,
+and I shall not fail to show it to Messrs. Thomas and Mills when I
+have the pleasure of making their acquaintance.</p>
+
+<p>The news which reaches me from time to time of musical things in
+America is usually favorable to the cause of the progress of
+contemporary art which I am proud to serve and uphold.</p>
+
+<p>It seems that with you chicanery, blunders, and stupidity of a
+criticism perverted by ignorance, envy, and venality, exercise less
+influence than in the Old World. I congratulate you on it. May you
+successfully follow the noble career of an artist with industry,
+perseverance, resignation, modesty, and an unshaken faith in the<a name="page_294" id="page_294"></a>
+Ideal&mdash;such as you showed in Weimar, dear Mr. Mason.</p>
+
+<p class="r">Your truly affectionate and devoted<br />
+<span class="smcap">Fr. Liszt</span>.</p>
+
+<p><span class="smcap">Rome</span>, July 8, 1867.</p>
+</div>
+
+<div class="blockquot2"><p><span class="smcap">Dear Mr. Mason</span>: Mr. Seward has brought me your welcome letter and
+several of your compositions. These give me double pleasure, for
+they show that your time at Weimar has not been lost and that you
+continue to make good use of it elsewhere.</p>
+
+<p>"L'�tude de Concert, Op. 9," and "Valse Caprice, Op. 17," are
+distinguished in style and of good effect. I can also sincerely
+praise the three preludes (Op. 8) and the two ballades, but with
+some reservation. The first ballade appears to me a trifle
+curtailed.</p>
+
+<p>There is a certain something lacking at the beginning and toward
+the middle (page 7) which is necessary to make the <i>motif</i> stand
+out again, and the pastorale of the second ballade (page 7) figures
+there rather as padding&mdash;<i>embarras de richesse!</i><a name="page_295" id="page_295"></a></p>
+
+<p>And, since I am criticizing, let me ask why you entitle your "Ah,
+vous dirai-je Maman," "Caprice Grotesque"? Beyond the fact that the
+grotesque style should not intrude in music, this title does
+injustice to the ingenious imitations and harmonies of the piece
+which is otherwise so charming; it would be more fitting to call it
+"Divertissement" or "Variazione Scherzose."</p>
+
+<p>As to the "Method," you do not, of course, expect me to make an
+exhaustive study of it. I am much too old for that, and it is only
+in self-defense that I occasionally try the piano&mdash;considering the
+incessant fatigue caused me by the indiscretion of a crowd of
+people who imagine that nothing can be more flattering to me than
+to amuse them!</p>
+
+<p>Nevertheless, in going through your "Method," I find highly
+commendable exercises, notably the <i>interlocking passages</i> (pages
+136-142) <i>and all the accentuated treatment</i> &gt; &gt; &gt; &gt; <i>of
+exercises</i>. May your pupils and editors derive thence all the
+benefit they should.<a name="page_296" id="page_296"></a></p>
+
+<p>A thousand thanks, dear Mr. Mason, and rely on my very affectionate
+and devoted feelings as of old.</p>
+
+<p class="r"><span class="smcap">F. Liszt.</span></p>
+
+<p><span class="smcap">Rome</span>, May 26, 1869.</p>
+</div>
+
+<div class="blockquot2"><p>It will give me genuine pleasure to see you again, dear Mr. Mason.
+Next week I return to Weimar and shall remain there as usual till
+the middle of July.</p>
+
+<p>Therefore, suit the time of your visit to your own convenience. I
+beg you to stay for several days at least.</p>
+
+<p>A thousand affectionate and cordial greetings.</p>
+
+<p class="r"><span class="smcap">F. Liszt.</span></p>
+
+<p><span class="smcap">Vienna</span>, May 23, 1880.</p>
+</div>
+
+<p><a name="page_297" id="page_297"></a></p>
+
+<p><a name="page_298" id="page_298"></a></p>
+
+<p><a name="page_299" id="page_299"></a></p>
+
+<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
+
+<p class="nind">
+Allen, Thomas, <a href="#page_095">95</a><br />
+<br />
+Altenburg, the, Liszt's studio in, <a href="#page_093">93</a>;<br />
+<span style="margin-left: 1em;">F�rstin Sayn-Wittgenstein at, <a href="#page_094">94</a>;</span><br />
+<span style="margin-left: 1em;">picture of, <a href="#page_094">94</a>;</span><br />
+<span style="margin-left: 1em;">Liszt pupils at, <a href="#page_098">98</a>, <a href="#page_122">122</a></span><br />
+<br />
+Appledore, Isles of Shoals, Mason at, <a href="#page_251">251-258</a><br />
+<br />
+<br />
+Bach, "Triple Concerto," <a href="#page_107">107</a>;<br />
+<span style="margin-left: 1em;">"les agr�ments" in, <a href="#page_229">229</a>;</span><br />
+<span style="margin-left: 1em;">Rubinstein and, <a href="#page_290">290</a>;</span><br />
+<span style="margin-left: 1em;">Essipoff and, <a href="#page_232">232</a></span><br />
+<br />
+Bauer, <a href="#page_270">270</a><br />
+<br />
+Beethoven, first symphonic performance in America, <a href="#page_008">8</a>, <a href="#page_013">13</a>, <a href="#page_031">31</a>;<br />
+<span style="margin-left: 1em;">Remenyi and "Kreutzer Sonata," <a href="#page_093">93</a>;</span><br />
+<span style="margin-left: 1em;">Op. 106, <a href="#page_103">103</a>, and Liszt plays, <a href="#page_104">104</a>, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 1em;">"Eroica Symphony," Liszt's contretemps in, <a href="#page_120">120</a>;</span><br />
+<span style="margin-left: 1em;">Liszt's "Young Beethoven" (Rubinstein), <a href="#page_171">171</a></span><br />
+<br />
+Bellman, <a href="#page_137">137</a><br />
+<br />
+Benedict, Sir Julius, <a href="#page_084">84</a><br />
+<br />
+"B�n�diction de Dieu dans la Solitude" by Liszt, Mason's copy of, <a href="#page_118">118</a><br />
+<br />
+Bergmann, Carl, <a href="#page_193">193</a><br />
+<br />
+Berlioz, autograph, <a href="#page_168">168</a>, <a href="#page_169">169</a><br />
+<br />
+Blessner, Mr., violinist, <a href="#page_019">19</a><br />
+<br />
+Bloomfield-Zeisler, <a href="#page_270">270</a><br />
+<br />
+Boston Academy of Music, <a href="#page_009">9</a><br />
+<br />
+Bowman, E. M., <a href="#page_261">261</a><br />
+<br />
+Brahms, <a href="#page_127">127-142</a>;<br />
+<span style="margin-left: 1em;">in 1853, <a href="#page_127">127</a>;</span><br />
+<span style="margin-left: 1em;">first meeting with Liszt, <a href="#page_127">127-131</a>;</span><br />
+<span style="margin-left: 1em;">MSS. illegible, <a href="#page_127">127</a>;</span><br />
+<span style="margin-left: 1em;">won't play for Liszt, <a href="#page_128">128</a>;</span><br />
+<span style="margin-left: 1em;">Liszt plays Op. 4 and part of Op. 1 at sight, <a href="#page_128">128</a>;</span><br />
+<span style="margin-left: 1em;">Raff on Op. 4 and B.'s reply, <a href="#page_129">129</a>;</span><br />
+<span style="margin-left: 1em;">dozing while Liszt plays, <a href="#page_129">129</a>;</span><br />
+<span style="margin-left: 1em;">Liszt annoyed, <a href="#page_130">130</a>;</span><br />
+<span style="margin-left: 1em;">wrong accounts of first meeting with Liszt, <a href="#page_130">130</a> and <a href="#page_141">141</a>;</span><br />
+<span style="margin-left: 1em;">feat in transposing, <a href="#page_131">131</a>;</span><br />
+<span style="margin-left: 1em;">and Schumann, <a href="#page_132">132</a>;</span><br />
+<span style="margin-left: 1em;">Mason's meeting with in Bonn in 1880, <a href="#page_136">136</a>;</span><br />
+<span style="margin-left: 1em;">pianoforte-playing, Mason's opinion of, <a href="#page_137">137</a>, and of compositions, <a href="#page_139">139</a>;</span><br />
+<span style="margin-left: 1em;">Liszt's coolness toward, <a href="#page_142">142</a>, <a href="#page_194">194</a>, <a href="#page_267">267</a>, <a href="#page_268">268</a>, <a href="#page_270">270</a><a name="page_300" id="page_300"></a></span><br />
+<br />
+Brockway, Howard, <a href="#page_261">261</a><br />
+<br />
+Brodsky, <a href="#page_151">151</a><br />
+<br />
+Buck, Dudley, <a href="#page_261">261</a><br />
+<br />
+Bull, Ole, <a href="#page_148">148</a>, <a href="#page_149">149</a>;<br />
+<span style="margin-left: 1em;">autograph, <a href="#page_150">150</a></span><br />
+<br />
+B�llow, Hans von, <a href="#page_091">91</a><br />
+<br />
+B�low, Von, <a href="#page_182">182</a>, <a href="#page_238">238-241</a>;<br />
+<span style="margin-left: 1em;">letter to Mason, <a href="#page_239">239</a>;</span><br />
+<span style="margin-left: 1em;">statement about Cosima and Wagner, <a href="#page_240">240</a>;</span><br />
+<span style="margin-left: 1em;">autograph, <a href="#page_240">240</a></span><br />
+<br />
+Burmeister, Richard, <a href="#page_270">270</a><br />
+<br />
+<br />
+Carre�o, Teresa, <a href="#page_270">270</a><br />
+<br />
+Chadwick, George W., <a href="#page_261">261</a><br />
+<br />
+Chamber-music concerts, Mason's, <a href="#page_001">1</a><a href="#page_093">93-197</a><br />
+<br />
+Chickering, Jonas, <a href="#page_019">19</a><br />
+<br />
+Chopin, style of playing, <a href="#page_075">75</a>, <a href="#page_171">171</a>, <a href="#page_244">244</a><br />
+<br />
+Clauss, Wilhelmine, <a href="#page_064">64</a><br />
+<br />
+Cornelius, Peter, <a href="#page_145">145-147</a><br />
+<br />
+Cossmann, Bernhard, <a href="#page_063">63</a>, <a href="#page_092">92</a>, <a href="#page_150">150</a><br />
+<br />
+<br />
+David, Ferdinand, <a href="#page_134">134</a><br />
+<br />
+Devitalized muscular action, its importance in piano-playing discussed, <a href="#page_020">20</a><br />
+<br />
+Diary, Mason's, at Weimar, <a href="#page_122">122-126</a><br />
+<br />
+Dodworth's Hall, <a href="#page_194">194</a><br />
+<br />
+Dohn�nyi, Ernst von, <a href="#page_263">263</a>;<br />
+<span style="margin-left: 1em;">new symphony, <a href="#page_264">264</a></span><br />
+<br />
+Dreyschock, <a href="#page_065">65-79</a>;<br />
+<span style="margin-left: 1em;">octave-playing, <a href="#page_066">66</a>;</span><br />
+<span style="margin-left: 1em;">on Chopin's pianoforte-playing, <a href="#page_075">75</a>, and Henselt, <a href="#page_077">77</a></span><br />
+<br />
+Dyer, Oliver, <a href="#page_184">184</a><br />
+<br />
+<br />
+Eichberg, Isidor, <a href="#page_252">252</a><br />
+<br />
+Eichberg, Julius, <a href="#page_253">253</a><br />
+<br />
+Erard pianoforte, Liszt's, <a href="#page_088">88</a>, <a href="#page_092">92</a><br />
+<br />
+Ernst, <a href="#page_149">149</a><br />
+<br />
+<br />
+Fontaine, Mortier de, Beethoven-player, <a href="#page_031">31</a><br />
+<br />
+Foote, Arthur, <a href="#page_261">261</a><br />
+<br />
+Franck, C�sar, <a href="#page_122">122</a><br />
+<br />
+Friedheim, Arthur, <a href="#page_270">270</a><br />
+<br />
+<br />
+Gabrilowitsch, <a href="#page_269">269</a><br />
+<br />
+Geilfuss, Louis, <a href="#page_182">182</a><br />
+<br />
+Godowsky, <a href="#page_265">265</a><br />
+<br />
+"Goldene Zeit" at Weimar, <a href="#page_097">97</a>, <a href="#page_122">122</a><br />
+<br />
+Gottschalk, <a href="#page_183">183</a>, <a href="#page_205">205-209</a>;<br />
+<span style="margin-left: 1em;">"The Latest Hops," <a href="#page_208">208</a>;</span><br />
+<span style="margin-left: 1em;">Characteristic letter and autograph, <a href="#page_208">208</a></span><br />
+<br />
+Grange, De la, <a href="#page_154">154</a>, <a href="#page_157">157</a><a name="page_301" id="page_301"></a><br />
+<br />
+Grieg, <a href="#page_241">241</a>;<br />
+<span style="margin-left: 1em;">autograph, <a href="#page_244">244</a></span><br />
+<br />
+Groenvelt, Mr., violoncellist, <a href="#page_019">19</a><br />
+<br />
+<br />
+Handel and Haydn Society, Boston, early repertoire of, <a href="#page_007">7</a><br />
+<br />
+Handel's "E Minor Fugue," Mason's copy of, <a href="#page_119">119</a>, <a href="#page_123">123</a><br />
+<br />
+Harvard Musical Association, repertoire of, 1846, <a href="#page_019">19</a><br />
+<br />
+Hauptmann, Moritz, <a href="#page_044">44</a>;<br />
+<span style="margin-left: 1em;">passion for baked apples, <a href="#page_045">45</a>;</span><br />
+<span style="margin-left: 1em;"><i>Spiegel-Canon</i> autograph, <a href="#page_045">45</a> and <a href="#page_048">48</a>;</span><br />
+<span style="margin-left: 1em;">opinion of Lowell Mason's work, <a href="#page_046">46</a></span><br />
+<br />
+Heckmann, <a href="#page_137">137</a><br />
+<br />
+"Heinrich, Father," anecdote of, <a href="#page_022">22</a><br />
+<br />
+Henselt, <a href="#page_075">75</a>, and Dreyschock, <a href="#page_077">77</a><br />
+<br />
+<i>Herrmann</i>, steamer, <a href="#page_027">27</a><br />
+<br />
+Hill, Frank, <a href="#page_027">27</a><br />
+<br />
+Hoffman, Carl, <a href="#page_095">95</a><br />
+<br />
+Hoffman, Richard, <a href="#page_207">207</a><br />
+<br />
+Hofmann, Josef, <a href="#page_271">271</a><br />
+<br />
+Hummel, <a href="#page_172">172</a><br />
+<br />
+Huss, Henry Holden, <a href="#page_271">271</a><br />
+<br />
+<br />
+Joachim, <a href="#page_062">62</a>;<br />
+<span style="margin-left: 1em;">autograph, <a href="#page_064">64</a>, <a href="#page_109">109</a>, <a href="#page_124">124</a>, <a href="#page_126">126</a>, <a href="#page_137">137</a>;</span><br />
+<span style="margin-left: 1em;">coolness between Liszt and, <a href="#page_142">142</a>, <a href="#page_147">147</a></span><br />
+<br />
+<br />
+Kelley, Edgar Stillman, <a href="#page_261">261</a><br />
+<br />
+Klauser, Karl, <a href="#page_202">202</a><br />
+<br />
+Klindworth, Karl, <a href="#page_089">89</a>, <a href="#page_091">91</a>, <a href="#page_097">97</a>, <a href="#page_100">100</a>, <a href="#page_107">107</a>, <a href="#page_109">109</a>, <a href="#page_114">114</a>, <a href="#page_127">127</a>, <a href="#page_141">141</a><br />
+<br />
+Kneisel Quartet, autograph, <a href="#page_262">262</a><br />
+<br />
+Kobb�, Gustav, <a href="#page_x"><span class="smcap">X</span></a><br />
+<br />
+<br />
+Laub, Ferdinand, <a href="#page_063">63</a>, <a href="#page_092">92</a>, <a href="#page_126">126</a>, <a href="#page_150">150</a>;<br />
+<span style="margin-left: 1em;">autograph, <a href="#page_180">180</a></span><br />
+<br />
+Leschetitsky, <a href="#page_070">70</a><br />
+<br />
+Liszt, feat of memory, <a href="#page_031">31-34</a>, <a href="#page_059">59</a>;<br />
+<span style="margin-left: 1em;">Mason a pupil, and reminiscences of, <a href="#page_086">86-182</a>;</span><br />
+<span style="margin-left: 1em;">in middle life, portrait, <a href="#page_088">88</a>;</span><br />
+<span style="margin-left: 1em;">method of teaching, <a href="#page_090">90</a>, <a href="#page_097">97-101</a>, <a href="#page_114">114</a>;</span><br />
+<span style="margin-left: 1em;">quartet at the Altenburg, <a href="#page_091">91</a>, and Remenyi, <a href="#page_093">93</a>, <a href="#page_152">152</a>;</span><br />
+<span style="margin-left: 1em;">Liszt pupils, <a href="#page_089">89</a>, <a href="#page_096">96</a>;</span><br />
+<span style="margin-left: 1em;">personal appearance, <a href="#page_101">101</a>;</span><br />
+<span style="margin-left: 1em;">and Beethoven's Op. 106, <a href="#page_103">103</a>;</span><br />
+<span style="margin-left: 1em;">and the eye-glasses, <a href="#page_106">106</a>;</span><br />
+<span style="margin-left: 1em;">carefulness in dress, <a href="#page_107">107</a>;</span><br />
+<span style="margin-left: 1em;">pianoforte-playing, <a href="#page_110">110-114</a>;</span><br />
+<span style="margin-left: 1em;">touch and own opinion of, <a href="#page_114">114</a>;</span><br />
+<span style="margin-left: 1em;">warns pupils against, <i>id.</i>;</span><br />
+<span style="margin-left: 1em;">on technic, <a href="#page_116">116</a>;</span><br />
+<span style="margin-left: 1em;">and Pixis, <a href="#page_117">117</a>;</span><br />
+<span style="margin-left: 1em;">as a conductor, <a href="#page_119">119</a>;</span><br />
+<span style="margin-left: 1em;">rehearsing "Tasso," <a href="#page_121">121</a>;</span><br />
+<span style="margin-left: 1em;">and Brahms's first meeting, <a href="#page_127">127-132</a>, <a href="#page_141">141</a>;</span><br />
+<span style="margin-left: 1em;">and Wagner, <a href="#page_132">132</a>, <a href="#page_158">158</a>, <a href="#page_164">164</a>;</span><br />
+<span style="margin-left: 1em;">Joachim and, <a href="#page_142">142</a>;</span><br />
+<span style="margin-left: 1em;">sight-reading, <a href="#page_142">142</a>;</span><br />
+<span style="margin-left: 1em;">contrition, <a href="#page_144">144</a>;</span><br />
+<span style="margin-left: 1em;">musical intuition, <a href="#page_167">167</a>;</span><br />
+<span style="margin-left: 1em;">opinion of Tausig, <a href="#page_175">175</a>;</span><br />
+<span style="margin-left: 1em;">letters to Mason, <a href="#page_179">179</a>, <a href="#page_181">181</a>, and
+<a href="#page_291">291-296</a>;</span><br />
+<span style="margin-left: 1em;">last message to Mason, <a href="#page_182">182</a>, <a href="#page_184">184</a>, <a href="#page_198">198</a>, <a href="#page_224">224</a>, <a href="#page_229">229</a>, <a href="#page_243">243</a>, <a href="#page_270">270</a>;<a name="page_302" id="page_302"></a></span><br />
+<span style="margin-left: 1em;">"Sainte Elisabeth," <a href="#page_292">292</a>;</span><br />
+<span style="margin-left: 1em;">"Po�mes Symphoniques," <a href="#page_293">293</a>;</span><br />
+<span style="margin-left: 1em;">opinion of Mason's compositions, <a href="#page_294">294</a></span><br />
+<br />
+Liszt, Cosima, <a href="#page_240">240</a><br />
+<br />
+Lohengrin, <a href="#page_133">133</a>, <a href="#page_134">134</a>, <a href="#page_139">139</a>, <a href="#page_146">146</a><br />
+<br />
+<br />
+MacDowell, <a href="#page_255">255</a>;<br />
+<span style="margin-left: 1em;">"Sonata Tragica," <a href="#page_255">255</a>;</span><br />
+<span style="margin-left: 1em;">"Sonata Eroica," 256, <a href="#page_261">261</a></span><br />
+<br />
+<br />
+Marx, Dr., <a href="#page_165">165</a><br />
+<br />
+Mason Brothers, <a href="#page_184">184</a><br />
+<br />
+Mason, Lowell, <a href="#page_004">4</a>;<br />
+<span style="margin-left: 1em;">career of, <a href="#page_005">5-10</a> and 275 <i>et seq.</i>;</span><br />
+<span style="margin-left: 1em;">Handel and Haydn Society, <a href="#page_007">7</a>;</span><br />
+<span style="margin-left: 1em;">introduces music in Boston public schools, <a href="#page_008">8</a>, <a href="#page_289">289</a>;</span><br />
+<span style="margin-left: 1em;">musical instruction for the blind, <a href="#page_008">8</a>;</span><br />
+<span style="margin-left: 1em;">Boston Academy of Music, <a href="#page_009">9</a>;</span><br />
+<span style="margin-left: 1em;">originates musical conventions, <a href="#page_009">9</a>;</span><br />
+<span style="margin-left: 1em;">fife and drum serenade to, <a href="#page_025">25</a>;</span><br />
+<span style="margin-left: 1em;">work praised by Moritz Hauptmann, <a href="#page_046">46</a>;</span><br />
+<span style="margin-left: 1em;">address on, by William S. Tilden, <a href="#page_275">275</a>;</span><br />
+<span style="margin-left: 1em;">ancestry of, <a href="#page_276">276</a>;</span><br />
+<span style="margin-left: 1em;">at Medfield, Mass., <a href="#page_277">277</a>;</span><br />
+<span style="margin-left: 1em;">portrait, <a href="#page_277">277</a>;</span><br />
+<span style="margin-left: 1em;">nearly drowned, <a href="#page_279">279</a>;</span><br />
+<span style="margin-left: 1em;">commences teaching, <a href="#page_282">282</a>;</span><br />
+<span style="margin-left: 1em;">religious views, <a href="#page_285">285</a>;</span><br />
+<span style="margin-left: 1em;">tact and shrewdness, <a href="#page_285">285</a>;</span><br />
+<span style="margin-left: 1em;">magnetism as a teacher, <a href="#page_286">286</a></span><br />
+<br />
+Mason, William, portrait, 1899, frontispiece;<br />
+<span style="margin-left: 1em;">ancestry of, <a href="#page_003">3</a>;</span><br />
+<span style="margin-left: 1em;">born at Boston, <a href="#page_003">3</a>;</span><br />
+<span style="margin-left: 1em;">early musical training, <a href="#page_010">10</a>;</span><br />
+<span style="margin-left: 1em;">meets Webster and Clay, <a href="#page_011">11</a>, <a href="#page_012">12</a>;</span><br />
+<span style="margin-left: 1em;">portrait as a boy, <a href="#page_012">12</a>;</span><br />
+<span style="margin-left: 1em;">d�but as pianist, <a href="#page_013">13</a>;</span><br />
+<span style="margin-left: 1em;">piano lesson, <a href="#page_014">14</a>, <a href="#page_015">15</a>;</span><br />
+<span style="margin-left: 1em;">hints on touch, <a href="#page_016">16-18</a>;</span><br />
+<span style="margin-left: 1em;">plays with Harvard Musical Association, <a href="#page_018">18</a>;</span><br />
+<span style="margin-left: 1em;">hears Leopold de Meyer, <a href="#page_019">19</a>;</span><br />
+<span style="margin-left: 1em;">portrait at eighteen, <a href="#page_020">20</a>;</span><br />
+<span style="margin-left: 1em;">and "Father Heinrich," <a href="#page_022">22</a>;</span><br />
+<span style="margin-left: 1em;">meets Miss Webb, <a href="#page_026">26</a>;</span><br />
+<span style="margin-left: 1em;">sails for Bremen, <a href="#page_027">27</a>;</span><br />
+<span style="margin-left: 1em;">in Paris, <a href="#page_027">27</a>;</span><br />
+<span style="margin-left: 1em;">meets Meyerbeer, <a href="#page_028">28</a>;</span><br />
+<span style="margin-left: 1em;">in Hamburg, <a href="#page_031">31</a>;</span><br />
+<span style="margin-left: 1em;">goes to Leipsic, <a href="#page_031">31</a>;</span><br />
+<span style="margin-left: 1em;">first meeting with Liszt, <a href="#page_033">33</a>;</span><br />
+<span style="margin-left: 1em;">arrives at Leipsic, <a href="#page_034">34</a>;</span><br />
+<span style="margin-left: 1em;">concert of the Euterpe Society changes his high opinion of German musical taste, <a href="#page_034">34</a>, <a href="#page_035">35</a>;</span><br />
+<span style="margin-left: 1em;">begins studies with Moscheles, <a href="#page_036">36</a>;</span><br />
+<span style="margin-left: 1em;">contrasts Schumann and Mendelssohn, <a href="#page_043">43</a>;</span><br />
+<span style="margin-left: 1em;">calls on Schumann and secures his autograph, <a href="#page_043">43</a>, <a href="#page_044">44</a>;</span><br />
+<span style="margin-left: 1em;">contrasts personalities of Wagner and Schumann, <a href="#page_044">44</a>;</span><br />
+<span style="margin-left: 1em;">pupil of Moritz Hauptmann, <a href="#page_044">44</a>;</span><br />
+<span style="margin-left: 1em;">of Ernst Friedrich Richter, <a href="#page_048">48</a>;</span><br />
+<span style="margin-left: 1em;">acquaintance with Albert Wagner, <a href="#page_048">48</a>;</span><br />
+<span style="margin-left: 1em;">call on Richard Wagner in Z�rich and interview, <a href="#page_048">48</a>;</span><br />
+<span style="margin-left: 1em;">impressions of Wagner, <a href="#page_050">50</a>;</span><br />
+<span style="margin-left: 1em;">Wagner writes the dragon motive for him as an autograph, <a href="#page_055">55</a>;</span><br />
+<span style="margin-left: 1em;">compares Moscheles and Paderewski, <a href="#page_059">59</a>;</span><br />
+<span style="margin-left: 1em;">first meeting with Joachim and opinion of, <a href="#page_062">62</a>;</span><br />
+<span style="margin-left: 1em;">hears Schumann's "First Symphony," 63, and pianoforte concerto, <a href="#page_063">63</a>, <a href="#page_064">64</a>;</span><br />
+<span style="margin-left: 1em;">comment on, <a href="#page_064">64</a>;</span><br />
+<span style="margin-left: 1em;">decides to study with Dreyschock in Prague, <a href="#page_065">65</a>;</span><br />
+<span style="margin-left: 1em;">passport difficulties, <a href="#page_065">65</a>;</span><br />
+<span style="margin-left: 1em;">opinion of Dreyschock, <a href="#page_066">66</a>;</span><br />
+<span style="margin-left: 1em;">remarkable pianistic feat of Dreyschock, <a href="#page_067">67</a>;</span><br />
+<span style="margin-left: 1em;">upper-arm muscles in pianoforte-playing, <a href="#page_069">69</a>;<a name="page_303" id="page_303"></a></span><br />
+<span style="margin-left: 1em;">comment on Leschetitsky's method, <a href="#page_070">70</a>;</span><br />
+<span style="margin-left: 1em;">acquaintance with Jules Schulhoff, <a href="#page_071">71</a>;</span><br />
+<span style="margin-left: 1em;">amusing experiences at Prince de Rohan's dinner, <a href="#page_071">71</a>;</span><br />
+<span style="margin-left: 1em;">goes to Frankfort, <a href="#page_079">79</a>;</span><br />
+<span style="margin-left: 1em;">meets Beethoven's friend Schindler, <a href="#page_079">79</a>;</span><br />
+<span style="margin-left: 1em;">London d�but, <a href="#page_084">84</a>;</span><br />
+<span style="margin-left: 1em;">Mendelssohn's influence in England, <a href="#page_084">84</a>;</span><br />
+<span style="margin-left: 1em;">again calls on Liszt at Weimar, <a href="#page_086">86</a>;</span><br />
+<span style="margin-left: 1em;">mistaken for wine agent, <a href="#page_087">87</a>;</span><br />
+<span style="margin-left: 1em;">plays for Liszt, <a href="#page_088">88</a>;</span><br />
+<span style="margin-left: 1em;">becomes a pupil of Liszt, <a href="#page_089">89</a>;</span><br />
+<span style="margin-left: 1em;">dines with the Wittgensteins, <a href="#page_095">95</a>;</span><br />
+<span style="margin-left: 1em;">acquaintance with Raff and Klindworth, <a href="#page_096">96</a>;</span><br />
+<span style="margin-left: 1em;">first lesson with Liszt, <a href="#page_098">98</a>;</span><br />
+<span style="margin-left: 1em;">fatigue after, <a href="#page_100">100</a>;</span><br />
+<span style="margin-left: 1em;">breakfast to Joachim and Wieniawski, <a href="#page_109">109</a>;</span><br />
+<span style="margin-left: 1em;">opinion of Liszt's playing, <a href="#page_111">111</a>;</span><br />
+<span style="margin-left: 1em;">M.'s copy of Liszt's "B�n�diction de Dieu dans la Solitude" and Handel's "E Minor Fugue," 118, <a href="#page_119">119</a>;</span><br />
+<span style="margin-left: 1em;">attends with Liszt rehearsal of "Tasso," <a href="#page_121">121</a>;</span><br />
+<span style="margin-left: 1em;">extracts from Weimar diary, <a href="#page_122">122-125</a>;</span><br />
+<span style="margin-left: 1em;">present at Brahms's first meeting with Liszt and description of, <a href="#page_127">127</a>;</span><br />
+<span style="margin-left: 1em;">attends Leipsic premi�re of "Lohengrin," <a href="#page_133">133</a>;</span><br />
+<span style="margin-left: 1em;">supper at Ferdinand David's, <a href="#page_134">134</a>;</span><br />
+<span style="margin-left: 1em;">"Kapellmeister of New York," <a href="#page_135">135</a>;</span><br />
+<span style="margin-left: 1em;">meets Brahms at Bonn, <a href="#page_136">136</a>;</span><br />
+<span style="margin-left: 1em;">opinion of Brahms as pianist and composer, <a href="#page_137">137-141</a>;</span><br />
+<span style="margin-left: 1em;">acquaintance with Cornelius, <a href="#page_145">145</a>;</span><br />
+<span style="margin-left: 1em;">reminiscences and opinion of Joachim, Vieuxtemps, Ole Bull, Sivori, Ernst, Wilhelmj, Henri Wieniawski, Laub, Cossmann, and Brodsky, <a href="#page_147">147-151</a>;</span><br />
+<span style="margin-left: 1em;">acquaintance with Remenyi, <a href="#page_093">93</a>, <a href="#page_151">151</a>;</span><br />
+<span style="margin-left: 1em;">reminiscences and opinion of Tedesco, Perelli, Sontag, Johanna Wagner, and De la Grange, <a href="#page_153">153-158</a>;</span><br />
+<span style="margin-left: 1em;">becomes a "Murl";</span><br />
+<span style="margin-left: 1em;">opinion of Wagner, <a href="#page_159">159</a>;</span><br />
+<span style="margin-left: 1em;">reminiscences of Raff, <a href="#page_161">161-164</a>;</span><br />
+<span style="margin-left: 1em;">sees Berlioz conduct, <a href="#page_168">168</a>;</span><br />
+<span style="margin-left: 1em;">opinion of, <a href="#page_169">169</a>;</span><br />
+<span style="margin-left: 1em;">opinion of Beethoven, Chopin, and Schumann, <a href="#page_170">170</a>, <a href="#page_171">171</a>;</span><br />
+<span style="margin-left: 1em;">entertains Rubinstein at Weimar, <a href="#page_171">171</a>;</span><br />
+<span style="margin-left: 1em;">compares him with Hambourg, <a href="#page_174">174</a>;</span><br />
+<span style="margin-left: 1em;">letters from Liszt to, <a href="#page_176">176</a>, also Appendix, Part II, p. <a href="#page_291">291</a> <i>et seq.</i>;</span><br />
+<span style="margin-left: 1em;">messages from Liszt to, <a href="#page_181">181</a>, <a href="#page_182">182</a>;</span><br />
+<span style="margin-left: 1em;">return to America, <a href="#page_183">183</a>;</span><br />
+<span style="margin-left: 1em;">marriage, <a href="#page_183">183</a>;</span><br />
+<span style="margin-left: 1em;">concert tour, <a href="#page_183">183-190</a>;</span><br />
+<span style="margin-left: 1em;">combines "Yankee Doodle" and "Old Hundred," <a href="#page_187">187</a>;</span><br />
+<span style="margin-left: 1em;">teaching in New York, <a href="#page_191">191</a>;</span><br />
+<span style="margin-left: 1em;">inaugurates chamber-music concerts, <a href="#page_193">193</a>;</span><br />
+<span style="margin-left: 1em;">first program, <a href="#page_194">194</a>;</span><br />
+<span style="margin-left: 1em;">"Mason and Thomas Quartet," <a href="#page_196">196</a>;</span><br />
+<span style="margin-left: 1em;">concert at Farmington, Conn., <a href="#page_202">202</a>;</span><br />
+<span style="margin-left: 1em;">reminiscences of Gottschalk, <a href="#page_205">205</a>, and Schumann's music, <a href="#page_209">209</a>;</span><br />
+<span style="margin-left: 1em;">describes Thalberg's playing, <a href="#page_210">210</a>;</span><br />
+<span style="margin-left: 1em;">reminiscences of Rubinstein and opinion of, <a href="#page_221">221-236</a>;</span><br />
+<span style="margin-left: 1em;">and Von B�low, <a href="#page_238">238</a>;</span><br />
+<span style="margin-left: 1em;">letter from Von B�low to, <a href="#page_239">239</a>;</span><br />
+<span style="margin-left: 1em;">meeting with Grieg, <a href="#page_241">241</a>;</span><br />
+<span style="margin-left: 1em;">discusses piano technic, tempo, pitch, etc., <a href="#page_243">243-251</a>;</span><br />
+<span style="margin-left: 1em;">studio, <a href="#page_248">248</a>;</span><br />
+<span style="margin-left: 1em;">at Isles of Shoals, <a href="#page_251">251-258</a>;</span><br />
+<span style="margin-left: 1em;">opinion of Von Dohn�nyi, <a href="#page_263">263</a>;</span><br />
+<span style="margin-left: 1em;">Godowsky, <a href="#page_265">265</a>;</span><br />
+<span style="margin-left: 1em;">Gabrilowitsch, <a href="#page_269">269</a>;</span><br />
+<span style="margin-left: 1em;">Bauer, <a href="#page_270">270</a>;</span><br />
+<span style="margin-left: 1em;">Friedheim, <a href="#page_270">270</a><a name="page_304" id="page_304"></a></span><br />
+<br />
+Mason-Thomas Quartet, portrait group, <a href="#page_196">196</a><br />
+<br />
+Matthews, W. S. B., <a href="#page_261">261</a><br />
+<br />
+Matzka, George, <a href="#page_194">194</a><br />
+<br />
+Mayer, Carl, <a href="#page_031">31</a>, <a href="#page_065">65</a><br />
+<br />
+Mendelssohn, exaggerated worship of, <a href="#page_037">37</a>;<br />
+<span style="margin-left: 1em;">friendship with Moscheles, <a href="#page_037">37</a>;</span><br />
+<span style="margin-left: 1em;">thought greater than Beethoven, <a href="#page_037">37</a>;</span><br />
+<span style="margin-left: 1em;">influence in England, <a href="#page_085">85</a></span><br />
+<br />
+Meyer, Leopold de, Mason's recollections of, <a href="#page_019">19</a>;<br />
+<span style="margin-left: 1em;">beauty of tone, <a href="#page_020">20</a>;</span><br />
+<span style="margin-left: 1em;">New York concerts and anecdote, <a href="#page_021">21</a>, <a href="#page_069">69</a>, <a href="#page_211">211-215</a></span><br />
+<br />
+Meyerbeer, meeting of with William Mason, <a href="#page_028">28</a>;<br />
+<span style="margin-left: 1em;">rehearsing "Le Proph�te", <a href="#page_030">30</a></span><br />
+<br />
+Mills, S. B., <a href="#page_292">292</a><br />
+<br />
+Moscheles, <a href="#page_027">27</a>;<br />
+<span style="margin-left: 1em;">autograph, <a href="#page_032">32</a>;</span><br />
+<span style="margin-left: 1em;">practises Beethoven in secret, <a href="#page_036">36</a>;</span><br />
+<span style="margin-left: 1em;">opposes his daughter's playing Chopin, <a href="#page_037">37</a>;</span><br />
+<span style="margin-left: 1em;">intimacy with Mendelssohn, <a href="#page_037">37</a>;</span><br />
+<span style="margin-left: 1em;">entertains Schumann, anecdote, <a href="#page_042">42</a>;</span><br />
+<span style="margin-left: 1em;">pianoforte-playing, <a href="#page_057">57</a>;</span><br />
+<span style="margin-left: 1em;">silver wedding, <a href="#page_061">61</a></span><br />
+<br />
+Mosenthal, Joseph, <a href="#page_194">194</a><br />
+<br />
+Mozart, <a href="#page_250">250</a><br />
+<br />
+"Murls," the, <a href="#page_158">158</a><br />
+<br />
+Musical conventions, origin of, <a href="#page_009">9</a><br />
+<br />
+Musical pedigree, <a href="#page_180">180</a><br />
+<br />
+Music in America to-day, <a href="#page_259">259-272</a><br />
+<br />
+<br />
+Ohe, Adele aus der, <a href="#page_270">270</a><br />
+<br />
+<br />
+Paderewski, <a href="#page_060">60</a>;<br />
+<span style="margin-left: 1em;">fantasy on "Yankee Doodle," <a href="#page_236">236</a>;</span><br />
+<span style="margin-left: 1em;">autograph, <a href="#page_236">236</a></span><br />
+<br />
+Paine, John K., <a href="#page_252">252</a>, <a href="#page_261">261</a><br />
+<br />
+Parker, Horatio W., <a href="#page_261">261</a><br />
+<br />
+Parker, J. C. D., <a href="#page_135">135</a><br />
+<br />
+"Parsifal," Liszt's tribute to, <a href="#page_133">133</a><br />
+<br />
+Pedal, hints on use of, <a href="#page_215">215-221</a>;<br />
+<span style="margin-left: 1em;">study, <a href="#page_219">219</a></span><br />
+<br />
+Perelli, <a href="#page_154">154</a><br />
+<br />
+Perkins, Charles C., <a href="#page_135">135</a><br />
+<br />
+Philharmonic Society, New York, <a href="#page_262">262</a><br />
+<br />
+Pitch, positive, <a href="#page_247">247</a>;<br />
+<span style="margin-left: 1em;">Thomas's ear for, <a href="#page_251">251</a></span><br />
+<br />
+Pixis, <a href="#page_117">117</a><br />
+<br />
+Pruckner, Dionys, <a href="#page_089">89</a>, <a href="#page_091">91</a>, <a href="#page_100">100</a>, <a href="#page_107">107</a>, <a href="#page_114">114</a>, <a href="#page_125">125</a>, <a href="#page_135">135</a><br />
+<br />
+Pupils, unusual, <a href="#page_246">246</a><br />
+<br />
+<br />
+Raff, <a href="#page_089">89</a>, <a href="#page_091">91</a>, <a href="#page_096">96</a>;<br />
+<span style="margin-left: 1em;">friendship for Mason, <a href="#page_097">97</a>, <a href="#page_124">124</a>, <a href="#page_129">129</a>, <a href="#page_133">133</a>;</span><br />
+<span style="margin-left: 1em;">in Weimar, <a href="#page_161">161-164</a>;</span><br />
+<span style="margin-left: 1em;">Mason's first impression of, <a href="#page_161">161</a>;</span><br />
+<span style="margin-left: 1em;">poverty, <a href="#page_162">162</a>;</span><br />
+<span style="margin-left: 1em;">arrested for debt, <a href="#page_162">162</a>;</span><br />
+<span style="margin-left: 1em;">prison<a name="page_305" id="page_305"></a></span><br />
+<span style="margin-left: 1em;">comforts, <a href="#page_162">162</a>;</span><br />
+<span style="margin-left: 1em;">pianoforte-playing, <a href="#page_162">162</a>;</span><br />
+<span style="margin-left: 1em;">as a composer, <a href="#page_163">163</a>;</span><br />
+<span style="margin-left: 1em;">and Wagner propaganda, <a href="#page_134">134</a>, <a href="#page_142">142</a>, <a href="#page_144">144</a>, <a href="#page_164">164</a></span><br />
+<br />
+Remenyi and the "Kreutzer Sonata," <a href="#page_093">93</a>;<br />
+<span style="margin-left: 1em;">Liszt rebukes, <a href="#page_094">94</a>;</span><br />
+<span style="margin-left: 1em;">on Liszt's playing, <a href="#page_112">112</a>;</span><br />
+<span style="margin-left: 1em;">visits Liszt with Brahms, <a href="#page_127">127</a>, <a href="#page_130">130</a>, <a href="#page_151">151-153</a></span><br />
+<br />
+Rhythmus exercises, <a href="#page_191">191</a><br />
+<span style="margin-left: 1em;">Moscheles on, <a href="#page_193">193</a></span><br />
+<br />
+Richter, Ernst Friedrich, <a href="#page_048">48</a><br />
+<br />
+Rohan, Prince de, <a href="#page_071">71-75</a><br />
+<br />
+Rubinstein and Princess Marie Sayn-Wittgenstein, <a href="#page_095">95</a>;<br />
+<span style="margin-left: 1em;">on Liszt's playing, <a href="#page_111">111</a>;</span><br />
+<span style="margin-left: 1em;">Liszt's contrition, <a href="#page_144">144</a>;</span><br />
+<span style="margin-left: 1em;">Mason entertains at Weimar in 1854, <a href="#page_171">171</a>;</span><br />
+<span style="margin-left: 1em;">plays, <a href="#page_173">173</a>;</span><br />
+<span style="margin-left: 1em;">opposition to Wagner, <a href="#page_174">174</a>;</span><br />
+<span style="margin-left: 1em;">Liszt's opinion of, <a href="#page_175">175</a>, <a href="#page_180">180</a>, <a href="#page_221">221-236</a>;</span><br />
+<span style="margin-left: 1em;">and the autograph-hunter, <a href="#page_221">221</a>;</span><br />
+<span style="margin-left: 1em;">opinion of Americans, <a href="#page_222">222</a>;</span><br />
+<span style="margin-left: 1em;">style of playing, <a href="#page_224">224</a>;</span><br />
+<span style="margin-left: 1em;">favorite seat, <a href="#page_227">227</a>;</span><br />
+<span style="margin-left: 1em;">Bach's "Triple Concerto," <a href="#page_230">230</a>;</span><br />
+<span style="margin-left: 1em;">significant autograph, <a href="#page_232">232</a>, <a href="#page_234">234</a>;</span><br />
+<span style="margin-left: 1em;">"Yankee Doodle" variations, <a href="#page_236">236</a>, <a href="#page_268">268</a></span><br />
+<br />
+<br />
+Sanford, S. S., <a href="#page_261">261</a><br />
+<br />
+Sayn-Wittgenstein, F�rstin, <a href="#page_094">94</a>;<br />
+<span style="margin-left: 1em;">Princess Marie, <a href="#page_095">95</a></span><br />
+<br />
+Schindler, Anton, <a href="#page_079">79</a>;<br />
+<span style="margin-left: 1em;">"Ami de Beethoven," <a href="#page_080">80</a>;</span><br />
+<span style="margin-left: 1em;">autograph, <a href="#page_080">80</a>;</span><br />
+<span style="margin-left: 1em;">and "Fifth Symphony," <a href="#page_081">81</a>;</span><br />
+<span style="margin-left: 1em;">persuaded to meet Von Wartensee, <a href="#page_082">82</a>, and d�nouement, <a href="#page_083">83</a></span><br />
+<br />
+Schlesinger, <a href="#page_033">33</a>;<br />
+<span style="margin-left: 1em;">daughter plays Chopin, <a href="#page_033">33</a></span><br />
+<br />
+Schmidt, Henry, conducts first Beethoven symphony in America, <a href="#page_009">9</a>, <a href="#page_013">13-15</a>, <a href="#page_019">19</a><br />
+<br />
+Schubert, <a href="#page_125">125</a>, <a href="#page_169">169</a><br />
+<br />
+Schuberth, Julius, <a href="#page_027">27</a>, <a href="#page_031">31</a>, <a href="#page_032">32</a><br />
+<br />
+Schulhoff, <a href="#page_112">112</a><br />
+<br />
+Schumann, his life at Leipsic, <a href="#page_038">38</a>;<br />
+<span style="margin-left: 1em;">autograph, <a href="#page_038">38</a>;</span><br />
+<span style="margin-left: 1em;">not appreciated, <a href="#page_039">39</a>;</span><br />
+<span style="margin-left: 1em;">Mason's enthusiasm on hearing S.'s "First Symphony," <a href="#page_040">40</a>;</span><br />
+<span style="margin-left: 1em;">Mason sends score to Boston, <a href="#page_040">40</a>;</span><br />
+<span style="margin-left: 1em;">attempts there to play it, <a href="#page_040">40</a>;</span><br />
+<span style="margin-left: 1em;">Webb's opinion of it, <a href="#page_041">41</a>;</span><br />
+<span style="margin-left: 1em;">S. laughed at by his publisher's clerks, <a href="#page_041">41</a>;</span><br />
+<span style="margin-left: 1em;">as a conductor, <a href="#page_041">41</a>;</span><br />
+<span style="margin-left: 1em;">absent-mindedness, <a href="#page_042">42</a>;</span><br />
+<span style="margin-left: 1em;">compared with Mendelssohn by Mason, <a href="#page_043">43</a>;</span><br />
+<span style="margin-left: 1em;">Mason calls on him, <a href="#page_043">43</a>;</span><br />
+<span style="margin-left: 1em;">second call and autograph, <a href="#page_044">44</a>;</span><br />
+<span style="margin-left: 1em;">Mason contrasts the personalities of S. and Wagner, <a href="#page_044">44</a>;</span><br />
+<span style="margin-left: 1em;">a minor concerto, <a href="#page_063">63</a>; <a href="#page_132">132</a>, <a href="#page_136">136</a>, <a href="#page_137">137</a>, <a href="#page_171">171</a>, <a href="#page_209">209</a></span><br />
+<br />
+Schumann, Clara, <a href="#page_043">43</a>;<br />
+<span style="margin-left: 1em;">autograph, <a href="#page_044">44</a></span><br />
+<br />
+Shelley, H. R., <a href="#page_261">261</a><br />
+<br />
+Sherwood, William H., <a href="#page_261">261</a><br />
+<br />
+Sontag, Henriette, and autograph, <a href="#page_154">154</a><br />
+<br />
+Stange, Adolph, Weimar reminiscences of, <a href="#page_165">165-168</a><a name="page_306" id="page_306"></a><br />
+<br />
+Stavenhagen, <a href="#page_112">112</a><br />
+<br />
+St�rr, <a href="#page_092">92</a><br />
+<br />
+<br />
+"Tasso," Liszt at rehearsal of, <a href="#page_121">121</a><br />
+<br />
+Tausig, <a href="#page_175">175</a>, <a href="#page_176">176</a><br />
+<br />
+Tedesco, <a href="#page_154">154</a><br />
+<br />
+Tempo, hints on, <a href="#page_243">243-247</a>;<br />
+<span style="margin-left: 1em;">Chopin, electrocuting, <a href="#page_244">244</a>;</span><br />
+<span style="margin-left: 1em;">rubato, <a href="#page_246">246</a></span><br />
+<br />
+Thalberg, <a href="#page_075">75</a>;<br />
+<span style="margin-left: 1em;">and Chopin, <a href="#page_076">76</a>, <a href="#page_210">210</a>;</span><br />
+<span style="margin-left: 1em;">autograph, <a href="#page_212">212</a></span><br />
+<br />
+Thaxter, Celia, <a href="#page_252">252-258</a><br />
+<br />
+Theimer, <a href="#page_117">117</a><br />
+<br />
+Thomas, Theodore, <a href="#page_111">111</a>, <a href="#page_194">194</a>;<br />
+<span style="margin-left: 1em;">at twenty, <a href="#page_195">195</a>;</span><br />
+<span style="margin-left: 1em;">genius of conductorship, <a href="#page_196">196</a>;</span><br />
+<span style="margin-left: 1em;">Mason and Thomas Quartet, <a href="#page_196">196</a>;</span><br />
+<span style="margin-left: 1em;">as a violinist, <a href="#page_197">197</a>;</span><br />
+<span style="margin-left: 1em;">a great conductor, <a href="#page_198">198</a>;</span><br />
+<span style="margin-left: 1em;">confidence in himself, <a href="#page_200">200</a>;</span><br />
+<span style="margin-left: 1em;">portrait at twenty-four, <a href="#page_200">200</a>;</span><br />
+<span style="margin-left: 1em;">contribution to Mason calendar, <a href="#page_202">202</a>;</span><br />
+<span style="margin-left: 1em;">ear for positive pitch, <a href="#page_251">251</a>, <a href="#page_292">292</a></span><br />
+<br />
+Timm, Henry C., <a href="#page_058">58</a><br />
+<br />
+Tomaschek, <a href="#page_066">66-70</a><br />
+<br />
+Tracy, James M., <a href="#page_095">95</a><br />
+<br />
+<br />
+Vieuxtemps, autograph, <a href="#page_144">144</a>, <a href="#page_148">148</a><br />
+<br />
+<br />
+Wagner, Albert, <a href="#page_048">48</a>, <a href="#page_049">49</a><br />
+<br />
+Wagner, Johanna, <a href="#page_154">154</a>, <a href="#page_156">156</a><br />
+<br />
+Wagner, Richard, <a href="#page_048">48</a>;<br />
+<span style="margin-left: 1em;">"Wer ist da?" <a href="#page_049">49</a>;</span><br />
+<span style="margin-left: 1em;">receives William Mason, <a href="#page_049">49</a>;</span><br />
+<span style="margin-left: 1em;">appearance in 1852, <a href="#page_050">50</a>;</span><br />
+<span style="margin-left: 1em;">compares Beethoven and Mendelssohn, <a href="#page_051">51</a>;</span><br />
+<span style="margin-left: 1em;">tribute to Beethoven, <a href="#page_052">52</a>;</span><br />
+<span style="margin-left: 1em;">lively manner, <a href="#page_054">54</a>;</span><br />
+<span style="margin-left: 1em;">gives Mason his autograph, <a href="#page_055">55</a>, <a href="#page_056">56</a>, <a href="#page_132">132</a>, <a href="#page_133">133</a>;</span><br />
+<span style="margin-left: 1em;">Wagner cause in Weimar, <a href="#page_159">159</a>;</span><br />
+<span style="margin-left: 1em;">Mason on, <a href="#page_159">159</a>, <a href="#page_179">179</a></span><br />
+<br />
+Walbr�hl, <a href="#page_092">92</a><br />
+<br />
+Webb, George James, <a href="#page_008">8</a>;<br />
+<span style="margin-left: 1em;">and Boston Academy of Music, <a href="#page_009">9</a>;</span><br />
+<span style="margin-left: 1em;">opinion of Schumann, <a href="#page_041">41</a></span><br />
+<br />
+Webb, Miss, <a href="#page_026">26</a>;<br />
+<span style="margin-left: 1em;">engaged and married to William Mason, <a href="#page_183">183</a></span><br />
+<br />
+Weber, Dionysius, <a href="#page_036">36</a><br />
+<br />
+Weimar, <a href="#page_086">86</a>;<br />
+<span style="margin-left: 1em;">Mason's reminiscences of Liszt at <a href="#page_086">86-182</a></span><br />
+<br />
+Whiting, Arthur, <a href="#page_261">261</a>, <a href="#page_271">271</a><br />
+<br />
+Wieniawski, Henri, <a href="#page_109">109</a>, <a href="#page_123">123</a>, <a href="#page_124">124</a>;<br />
+<span style="margin-left: 1em;">at Weimar, <a href="#page_126">126</a>, <a href="#page_150">150</a>, <a href="#page_223">223</a></span><br />
+<br />
+Wilhelmj, <a href="#page_150">150</a><br />
+<br />
+<br />
+"Yankee Doodle" and "Old Hundred," Mason asked to combine, <a href="#page_187">187</a>, <a href="#page_189">189</a><br />
+</p>
+
+<p><a name="page_307" id="page_307"></a></p>
+
+<div class="footnotes"><h2>FOOTNOTES:</h2>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> In a letter written twenty-four years later, in 1878, Liszt
+says of "Parsifal": "The composition of the first act is finished; in it
+are revealed the most wondrous depths and the most celestial heights of
+art."</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> As I have elsewhere stated, I was the first to meet
+Rubinstein in Weimar, while Liszt was away.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> He was at Moscow, being first professor of
+pianoforte-playing at the Conservatory there.</p></div>
+
+</div>
+<hr class="full" />
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Memories of a Musical Life, by William Mason
+
+*** END OF THIS PROJECT GUTENBERG EBOOK MEMORIES OF A MUSICAL LIFE ***
+
+***** This file should be named 35520-h.htm or 35520-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/5/5/2/35520/
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/35520-h/images/ill_012.jpg b/35520-h/images/ill_012.jpg
new file mode 100644
index 0000000..38c41ce
--- /dev/null
+++ b/35520-h/images/ill_012.jpg
diff --git a/35520-h/images/ill_020.jpg b/35520-h/images/ill_020.jpg
new file mode 100644
index 0000000..e882017
--- /dev/null
+++ b/35520-h/images/ill_020.jpg
diff --git a/35520-h/images/ill_032.png b/35520-h/images/ill_032.png
new file mode 100644
index 0000000..cdec5bd
--- /dev/null
+++ b/35520-h/images/ill_032.png
diff --git a/35520-h/images/ill_038.png b/35520-h/images/ill_038.png
new file mode 100644
index 0000000..8f24812
--- /dev/null
+++ b/35520-h/images/ill_038.png
diff --git a/35520-h/images/ill_038_sml.png b/35520-h/images/ill_038_sml.png
new file mode 100644
index 0000000..8d7c267
--- /dev/null
+++ b/35520-h/images/ill_038_sml.png
diff --git a/35520-h/images/ill_044.png b/35520-h/images/ill_044.png
new file mode 100644
index 0000000..759b181
--- /dev/null
+++ b/35520-h/images/ill_044.png
diff --git a/35520-h/images/ill_044_sml.png b/35520-h/images/ill_044_sml.png
new file mode 100644
index 0000000..8f58354
--- /dev/null
+++ b/35520-h/images/ill_044_sml.png
diff --git a/35520-h/images/ill_048.png b/35520-h/images/ill_048.png
new file mode 100644
index 0000000..4615ac2
--- /dev/null
+++ b/35520-h/images/ill_048.png
diff --git a/35520-h/images/ill_048_sml.png b/35520-h/images/ill_048_sml.png
new file mode 100644
index 0000000..5266c6f
--- /dev/null
+++ b/35520-h/images/ill_048_sml.png
diff --git a/35520-h/images/ill_054.png b/35520-h/images/ill_054.png
new file mode 100644
index 0000000..d690af0
--- /dev/null
+++ b/35520-h/images/ill_054.png
diff --git a/35520-h/images/ill_056.png b/35520-h/images/ill_056.png
new file mode 100644
index 0000000..4ad9a6b
--- /dev/null
+++ b/35520-h/images/ill_056.png
diff --git a/35520-h/images/ill_056_sml.png b/35520-h/images/ill_056_sml.png
new file mode 100644
index 0000000..0706a85
--- /dev/null
+++ b/35520-h/images/ill_056_sml.png
diff --git a/35520-h/images/ill_064.png b/35520-h/images/ill_064.png
new file mode 100644
index 0000000..7152755
--- /dev/null
+++ b/35520-h/images/ill_064.png
diff --git a/35520-h/images/ill_064_sml.png b/35520-h/images/ill_064_sml.png
new file mode 100644
index 0000000..689ecc3
--- /dev/null
+++ b/35520-h/images/ill_064_sml.png
diff --git a/35520-h/images/ill_080.png b/35520-h/images/ill_080.png
new file mode 100644
index 0000000..e4e414b
--- /dev/null
+++ b/35520-h/images/ill_080.png
diff --git a/35520-h/images/ill_080_sml.png b/35520-h/images/ill_080_sml.png
new file mode 100644
index 0000000..4d2817b
--- /dev/null
+++ b/35520-h/images/ill_080_sml.png
diff --git a/35520-h/images/ill_088.jpg b/35520-h/images/ill_088.jpg
new file mode 100644
index 0000000..41931df
--- /dev/null
+++ b/35520-h/images/ill_088.jpg
diff --git a/35520-h/images/ill_094.png b/35520-h/images/ill_094.png
new file mode 100644
index 0000000..1749bb9
--- /dev/null
+++ b/35520-h/images/ill_094.png
diff --git a/35520-h/images/ill_096.jpg b/35520-h/images/ill_096.jpg
new file mode 100644
index 0000000..5208315
--- /dev/null
+++ b/35520-h/images/ill_096.jpg
diff --git a/35520-h/images/ill_104.png b/35520-h/images/ill_104.png
new file mode 100644
index 0000000..fa39010
--- /dev/null
+++ b/35520-h/images/ill_104.png
diff --git a/35520-h/images/ill_144.png b/35520-h/images/ill_144.png
new file mode 100644
index 0000000..4a24fb5
--- /dev/null
+++ b/35520-h/images/ill_144.png
diff --git a/35520-h/images/ill_144_sml.png b/35520-h/images/ill_144_sml.png
new file mode 100644
index 0000000..471271c
--- /dev/null
+++ b/35520-h/images/ill_144_sml.png
diff --git a/35520-h/images/ill_150.png b/35520-h/images/ill_150.png
new file mode 100644
index 0000000..0e9a228
--- /dev/null
+++ b/35520-h/images/ill_150.png
diff --git a/35520-h/images/ill_150_sml.png b/35520-h/images/ill_150_sml.png
new file mode 100644
index 0000000..95d8414
--- /dev/null
+++ b/35520-h/images/ill_150_sml.png
diff --git a/35520-h/images/ill_154.png b/35520-h/images/ill_154.png
new file mode 100644
index 0000000..513228c
--- /dev/null
+++ b/35520-h/images/ill_154.png
diff --git a/35520-h/images/ill_154_sml.png b/35520-h/images/ill_154_sml.png
new file mode 100644
index 0000000..c6960bc
--- /dev/null
+++ b/35520-h/images/ill_154_sml.png
diff --git a/35520-h/images/ill_168.png b/35520-h/images/ill_168.png
new file mode 100644
index 0000000..9bda7e4
--- /dev/null
+++ b/35520-h/images/ill_168.png
diff --git a/35520-h/images/ill_168_sml.png b/35520-h/images/ill_168_sml.png
new file mode 100644
index 0000000..b7826a8
--- /dev/null
+++ b/35520-h/images/ill_168_sml.png
diff --git a/35520-h/images/ill_180.png b/35520-h/images/ill_180.png
new file mode 100644
index 0000000..85b6578
--- /dev/null
+++ b/35520-h/images/ill_180.png
diff --git a/35520-h/images/ill_180_sml.png b/35520-h/images/ill_180_sml.png
new file mode 100644
index 0000000..a4022bf
--- /dev/null
+++ b/35520-h/images/ill_180_sml.png
diff --git a/35520-h/images/ill_191.png b/35520-h/images/ill_191.png
new file mode 100644
index 0000000..53b7ced
--- /dev/null
+++ b/35520-h/images/ill_191.png
diff --git a/35520-h/images/ill_191_sml.png b/35520-h/images/ill_191_sml.png
new file mode 100644
index 0000000..9d0ffc9
--- /dev/null
+++ b/35520-h/images/ill_191_sml.png
diff --git a/35520-h/images/ill_192.png b/35520-h/images/ill_192.png
new file mode 100644
index 0000000..5bc6220
--- /dev/null
+++ b/35520-h/images/ill_192.png
diff --git a/35520-h/images/ill_196.jpg b/35520-h/images/ill_196.jpg
new file mode 100644
index 0000000..9fda0cf
--- /dev/null
+++ b/35520-h/images/ill_196.jpg
diff --git a/35520-h/images/ill_200.jpg b/35520-h/images/ill_200.jpg
new file mode 100644
index 0000000..6256059
--- /dev/null
+++ b/35520-h/images/ill_200.jpg
diff --git a/35520-h/images/ill_208.png b/35520-h/images/ill_208.png
new file mode 100644
index 0000000..6b1e6eb
--- /dev/null
+++ b/35520-h/images/ill_208.png
diff --git a/35520-h/images/ill_208_sml.png b/35520-h/images/ill_208_sml.png
new file mode 100644
index 0000000..4e7a590
--- /dev/null
+++ b/35520-h/images/ill_208_sml.png
diff --git a/35520-h/images/ill_212.png b/35520-h/images/ill_212.png
new file mode 100644
index 0000000..4643038
--- /dev/null
+++ b/35520-h/images/ill_212.png
diff --git a/35520-h/images/ill_212_sml.png b/35520-h/images/ill_212_sml.png
new file mode 100644
index 0000000..d896e6c
--- /dev/null
+++ b/35520-h/images/ill_212_sml.png
diff --git a/35520-h/images/ill_219.png b/35520-h/images/ill_219.png
new file mode 100644
index 0000000..ac61efd
--- /dev/null
+++ b/35520-h/images/ill_219.png
diff --git a/35520-h/images/ill_219_sml.png b/35520-h/images/ill_219_sml.png
new file mode 100644
index 0000000..29eafd2
--- /dev/null
+++ b/35520-h/images/ill_219_sml.png
diff --git a/35520-h/images/ill_220.png b/35520-h/images/ill_220.png
new file mode 100644
index 0000000..c85a479
--- /dev/null
+++ b/35520-h/images/ill_220.png
diff --git a/35520-h/images/ill_232_1.png b/35520-h/images/ill_232_1.png
new file mode 100644
index 0000000..c9d14cc
--- /dev/null
+++ b/35520-h/images/ill_232_1.png
diff --git a/35520-h/images/ill_232_1_sml.png b/35520-h/images/ill_232_1_sml.png
new file mode 100644
index 0000000..2c604ec
--- /dev/null
+++ b/35520-h/images/ill_232_1_sml.png
diff --git a/35520-h/images/ill_232_2.png b/35520-h/images/ill_232_2.png
new file mode 100644
index 0000000..636f099
--- /dev/null
+++ b/35520-h/images/ill_232_2.png
diff --git a/35520-h/images/ill_232_2_sml.png b/35520-h/images/ill_232_2_sml.png
new file mode 100644
index 0000000..2077681
--- /dev/null
+++ b/35520-h/images/ill_232_2_sml.png
diff --git a/35520-h/images/ill_232_a.png b/35520-h/images/ill_232_a.png
new file mode 100644
index 0000000..758e99b
--- /dev/null
+++ b/35520-h/images/ill_232_a.png
diff --git a/35520-h/images/ill_232_b.png b/35520-h/images/ill_232_b.png
new file mode 100644
index 0000000..f08a29e
--- /dev/null
+++ b/35520-h/images/ill_232_b.png
diff --git a/35520-h/images/ill_236.png b/35520-h/images/ill_236.png
new file mode 100644
index 0000000..61f38c8
--- /dev/null
+++ b/35520-h/images/ill_236.png
diff --git a/35520-h/images/ill_236_sml.png b/35520-h/images/ill_236_sml.png
new file mode 100644
index 0000000..d8eaeb7
--- /dev/null
+++ b/35520-h/images/ill_236_sml.png
diff --git a/35520-h/images/ill_240.png b/35520-h/images/ill_240.png
new file mode 100644
index 0000000..a0ea89c
--- /dev/null
+++ b/35520-h/images/ill_240.png
diff --git a/35520-h/images/ill_240_sml.png b/35520-h/images/ill_240_sml.png
new file mode 100644
index 0000000..4cdd4a3
--- /dev/null
+++ b/35520-h/images/ill_240_sml.png
diff --git a/35520-h/images/ill_244a.png b/35520-h/images/ill_244a.png
new file mode 100644
index 0000000..90c7a72
--- /dev/null
+++ b/35520-h/images/ill_244a.png
diff --git a/35520-h/images/ill_244a_sml.png b/35520-h/images/ill_244a_sml.png
new file mode 100644
index 0000000..e90aeaa
--- /dev/null
+++ b/35520-h/images/ill_244a_sml.png
diff --git a/35520-h/images/ill_244b.png b/35520-h/images/ill_244b.png
new file mode 100644
index 0000000..fba107a
--- /dev/null
+++ b/35520-h/images/ill_244b.png
diff --git a/35520-h/images/ill_244b_sml.png b/35520-h/images/ill_244b_sml.png
new file mode 100644
index 0000000..61ebbf5
--- /dev/null
+++ b/35520-h/images/ill_244b_sml.png
diff --git a/35520-h/images/ill_248.jpg b/35520-h/images/ill_248.jpg
new file mode 100644
index 0000000..b112b0b
--- /dev/null
+++ b/35520-h/images/ill_248.jpg
diff --git a/35520-h/images/ill_248_sml.jpg b/35520-h/images/ill_248_sml.jpg
new file mode 100644
index 0000000..16dc5ca
--- /dev/null
+++ b/35520-h/images/ill_248_sml.jpg
diff --git a/35520-h/images/ill_262.png b/35520-h/images/ill_262.png
new file mode 100644
index 0000000..e5db66e
--- /dev/null
+++ b/35520-h/images/ill_262.png
diff --git a/35520-h/images/ill_262_sml.png b/35520-h/images/ill_262_sml.png
new file mode 100644
index 0000000..2c4f702
--- /dev/null
+++ b/35520-h/images/ill_262_sml.png
diff --git a/35520-h/images/ill_277.jpg b/35520-h/images/ill_277.jpg
new file mode 100644
index 0000000..0b976d0
--- /dev/null
+++ b/35520-h/images/ill_277.jpg
diff --git a/35520-h/images/ill_cover.jpg b/35520-h/images/ill_cover.jpg
new file mode 100644
index 0000000..8f4c1b4
--- /dev/null
+++ b/35520-h/images/ill_cover.jpg
diff --git a/35520-h/images/ill_cover_sml.jpg b/35520-h/images/ill_cover_sml.jpg
new file mode 100644
index 0000000..9f212e6
--- /dev/null
+++ b/35520-h/images/ill_cover_sml.jpg
diff --git a/35520-h/images/ill_frontispiece.jpg b/35520-h/images/ill_frontispiece.jpg
new file mode 100644
index 0000000..05c0c47
--- /dev/null
+++ b/35520-h/images/ill_frontispiece.jpg
diff --git a/35520-h/images/ill_frontispiece_sml.jpg b/35520-h/images/ill_frontispiece_sml.jpg
new file mode 100644
index 0000000..330ffa4
--- /dev/null
+++ b/35520-h/images/ill_frontispiece_sml.jpg
diff --git a/35520-h/images/ill_title.png b/35520-h/images/ill_title.png
new file mode 100644
index 0000000..48c9581
--- /dev/null
+++ b/35520-h/images/ill_title.png
diff --git a/35520-h/images/ill_title_sml.png b/35520-h/images/ill_title_sml.png
new file mode 100644
index 0000000..b5831cd
--- /dev/null
+++ b/35520-h/images/ill_title_sml.png
diff --git a/35520.txt b/35520.txt
new file mode 100644
index 0000000..46138a3
--- /dev/null
+++ b/35520.txt
@@ -0,0 +1,6742 @@
+The Project Gutenberg EBook of Memories of a Musical Life, by William Mason
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Memories of a Musical Life
+
+Author: William Mason
+
+Release Date: March 7, 2011 [EBook #35520]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MEMORIES OF A MUSICAL LIFE ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+
+
+
+
+
+
+
+
+[Illustration: image of the book's cover]
+
+MEMORIES OF A
+
+MUSICAL LIFE
+
+[Illustration: WILLIAM MASON IN 1899]
+
+
+
+
+Memories of a
+
+Musical Life
+
+by
+
+William Mason
+
+[Illustration: colophon]
+
+NEW YORK
+
+THE CENTURY CO.
+
+MCMII
+
+Copyright, 1900, 1901, by
+
+THE CENTURY CO.
+
+
+_Published October, 1901._
+
+
+THE DEVINE PRESS.
+
+
+TO
+MY DAUGHTER
+MINA MASON VAN SINDEREN
+AT WHOSE REQUEST
+THESE MEMORIES
+HAVE BEEN WRITTEN
+
+
+
+
+CONTENTS
+
+
+                                                                    PAGE
+
+EARLY DAYS IN NEW ENGLAND                                              3
+  Lowell Mason's Career                                                7
+  First Beethoven Symphony in America                                  8
+  Musical Conventions                                                  9
+  Early Musical Training                                              10
+  Webster and Clay                                                    11
+  First Public Appearance                                             18
+  Leopold de Meyer                                                    19
+  "Father Heinrich"                                                   22
+  An Embarrassing Experience                                          25
+
+STUDENT LIFE ABROAD                                                   27
+  Meeting with Meyerbeer                                              28
+  Liszt's Feat of Memory                                              31
+  First Meeting with Liszt                                            33
+  Arrival at Leipsic                                                  34
+  Moscheles, Beethoven, and Chopin                                    36
+  The Intimacy of Moscheles and Mendelssohn                           37
+  Schumann                                                            38
+  Schumann's "Symphony No. 1, B Flat"                                 39
+  Schumann's Absent-mindedness                                        42
+  Moritz Hauptmann                                                    44
+  A Visit to Wagner                                                   48
+  Wagner on Mendelssohn and Beethoven                                 51
+  A Wagner Autograph                                                  55
+  Moscheles                                                           57
+  Joseph Joachim                                                      62
+  Schumann's "Concerto in A Minor"                                    63
+  Carl Mayer                                                          65
+  Dreyschock                                                          66
+  Prince de Rohan's Dinner                                            71
+  Chopin, Henselt, and Thalberg                                       75
+  Anton Schindler, "Ami de Beethoven"                                 79
+  Schindler and Schnyder von Wartensee                                82
+  First London Concert                                                84
+
+WITH LISZT IN WEIMAR                                                  86
+  Accepted by Liszt                                                   88
+  The Altenburg                                                       93
+  How Liszt Taught                                                    97
+  "Play It Like This"                                                 99
+  Liszt in 1854                                                      101
+  His Fascination                                                    102
+  Liszt's Indignation                                                103
+  Objects to my Eye-glasses                                          106
+  A Musical Breakfast                                                108
+  Liszt's Playing                                                    110
+  Liszt and Pixis                                                    117
+  Liszt Conducting                                                   119
+  Liszt's Symphonic Poems--Rehearsing "Tasso"                        121
+  Extracts from a Diary                                              122
+  Opportunities                                                      126
+  Brahms in 1853                                                     127
+  Nervous before Liszt                                               128
+  Dozing while Liszt Played                                          129
+  "Lohengrin" for the First Time in Leipsic                          132
+  In Stuttgart--Hotel Marquand                                       135
+  The Schumann "Feier" in Bonn, 1880                                 136
+  Brahms's Pianoforte-playing                                        137
+  A Historical Error Corrected                                       141
+  More about Liszt's Wonderful Sight-reading                         142
+  Liszt's Moments of Contrition                                      144
+  Peter Cornelius                                                    145
+  Some Famous Violinists                                             147
+  Remenyi                                                            151
+  Some Distinguished Opera-singers                                   153
+  Henriette Sontag                                                   154
+  Johanna Wagner                                                     156
+  Mme. de la Grange                                                  157
+  "Der Verein der Murls"                                             158
+  The Wagner Cause in Weimar                                         159
+  Raff in Weimar                                                     161
+  Dr. Adolf Bernhard Marx                                            165
+  Berlioz in Weimar                                                  168
+  Entertaining Liszt's "Young Beethoven"                             171
+  Rubinstein's Opposition to Wagner                                  174
+
+AT WORK IN AMERICA                                                   183
+  Touring the Country                                                184
+  "Yankee Doodle" and "Old Hundred"                                  187
+  Settling down to Teach                                             191
+  Theodore Thomas at Twenty                                          195
+  Thomas as Conductor                                                197
+  Karl Klauser, Musical Director at Miss Porter's School             202
+  Louis Moreau Gottschalk                                            205
+  Propaganda for Schumann's Music                                    209
+  Sigismond Thalberg                                                 210
+  Pedal and Pedal Signs--Why not Dispense with the Latter?           215
+  Pedal Study for the Pianoforte                                     219
+  Rubinstein and the Autograph-hunter                                221
+  Evolution in Musical Ideas--Beethoven Pianoforte Recitals          226
+  Rubinstein's Favorite Seat at a Pianoforte Recital                 227
+  Bach's "Triple Concerto" and "Les Agrements"                       229
+  A Significant Autograph from Rubinstein                            234
+  Rubinstein, Paderewski, and "Yankee Doodle"                        236
+  Meetings with Von Bulow                                            238
+  Edvard Grieg                                                       241
+  Rates of Tempo--The Present Time Compared with Fifty Years Ago     243
+  Electrocuting Chopin                                               244
+  Tempo Rubato                                                       246
+  Unusual Pupils--Transposing--Positive and Relative Pitch           247
+  Appledore, Isles of Shoals                                         251
+
+MUSIC IN AMERICA TO-DAY                                              259
+
+APPENDIX                                                             273
+
+INDEX                                                                297
+
+
+
+
+     The author acknowledges the efficient collaboration of Mr. Gustav
+     Kobbe in preparing these Memories for publication, and also the
+     valuable assistance of his son-in-law, Mr. Howard van Sinderen.
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+William Mason in 1899                                    _Frontispiece_
+  From a photograph by Gessford & Van Brunt.
+
+                                                          FACING PAGE
+
+William Mason as a Boy                                                12
+  From a daguerreotype.
+
+William Mason at the Age of Eighteen                                  20
+  From a daguerreotype.
+
+Autograph of I. Moscheles                                             32
+
+Autograph of Robert Schumann                                          38
+
+Autograph of Mme. Schumann                                            44
+
+Autograph of Moritz Hauptmann                                         48
+
+Autograph of Richard Wagner                                           56
+
+Autograph of Joseph Joachim                                           64
+
+Autograph of Anton Schindler                                          80
+
+Liszt in Middle Life                                                  88
+  Drawn by George T. Tobin from a photograph of uncertain date.
+
+The Altenburg, Liszt's House at Weimar                                96
+
+Autograph of Vieuxtemps                                              144
+
+Autograph of Ole Bull                                                150
+
+Autograph of Henriette Sontag                                        164
+
+Autograph of Hector Berlioz                                          168
+
+Autograph of Ferdinand Laub                                          180
+
+The Mason-Thomas Quartet                                             196
+
+Theodore Thomas about Twenty-four Years Old                          200
+  From a photograph by Duchochois & Klauser.
+
+Autograph of Moreau Gottschalk                                       208
+
+Autograph of Sigismond Thalberg                                      212
+
+Autograph of Anton Rubinstein                                        232
+
+Autograph of I. J. Paderewski                                        236
+
+Autograph of Hans von Bulow                                          240
+
+Autograph of Edvard Grieg                                            244
+
+Interior of Studio in Steinway Building, New York                    248
+
+Autographs of the Kneisel Quartet                                    262
+
+Lowell Mason                                                         277
+  From a daguerreotype.
+
+
+
+
+MEMORIES
+
+OF A MUSICAL LIFE MEMORIES
+
+OF A MUSICAL LIFE
+
+
+
+
+EARLY DAYS IN NEW ENGLAND
+
+
+I am the third son of Lowell Mason of Medfield, Massachusetts, and of
+Abigail Gregory of Westborough, Massachusetts, his wife, and I was born
+in Boston on January 24, 1829. My father was in the seventh generation
+from Robert Mason, who was born in England about the year 1590. In 1630
+Robert came to America, and was probably one of John Winthrop's company,
+landing at Salem on the twelfth day of June of that year. Thomas Mason,
+the elder son of Robert, went to Medfield to live in the second year of
+the settlement of the town. His marriage with Margery Partridge, on
+April 23, 1653, was the first marriage to be entered upon the town
+records; and the homestead lands, which he acquired by grant from the
+town, have ever since remained in possession of some member of the Mason
+family. Thomas and two of his sons were killed by the Indians under
+Monaco on February 21, 1676, when Medfield was burned. The line was
+continued through Ebenezer, a third son, born at Medfield, September 12,
+1669; Thomas, a son of Ebenezer, born at Medfield, April 23, 1699;
+Barachias, son of Thomas, born at Medfield, June 10, 1723, who was
+musical and who taught singing; and Johnson, son of Barachias, born at
+Medfield, August 7, 1767. Johnson was the father of Lowell Mason, who
+was born at Medfield, January 8, 1792. On January 8, 1892, the one
+hundredth anniversary of my father's birth was celebrated at Medfield,
+under the auspices of the Historical Society of that place. In the
+address delivered by the president of the society, a period of his life
+was touched upon concerning which but little had heretofore been
+published. The address will be interesting to those who are interested
+in him and in the work which he accomplished, and is printed, by
+permission, in an appendix to these memories.
+
+The difference between Boston and New York as musical centers is largely
+due to my father. He made Boston a self-developing musical city. New
+York has received its musical culture from abroad.
+
+My father manifested a remarkable fondness for music at an early age.
+His parents did not intend that he should take up music as a profession,
+but his talent was not neglected. In 1812, before he was twenty, he
+heard of an opening in a bank in Savannah, Georgia, and having secured
+the position, he went there. After business hours he continued his
+studies in music with an instructor named F. L. Abel, under whom he made
+rapid progress. He soon attempted composition, his first efforts being
+hymn-tunes and anthems. He arranged a collection consisting of a group
+of selections from William Gardiner's "Sacred Melodies," to which he
+added some of his own compositions. For this collection he vainly
+endeavored to find a publisher in Philadelphia and Boston, until chance
+brought to Savannah a Boston organ-builder, W. M. Goodrich, who had come
+to set up an organ. He induced my father to go to Boston in person, with
+the result that the work was submitted to Dr. G. K. Jackson, the
+organist of the Handel and Haydn Society, and received his approval. It
+was published in 1822, with the title, "The Boston Handel and Haydn
+Society's Collection of Music," and was an instant success, finding its
+way into singing-schools and church choirs throughout New England. Some
+of my father's hymn-tunes have become famous. It has been said that his
+missionary hymn, "From Greenland's Icy Mountains," has been sung in more
+languages than any other sacred tune. Among the many popular tunes which
+he composed are "Boylston," "Hebron," "Olivet," and "Bethany"; and one
+of his collections of sacred melodies brought him in over a hundred
+thousand dollars in royalties.
+
+
+
+
+LOWELL MASON'S CAREER
+
+
+The success of my father's first venture led him to leave Savannah and
+settle in Boston. Then, as now, the Handel and Haydn Society was largely
+recruited from church choirs, but in those days its concerts were few,
+and these were almost entirely devoted to church music. Rarely was a
+"work" offered to the public. Outside the realm of church music, the
+society's repertory consisted of "The Messiah", "The Creation" (and more
+frequently fragments from these), the "Dettingen Te Deum" by Handel, and
+the "Intercession" by M. P. King, who has long since been forgotten. For
+five years my father was president of the society, and served as musical
+director, the special employment of a conductor not having been
+authorized until 1847.
+
+Meanwhile he was constantly aiming at the introduction of popular
+education in music. It was through his efforts--and strenuous efforts
+they were--that music was introduced into the Boston public schools. To
+bring this about he first taught classes of children free of charge, and
+gave concerts to illustrate the practicability of his plans. When
+finally musical education was made a part of the Boston public-school
+system, the city council refused to make any appropriation for it, and
+he served as instructor for a year gratuitously, beginning work in 1837
+in the Hawes Grammar School, South Boston. The experiment was a complete
+success. Music was generally introduced into the public schools, and my
+father was made superintendent of the department. The seeds he sowed
+then are still bearing fruit. This was part of his labor which created
+in Boston a self-developing musical activity. While Dr. Samuel G. Howe
+was engaged in organizing the Perkins Institution for the Blind in 1832,
+at his request my father devised a system of musical instruction for the
+blind.
+
+
+
+
+FIRST BEETHOVEN SYMPHONY IN AMERICA
+
+
+About 1830 an English musician, Mr. George James Webb, settled in
+Boston. He was a gentleman of high culture, thoroughly educated in
+music, played the organ well, and was a good vocal teacher. His talents
+and his personal charm were promptly recognized. My father became
+intimate with him, and in 1833, with the cooperation of certain
+influential gentlemen of Boston, they founded the Boston Academy of
+Music, my father taking charge of the special department of church
+music, while Mr. Webb devoted himself chiefly to secular music and
+voice-culture. Instrumental concerts were also given at the academy, and
+there, on February 10, 1841, occurred the first performance in America
+of a Beethoven symphony, the Fifth, which was played by an orchestra of
+twenty-three, under the direction of Henry Schmidt.
+
+
+
+
+MUSICAL CONVENTIONS
+
+
+My father originated the idea of assembling music-teachers in classes.
+In 1838, when the experiment was not more than three years old, one
+hundred and thirty-four teachers, representing ten States, assembled at
+the academy. From these assemblages grew the musical conventions which
+my father held throughout New England and in some of the other States.
+Choir-singers and other musically inclined people from the towns lying
+within the surrounding district would gather at a central point, and he
+would hold a musical convention lasting for several days, drilling the
+singers in church music, but also, where he found sufficient
+advancement, in music of a higher order. The Worcester festivals may be
+traced to these conventions.
+
+
+
+
+EARLY MUSICAL TRAINING
+
+
+I had shown my fondness for music at a very early age. When I was a
+child, my father was the organist of the Bowdoin Street Congregational
+Church in Boston, of which Lyman Beecher had been the pastor. When I was
+seven years old, he placed me unexpectedly on the organ-bench at a
+public service, and while the choir sang the tune of "Boylston", I
+played the accompaniment. Up to this time I had had but little
+instruction in pianoforte-playing. My mother used to sit by me and guide
+me in the way of careful practising, and thus I had acquired
+considerable facility for those days, though now I have a feeling of
+compassion for any one who had to listen to me.
+
+I became useful to my father as an accompanist, and when he went to
+musical conventions he took me along with him, and I would play the
+piano accompaniments while he conducted.
+
+
+
+
+WEBSTER AND CLAY
+
+
+It was at about this time that my father took me with him on a trip to
+Providence. In those days the entrance to the cars was from the side,
+and we took seats nearly opposite the door. My father called my
+attention to a very dignified and impressive-looking man in the front
+corner of the car, saying: "William, the gentleman in the corner is
+Daniel Webster. Go over and wish him good morning." I promptly obeyed,
+and marching over to him, said, "Good morning, Daniel Webster." He asked
+my name, and I replied, saying my father was "over there," and then he
+exchanged greetings with my father. I was somewhat awed by his great
+dignity, and remember very well his piercing eyes.
+
+About the year 1842 I went to Maysville, Kentucky, to stay with the
+family of my uncle, Mr. E. F. Tucker. My health had not been good, and
+the change of residence was thought to be judicious. My uncle was at the
+head of some factory in Maysville, and one day, after I had been there
+for some time, a gentleman called at the house to see him about business
+connected with the factory. My aunt called me, and, presenting me to the
+gentleman, requested me to show him the way to the factory. This
+gentleman was Henry Clay. I remember his urbanity, and his friendly
+conversation attracted me. This time it was not the eye which was
+noticeable, but the mouth, which was unusually large.
+
+[Illustration: WILLIAM MASON AS A BOY
+
+FROM A DAGUERREOTYPE
+]
+
+
+
+
+FIRST PUBLIC APPEARANCE
+
+
+Returning to Boston after a year, I was sent to Newport, Rhode Island,
+to study under the Rev. T. T. Thayer, who was a Congregational clergyman
+in that place. In a short time after my arrival I began playing the
+organ at the services in his church, and continued this with regularity
+until my return to Boston a few years later. At Boston I became the
+organist at the Congregational church in Winter street, at which my
+father was music-conductor.
+
+I played in public about the year 1846, in one of the concerts of the
+Boston Academy of Music, given in the Odeon, which was then the
+principal concert-hall in Boston. On this occasion I had the
+accompaniment of a string quartet. This was my first regular appearance
+in public. About this time, too, I began taking pianoforte lessons of
+Mr. Henry Schmidt, to whom reference has been made as the conductor of
+Beethoven's "Fifth Symphony" on the occasion of the first performance
+of this work in Boston. Mr. Schmidt's instrument was the violin, but he
+was also an excellent pianoforte teacher, and to his careful and skilful
+instruction I owe very much. I remember that in those days I was more
+fond of playing--if my habit of improvising in a loose or inaccurate way
+can be so called--than of careful practising and close attention to
+detail. When my lesson-hour arrived I used to trust much to luck, and
+thus occasioned poor Mr. Schmidt a deal of trouble and vexation. He
+begged and entreated me to be careful, and after a while a spirit of
+contrition overcame me, and so, on a certain occasion, I really did
+practise carefully and to my best ability during the interval between my
+lessons. When Mr. Schmidt made his appearance, however, I became so
+nervous and apprehensive lest my work should not show to advantage that
+the very thing I dreaded took place, and I stumbled through my piece in
+a distressing manner. I do not wonder that my teacher's patience was
+tried, and he rebuked me with severity, saying that he believed I had
+not practised at all since the previous lesson. I received this all very
+meekly, but when he took his departure I pitched the music into a
+corner, and did not practise until he made his appearance for the
+following lesson. At this lesson, however, I played with great accuracy
+and spirit, much to my gratification and somewhat to my surprise. Mr.
+Schmidt warmly commended my work, and attributed it to the fact that I
+had _now_ practised industriously and carefully. I had enough sense to
+know that the successful result was owing to the practice I had
+previously done, and which needed time to produce its results. This bit
+of experience I commend to pianoforte students for careful
+consideration, to show that acts are not always immediately followed by
+desirable results.
+
+Mr. Schmidt taught me much concerning the production of tone in
+pianoforte playing, and in particular led me to acquire a certain habit
+of touch which I have never lost, and which has been the means of
+greatly lessening the fatigue which would otherwise have been attendant
+on the performance of pieces which require much strength and
+long-continued endurance. I write somewhat at length concerning this
+matter, feeling that a knowledge of my experience may be of substantial
+use to pianoforte students.
+
+The habit referred to has especial relation to the playing of the
+various rapid scale and arpeggio passages, involving closed or open hand
+position which are so common in pianoforte compositions and which grow
+out of the nature of the instrument. The touch is accomplished by
+quickly but quietly drawing the finger-tips inward toward the palm of
+the hand, or, in other words, slightly and partly closing the
+finger-points as they touch the keys while playing. This action of the
+fingers secures the cooperation of many more muscles of the finger,
+wrist, hand, and forearm than could be accomplished by the merely
+"up-and-down" finger-touch. It is difficult to describe in detail
+without an instrument at hand for illustration. If correctly performed,
+however, the tones produced are very clear and well defined, and of a
+beautifully musical quality. The simile of "a string of pearls" of
+precisely similar size and shape has often been used in describing their
+fluency and clearness of outline. A too rapid withdrawal of the
+finger-tips would result in a short and crisp staccato. While this
+extreme staccato is also desirable and frequently used, it is not the
+kind of effect here desired, namely, a clear, clean delivery of the
+tones which in no wise disturb the legato effect.
+
+Of course it requires cultivation and skill to secure just the right
+degree of finger-motion to preserve the legato and at the same time the
+slight separation of each tone. Therefore the fingers must not be drawn
+so quickly as to produce a separation or staccato effect, but in just
+the right degree to avoid impairing the legato or binding effect. For
+the sake of convenience in description I have named this touch the
+"elastic finger-touch," and through its influence a clear and crisp
+effect is attained. It is interesting to observe in this connection, a
+fact which I learned only many years later, that Sebastian Bach's touch,
+described in detail by J. N. Forkel in his work entitled "Ueber Johann
+Sebastian Bachs Leben, Kunst und Kunstwerke," both as used by Bach
+himself and as he taught it to his pupils, seems to be identical with
+the touch I am here attempting to describe. Forkel expressly emphasizes
+the "pulling-in" motion of the finger-tips. While it has relation solely
+to finger-action as distinguished from the action of the wrist and arm,
+it cannot be accomplished properly without bringing into action the
+flexor and extensor muscles, principally of the forearm from wrist to
+elbow.
+
+Through the medium of this touch pianissimo effects are possible which
+no other mechanism can reach, for passages of the most extreme delicacy
+and softness still retain the quality of vitality and clearness of
+outline.
+
+During the season of 1846 I played the pianoforte part throughout the
+series of six concerts of chamber-music given by the Harvard Musical
+Association. I remember that Mr. Blessner played the violin and Mr.
+Groenvelt the violoncello, but cannot recall the names of the players of
+the second violin and viola. These concerts were given at the pianoforte
+warerooms of Mr. Jonas Chickering, 334 Washington street, Boston. I
+still have the programs. String quartets by Haydn, Mozart, and Beethoven
+were played, also piano trios by Beethoven, Reissiger, and Mayseder.
+
+
+
+
+LEOPOLD DE MEYER
+
+
+The knowledge I gained from Mr. Schmidt was largely advanced and
+supplemented by what I learned a year or two later, in 1847-48, from the
+playing of the pianoforte virtuoso Leopold de Meyer, who came to the
+United States about that time.
+
+It was from a careful study of the manner of his playing that I first
+acquired the habit of fully devitalized upper-arm muscles in
+pianoforte-playing. The loveliness and charming musical beauty of his
+tones, the product of these conditions, greatly excited my admiration
+and fascinated me. I never missed an opportunity of hearing him play,
+and closely watched his movements, and particularly the motions of hand,
+arm, and shoulder. I was incessantly at the pianoforte trying to produce
+the same delightful tone quality by imitating his manner and style.
+
+[Illustration: WILLIAM MASON AT THE AGE OF EIGHTEEN
+
+FROM A DAGUERREOTYPE
+]
+
+My continued perseverance was rewarded with success, for the result was
+a habit of devitalized muscular action in such degree that I could
+practically play all day without a feeling of fatigue. The constant
+alternation between devitalization and reconstruction keeps the muscles
+always fresh for their work and enables the player to rest while
+playing. The force is so distributed that each and every muscle has
+ample opportunity to rest while yet in a state of activity. Furthermore
+the tones resulting from this touch are sonorous and full of energy and
+life. An idea of my own which was persistently carried into act aided
+materially in bringing about the desired result. This was to allow
+the arms to hang limp by my side, either in a sitting or standing
+posture, and then to shake them rigorously with the utmost possible
+looseness and devitalization. This device was in after years recommended
+to my pupils, and those who persistently followed it up and persevered
+for a while gained great advantage from it, and eventually acquired a
+state of habitual muscular elasticity and flexibility.
+
+I might easily have learned from any book of anatomy the names of the
+muscles which are here referred to, but for the practical instruction of
+pianoforte pupils this seemed to be of little consequence. However,
+there are three muscles of the upper arm which may here be named: the
+triceps, the brachialis anticus, and the biceps. Of these the
+first-named is of the most importance to the pianist.
+
+Leopold de Meyer's New York concerts were given in the old Broadway
+Tabernacle, some distance below Canal street, as I now remember. The
+piano-lovers were not so numerous then as they are now, and it was
+difficult to fill the hall, even with the help of deadheads. De Meyer's
+agent, acting on the principle that "a crowd draws a crowd," hired a lot
+of carriages to make their appearance a little before the concert-hour,
+and to stand in front of the doors and then advance in turn, so that
+passers-by might receive the impression of activity on the part of the
+concert-goers.
+
+
+
+
+"FATHER HEINRICH"
+
+
+Somewhere about this time there lived in New York an elderly German
+musician and composer who had somehow gained the cognomen of "Father
+Heinrich." He composed quite a number of large works, both vocal and
+instrumental, and also a number of pianoforte pieces. During a visit
+which he made to Boston, his headquarters were at Chickering's
+pianoforte warerooms, and on one occasion I was presented to him as a
+youth of some musical promise. He immediately showed me one of his
+pianoforte pieces in manuscript, and said: "Young man, I am going to
+test your musical talent and intelligence and see if you appreciate in
+any degree the importance of a proper observance of dynamics in musical
+interpretation." He had placed the open pages of the manuscript on the
+pianoforte desk, and I was glancing over them in close scrutiny. "I wish
+to tell you before you begin to play that I have submitted this piece to
+two or three of the best musicians in New York and they have failed to
+bring out the intended effect in an important phrase." This remark put
+me at once on my guard, and while he was talking I was closely
+scrutinizing the manuscript to see if there was some dynamic or other
+mark which would reveal his intention. About half-way down the second
+page I discovered a series of sforzando marks, thus: > > > > > over
+several notes in one of the inner parts, and immediately determined to
+bring out these tones with all possible force. Further than this there
+seemed to be no peculiarity; but as he had by this time finished his
+remarks I began to play with special care. The piece was easy to read,
+and so I made good progress, and on coming to the passage referred to I
+put a tremendous emphasis on the tones marked sforzando, playing all of
+the other voices by contrast quite softly. To my boyish satisfaction I
+found I had hit the mark. The excitement and pleasure of Father Heinrich
+was excessive and amusing. "Bravo! bravo!" he cried. "You have great
+talent, and you have done what none of our musicians in New York have
+accomplished!"
+
+I did not at the time understand how he could lay so much stress on the
+affair, but in the light of a long experience as teacher of the
+pianoforte I no longer wonder at his excitement. All music is full of
+nuances and accents of greater or less intensity, to which pupils hardly
+ever give any attention, although they are necessary in order to give
+due expression to rhythm. They correspond to vocal accents in reading
+aloud, or in declamation.
+
+
+
+
+AN EMBARRASSING EXPERIENCE
+
+
+It is difficult to realize the crudity of musical taste in the early
+days. I remember that in 1840 my father conducted a convention in
+Vermont--I think in Woodstock. We went by rail as far as we could, and
+then traveled a number of hours by coach. We were received by the
+dignitaries of the town, and conducted to the house in which we were to
+stay. While we were shaking off the dust of travel, we heard the sounds
+of drum and fife. Looking out of the window, we found that these
+instruments headed a small procession which had come to escort us to the
+church. The drum and the fife were the instrumental outfit of the town;
+so, led by these, my father and I marched with the magnates of the place
+to the church. I still remember how foolish I felt.
+
+In 1846 my father was preparing to hold a convention in Augusta, Maine.
+Mr. Webb was to go with him, and I was sent to his house the evening
+before they were to start to let him know about the arrangements.
+Though I knew Mr. Webb very well, I had never had occasion to go to his
+house. At this time I was seventeen years old. When I was shown into the
+drawing-room, I saw Mr. and Mrs. Webb and their daughter, a girl then
+not fourteen. I had not been in the house half an hour before I was
+deeply in love with her. I found that she was going to Augusta, and I
+decided at once that I would go, too. So the next day we all started
+together. She and I grew to be good friends, but the idea of an
+engagement between us was not to be thought of at that time, and while I
+lived in Germany we were not permitted to correspond. For five years I
+did not see her; but when I came back I hastened to her father's house.
+The sequel I shall tell later.
+
+
+
+
+STUDENT LIFE ABROAD
+
+
+It having been decided that I should continue my musical studies in
+Europe, I sailed from New York for Bremen on the side-wheel steamer
+_Herrmann_ in May, 1849, accompanied by Mr. Frank Hill of Boston, who
+had already attained some distinction as a pianist. My intention was to
+go directly to Leipsic to study with Moscheles. One of our
+fellow-passengers was Julius Schuberth, the music-publisher of Hamburg,
+who had been in America on business. Arriving at Bremen, we learned that
+the insurrection had not yet been suppressed, and that within two or
+three days there had been bloodshed in the streets of Leipsic. For this
+and other reasons I gladly accepted Mr. Schuberth's invitation to visit
+him, first making a short trip to Paris with Hill.
+
+
+
+
+MEETING WITH MEYERBEER
+
+
+I arrived in Paris shortly after six o'clock in the morning, and went to
+the Hotel de Paris, in the Rue de Richelieu. In those days, at that
+early hour, Paris was as quiet as an American town at midnight. There
+were three of us in the party. We secured two rooms, and my friends
+remained up-stairs, while I returned to the porter's lodge below to have
+my passport sent to the Bureau of Police to be vised. The porter went
+out to attend to this, and I was left alone in the lodge.
+
+Shortly afterward a man entered, of medium height, well dressed, and
+with a good deal of manner. He addressed me in French, but when I asked
+him if he could speak English he began conversing fluently in that
+language. He asked if I was from England and a stranger in Paris. When I
+told him I was from America, he exclaimed, "Ah, that is farther off."
+Then, noticing the passport, which was uncommonly large and was bound
+like a book, he asked, "Is that an American passport? Please let me
+have a look at it I'm curious to see it." Bound in with the passport
+were a number of blank leaves to be used for the vises of various
+consuls. "Young man," said my chance acquaintance, "you have leaves
+enough there to travel about Europe for twenty years." Then he inquired
+if I was traveling for pleasure or on business.
+
+"I have come over to study music."
+
+"Ah, composition?"
+
+"No; mainly piano, but also theory and composition."
+
+"And where?"
+
+"I expect to go to Leipsic to study with Moscheles, Hauptmann, and
+Richter. Eventually I hope to go to Liszt."
+
+"Well, well, you've chosen good men. Moscheles knew Beethoven."
+
+Then, with a few friendly words, he left the lodge and entered the
+hotel. Just as he was leaving the porter returned.
+
+"Who is the gentleman?" I asked, pointing after the disappearing form.
+
+"Meyerbeer, the composer."
+
+The porter then took me into the courtyard and pointed out the room
+which Meyerbeer occupied, calling my attention to the fact that his
+window and mine almost faced each other.
+
+"If you look out of your window about eleven o'clock," said the porter,
+"you will see Mme. Garcia and Roger, the tenor, coming here to rehearse
+their roles in the new opera with the composer."
+
+Meyerbeer was so affable at our chance meeting that I think I could
+easily have followed it up and have seen more of him; but when a boy is
+in Paris for the first time, he has many things to think of. Moreover, I
+did not realize that at the end of the century, "Le Prophete," the work
+which Meyerbeer was then rehearsing, would still be in the repertory of
+every first-class opera-house. I knew that he was a distinguished
+composer, but I did not for a moment imagine that his work would live so
+long. As I now look back through the perspective of time, I realize the
+opportunity I missed; but I thank the freak of fortune which threw in
+his way, if only for a few moments, a young man who was too careless to
+improve the chance acquaintance.
+
+From Paris I returned to Schuberth's in Hamburg. He was an active,
+enterprising, pushing business man, with a large acquaintance in the
+musical world, and the knowledge of how to put it to the best use. I
+remained in Hamburg for some time. Boy-like, I had spent all my money in
+Paris, and was now obliged to wait for a remittance from home. In
+Hamburg I met Carl Mayer of Dresden, a fine pianist of the Hummel
+school, and Mortier de Fontaine, who was very well known in his day as a
+Beethoven-player--had, in fact, won considerable fame as the first
+pianist to perform Beethoven's "Sonata, Op. 106" in public. That was his
+label.
+
+
+
+
+LISZT'S FEAT OF MEMORY
+
+
+From Hamburg I went to Leipsic, but Schuberth did not lose sight of me.
+Whenever he came there he looked me up, and was very kind in
+introducing me to people whom it was well for me to meet. He knew Liszt
+very well, and having taken a fancy to a composition of mine, "Les
+Perles de Rosee," which was still in manuscript, he said: "Let me have
+it for publication. Dedicate it to Liszt. I can easily get Liszt to
+accept the dedication. I am going directly from here to Weimar, and will
+see him about it. At the same time, I will prepare the way for your
+reception later as a pupil."
+
+[Illustration: Autograph of I. Moscheles]
+
+Not long afterward I received a letter from Schuberth in which he told
+me that when he handed the music to Liszt, the latter looked at the
+manuscript, hummed it over, then sat down and played it from memory.
+Then, going to his desk, he took a pen, and accepted the dedication by
+writing his name at the top of the title-page. Encouraged by this, I
+wrote a letter to Liszt, expressing my desire to become one of his
+pupils, and asking what my chances were. Unfortunately, I misinterpreted
+his reply, and received the impression that it amounted to a
+refusal; but at the same time he gave me a cordial invitation to
+attend the festival about to take place in Weimar in commemoration of
+the hundredth anniversary of Goethe's birth. I still have this letter,
+which is dated August 18, 1849. Had I understood then that Liszt was
+ready to accept me as a pupil, I should have taken up my residence at
+Weimar at once, instead of waiting until I learned my mistake, as I did
+during a call which I made upon Liszt nearly four years later.
+
+
+
+
+FIRST MEETING WITH LISZT
+
+
+However, I went to Weimar with Mr. Hill to attend the Goethe festival,
+arriving there early in the afternoon of the day before it began.
+
+The third day of the festival we called on Liszt, who was then living in
+the Hotel zum Erbprinzen, and were received most cordially. Schlesinger,
+the Paris publisher, was there with his little daughter, who was
+precocious as a pianist and played several Chopin waltzes. Liszt was
+very busy with his guests, so that our visit was limited, and nothing
+was said about my coming to Weimar to study except that Liszt said he
+never received pupils for regular lessons, but that those who lived in
+Weimar (and there were only three or four in those days) had frequent
+opportunities of hearing and meeting artists who visited him. Having
+misinterpreted his letter, I accepted these remarks as a further
+politely worded refusal to receive me. So I returned to Leipsic to
+continue my studies there.
+
+
+
+
+ARRIVAL AT LEIPSIC
+
+
+I well remember the feeling of awe mingled with interest with which I
+looked upon every German whom I met in the streets of Leipsic on my
+first arrival in that famously musical city. I looked on even the
+laboring-men, the peasants as well as those in higher positions, as
+being Mozarts and Beethovens, and the idea gained such ascendancy that I
+felt my own inferiority and metaphorically held down my head. This
+feeling, however, was not of long duration, and changed in the course of
+a month or two on account of what happened at a concert of the Euterpe
+Society which I attended. The concerts of this musical society were
+second only to those of the famous Gewandhaus, and their audiences were
+made up largely of those who attended the concerts of the latter. At
+this concert the program was classical and unimpeachable as to the
+orchestral concerted pieces, but one of the numbers was a solo for
+clarinet. At my age I was disposed to look down on this as an inferior
+kind of music, and as decidedly unsuitable to an educated and musically
+cultivated taste. Therefore, when, to my surprise, this turned out to be
+the most popular piece of the evening and received the most vociferous
+applause of the entire audience, I found my high opinion of the select
+musical taste of the Germans sensibly decreased.
+
+Since then I have learned that there is a place for everything good in
+its way; but the clarinet solo seemed out of place in the classical
+atmosphere of a symphony concert.
+
+
+
+
+MOSCHELES, BEETHOVEN, AND CHOPIN
+
+
+Moscheles, with whom I studied in Leipsic, had been a pupil of Dionysius
+Weber in Prague. At that time Beethoven was still a newcomer, and was
+regarded with skepticism by the older men, whose ideas were formed and
+who could not get over their first unfavorable impressions of him.
+Beethoven was a profound man and had strong individuality. He was
+eagerly accepted by the younger men, Moscheles among them; but Dionysius
+Weber regarded him as a monstrosity, and would never allow Moscheles to
+learn any of his music. Consequently, Moscheles practised Beethoven in
+secret, and when he grew up he prided himself on being a
+Beethoven-player, and wrote a life of Beethoven, which, however, is
+largely based on Schindler's.
+
+At about the time I went to Leipsic the attitude of Moscheles toward
+Chopin was very like what Dionysius Weber's had been toward Beethoven.
+One of the daughters of Moscheles was very fond of playing Chopin, but
+her father forbade it. Afterward she married and went to London, where
+she played Chopin to her heart's content. It is curious how men who in
+their younger days are pioneers become so conservative as they grow
+older that they are like stone walls in the paths of progress. They
+forget that in their youth they laughed at or criticized their elders
+for the same pedantry of which they themselves afterward become guilty.
+
+
+
+
+THE INTIMACY OF MOSCHELES AND MENDELSSOHN
+
+
+Moscheles and Mendelssohn had been warm friends. Moscheles, in
+particular, prided himself on the composer's friendship. No one to-day
+can understand the influence which Mendelssohn had upon his
+contemporaries, by whom his music and his personality were fairly
+worshiped. Comparisons were made between him and Beethoven to the
+latter's disadvantage. I remember an excellent musician saying to me,
+"Beethoven does have consecutive fifths now and then, Mendelssohn
+never." He did not realize that these apparent violations of technical
+rules were part of Beethoven's ragged strength, while Mendelssohn's
+scrupulous adherence to them was evidence of weakness.
+
+Mendelssohn's death was a great shock to Moscheles. Mendelssohn had
+often visited him, and there was such profound musical sympathy between
+them that they were able to improvise together on two pianos. They
+understood each other so well that one of them would improvise a theme,
+which the other would follow. After a while they would interchange their
+roles, the second piano taking up the theme, the first piano
+subordinating itself. This is not in itself an extraordinary feat, but
+it illustrates the musical sympathy which existed between Mendelssohn
+and Moscheles.
+
+
+
+
+SCHUMANN
+
+
+[Illustration: Autograph of Robert Schumann]
+
+For some years prior to 1844 Schumann lived in Leipsic. It was his habit
+to compose intensely all day, and then to walk to a beer-cellar at
+the upper end of the Grimmaische Strasse. There he would sit at a table
+with one of his most trusted friends, an odd-looking but able musician
+and piano-teacher named Wenzel. There were two or three other musicians
+who frequented the place and were generally at the same table. Schumann
+enjoyed being among friends, but disliked nothing more than the
+restraint of social functions. No doubt there was a large consumption of
+beer, after the fashion of the Germans on such occasions, but to a
+musical student who could sit within hearing there was afforded a golden
+opportunity of absorbing musical ideas.
+
+
+
+
+SCHUMANN'S "SYMPHONY NO. 1, B FLAT"
+
+
+When I went to Germany, Schumann was living in Dresden, but he made
+frequent visits to Leipsic. I knew little or nothing of Schumann's
+music, for Mendelssohn then dominated the musical world; but the first
+orchestral composition of Schumann's that I ever heard placed him far
+above Mendelssohn in my estimation. It was at the second concert I
+attended at the Gewandhaus in Leipsic, and the work was the "First
+Symphony." I was so wrought up by it that I hummed passages from it as I
+walked home, and sat down at the piano when I got there, and played as
+much of it as I could remember. I hardly slept that night for the
+excitement of it. The first thing I did in the morning was to go to
+Breitkopf & Haertel's and buy the score, the orchestral parts and piano
+arrangements for four and two hands, and in these I fairly reveled.
+
+I grew so enthusiastic over the symphony that I sent the score and parts
+to the Musical Fund Society of Boston, the only concert orchestra then
+in that city, and conducted by Mr. Webb. They could make nothing of the
+symphony, and it lay on the shelf for one or two years. Then they tried
+it again, saw something in it, but somehow could not get the swing of
+it, possibly on account of the syncopations. Before my return from
+Europe in 1854, I think they finally played it. In speaking of it, Mr.
+Webb said to my father: "Yes, it is interesting; but in our next concert
+we play Haydn's 'Surprise Symphony,' and that will live long after this
+symphony of Schumann's is forgotten." Many years afterward I reminded
+Mr. Webb of this remark, whereupon he said, "William, is it possible
+that I was so foolish?"
+
+Only a few years before I arrived at Leipsic, Schumann's genius was so
+little appreciated that when he entered the store of Breitkopf & Haertel
+with a new manuscript under his arm, the clerks would nudge one another
+and laugh. One of them told me that they regarded him as a crank and a
+failure because his pieces remained on the shelf and were in the way.
+
+I often saw Schumann in Leipsic, and I heard him conduct his cantata,
+"The Pilgrimage of the Rose." His conducting was awkward, as he was
+neither active nor of commanding presence. However, I liked his looks,
+as he seemed good-natured, though perhaps not like a man with whom one
+might easily become acquainted. This impression, however, may be due to
+anecdotes which I had heard regarding his lack of sociability.
+
+
+
+
+SCHUMANN'S ABSENT-MINDEDNESS
+
+
+Up to the time of Mendelssohn's death his followers and the small body
+of musicians who appreciated Schumann had rubbed pretty hard together.
+Naturally, Moscheles and Schumann had not been intimate. But Moscheles
+felt Mendelssohn's loss so keenly that he cast about for some one to
+take his place, and finally decided to make overtures to Schumann by
+inviting him to his house to supper. What occurred there was told to me
+by a fellow-pupil. He said that while the company was gathering in the
+drawing-room, Schumann sat in a corner apparently absorbed in thought,
+without looking at any one or uttering a word. He did not impress my
+friend as morose, but rather as a man whose thoughts were at the moment
+in an entirely different sphere. Supper was announced, and the guests
+being seated, it was discovered that there was a vacant place at the
+table. Moscheles looked about for Schumann, but he was not there. The
+host and several guests went back to the salon to look for him, and
+found him sitting in his corner, still deep in thought. When aroused, he
+said, "Oh, I hadn't noticed that you had gone out." Then he went in to
+supper, but hardly said a word. What a contrast there was between his
+personality and that of the ever-affable, polished Mendelssohn! There is
+the same contrast between their music: Schumann's profound, and
+appealing to us most when we wish to withdraw entirely within the very
+sanctuary of our own emotions; Mendelssohn's smooth, finished, and
+easily understood.
+
+Early in 1844 Schumann had moved to Dresden, and I called upon him in
+that city and received a pleasant welcome, contrary to my expectation,
+for I had heard much of his reticence. Judging by the brief entry in my
+diary, nothing of importance was said. I could not see Mme. Schumann,
+because she was giving a lesson. This was on April 13, 1850. I called
+again later in the month, and Schumann gave me his musical autograph, a
+canon for male voices; and the next day I received an autograph from
+Clara Schumann. In 1880 I learned from Mme. Schumann that the canon
+referred to had already been published at the time when I received it
+from Schumann. (See Op. 65, No. 6.)
+
+Afterward, when I met Wagner I could not help contrasting his lively
+manner and glowing enthusiasm with Schumann's reserve, which, however,
+was by no means repellent. Indeed, if I had been the greatest living
+musician, instead of a mere boy student, Wagner could not have received
+me with more kindness, or have talked to me more delightfully during the
+three memorable hours of my life which were spent with him.
+
+
+
+
+MORITZ HAUPTMANN
+
+
+[Illustration: Autograph of Mme. Schumann]
+
+My teacher in harmony and counterpoint was Moritz Hauptmann, a pupil of
+Spohr, and an excellent composer of church music, his motets being
+especially beautiful. He was the cantor and music director of the
+Thomas-schule at Leipsic, a position which years before had been held by
+Sebastian Bach. He was altogether a genial and attractive man, of gentle
+manner and disposition, and I at once became much attached to him. He
+was in delicate health and suffered constantly from dyspepsia, yet bore
+all of his ills with patience and equanimity. I remember that he had a
+passion for baked apples, one of the few things he could eat without ill
+results, and on his stove, a regular old-fashioned German structure of
+porcelain, nearly as high as the ceiling, there was always a row of
+apples in process of slow baking.
+
+His autograph is one of the most curious in my book, and is an excellent
+example of his technical knowledge. It is a _Spiegel-Canon_
+("looking-glass canon"). When held up to the mirror the reflection shows
+the answer to the canon in the related key.
+
+Not long after beginning my studies under Hauptmann, I received from my
+father a copy of his latest publication, being a collection of tunes,
+mostly of his own composition, for choir and congregational use in the
+church. He requested me to show this to Hauptmann and get his opinion,
+if practicable. I felt a decided reluctance to do this, because I
+thought my father's work was not worthy of the notice of such a profound
+musician, so I delayed the carrying out of his request. After a few
+weeks, however, I began receiving letters from my father upon the
+subject, and realized that I could not postpone action any longer. So
+one day, going to my lesson, I took the book with me. I kept it as well
+out of sight as I could during the lesson, and then at the last moment,
+when about to leave the room, I placed it on Hauptmann's table, telling
+him in an apologetic way of my father's request and seeking to excuse
+myself for troubling him. I said I was afraid he would find nothing in
+the book to interest him.
+
+When the regular time for my lesson recurred I hesitated to present
+myself again; but there was no way of avoiding the difficulty, so with a
+tremendous exercise of will I faced the situation. What was my surprise
+and relief when he greeted me with "Mr. Mason, I have examined your
+father's book with much interest and pleasure, and his admirable
+treatment of the voices is most musicianly and satisfactory. Please give
+him my sincere regards, and thank him for his attention in sending me
+the book."
+
+At the moment I could not understand how such a big contrapuntist could
+express himself in such strong terms of approval; but I knew him to be
+genuine, and so I straightened myself up and really began to be proud of
+my father. Another and more important result was the recognition of my
+own ignorance in imagining that a thing in order to be great must
+necessarily be intricate and complicated. It dawned upon me that the
+simplest things are sometimes the grandest and the most difficult of
+attainment.
+
+I also took lessons in instrumentation from Ernst Friedrich Richter, a
+pupil of Hauptmann.
+
+
+
+
+A VISIT TO WAGNER.
+
+
+My parents joined me in Leipsic in January, 1852, and in the spring of
+that year we planned a tour which was to take us to Switzerland in June.
+
+In Leipsic I made the acquaintance of a man named Albert Wagner, meeting
+him quite frequently at the restaurant where I took my meals. While I
+was planning the tour, I chanced to mention it to him, and when he heard
+that I was going to Zurich, he said: "My brother, Richard Wagner, lives
+there. I will give you a letter of introduction to him." This was the
+first intimation I had that Albert was a brother of the composer. I
+suppose he had not thought it worth while to tell me. Richard was still
+under a political cloud in Saxony, and was compelled to live in exile on
+account of the part he had taken in the revolution of 1848; nor was
+his reputation as a composer then so general that Albert would have
+thought his kinship much to boast of.
+
+[Illustration: Autograph of Moritz Hauptmann]
+
+We reached Zurich on June 5, 1852, and, the next morning, armed with the
+letter, I made my way to Wagner's chalet, which was situated on a hill
+in the suburbs. It was then about ten o'clock in the morning.
+
+When I asked the maid who opened the door if Herr Wagner was at home and
+to be seen, she answered, as I had feared she would, that he was busily
+at work in his study, and could not be disturbed. I handed her my letter
+of introduction, and asked her to give it to Herr Wagner, and to say to
+him that I was expecting to remain in Zurich three or four days, and
+would call again, hoping to be fortunate enough to find him disengaged.
+
+Just as I was turning to leave, I heard a voice at the head of the
+stairs call out, "Wer ist da?" I told the maid to deliver my letter
+immediately. As soon as Wagner had glanced through it, he exclaimed,
+"Kommen Sie herauf! Kommen Sie herauf!"
+
+At that time Wagner was known, and that not widely, only as the composer
+of "Rienzi," "The Flying Dutchman," "Tannhaeuser," and "Lohengrin." I had
+heard only "The Flying Dutchman," but considered it a most beautiful
+work, and was eager to meet the composer.
+
+Wagner's first words, as I met him on the landing at the head of the
+stairs, were: "You've come just at the right time. I've been working
+away at something, and I'm stuck. I'm in a state of nervous irritation,
+and it is absolutely impossible for me to go on. So I'm glad you've
+come."
+
+I remember perfectly my first impression of him. He looked to me much
+more like an American than a German. After asking about his brother, he
+began questioning me in a lively way about his friends in Leipsic, about
+the concerts and opera there, and the works that had been given. He also
+asked most kindly after my own affairs--what I was doing, with whom I
+had studied, how long I intended to remain, what my plans were for the
+future, and most particularly about musical matters in America. In some
+way Beethoven was mentioned. After that the conversation became a
+monologue with me as a listener, for Wagner began to talk so fluently
+and enthusiastically about Beethoven that I was quite content to keep
+silent and to avoid interrupting his eloquent oration.
+
+
+
+
+WAGNER ON MENDELSSOHN AND BEETHOVEN
+
+
+As he warmed up to the subject, he began to draw comparisons between
+Beethoven and Mendelssohn. "Mendelssohn," he said, "was a gentleman of
+refinement and high degree; a man of culture and polished manner; a
+courtier who was always at home in evening dress. As was the man, so is
+his music, full of elegance, grace, finish, and refinement, but carried
+without variance to such a degree that at times one longs for brawn and
+muscle. Yet it is music that is always exquisite, fairy-like, and fine
+in character. In Beethoven we get the man of brawn and muscle. He was
+too inspired to pay much attention to conventionalities. He went right
+to the pith of what he had to say, and said it in a robust, decisive,
+manly, yet tender way, brushing aside the methods and amenities of
+conventionalism, and striking at once at the substance of what he wished
+to express. Notwithstanding its robustness, his music is at times
+inexpressibly tender; but it is a manly tenderness, and carries with it
+an idea of underlying and sustaining strength. Some years ago, when I
+was kapellmeister in Dresden, I had a remarkable experience, which
+illustrates the invigorating and refreshing power of Beethoven's music.
+It was at one of the series of afternoon concerts of classic music given
+at the theater. The day was hot and muggy, and everybody seemed to be in
+a state of lassitude and incapacity for mental or physical effort. On
+glancing at the program, I noticed that by some chance all of the pieces
+I had selected were in the minor mode--first, Mendelssohn's exquisite 'A
+Minor Symphony,' music in dress-suit and white kid gloves, spotless and
+_comme il faut_; then an overture by Cherubini; and finally Beethoven's
+'Symphony No. 5, in C Minor.'" At this point Wagner rose from his chair,
+and began walking about the room. "Everybody," he continued, "was
+listless and languid, and the atmosphere seemed damp and spiritless. The
+orchestra labored wearily through the symphony and overture, while the
+audience became more and more apathetic. It seemed impossible to arouse
+either players or listeners, and I thought seriously of dismissing both
+after the overture. I was very reluctant to subject Beethoven's
+wonderfully beautiful music to such a crucial test, but after a moment's
+reflection I appreciated the fact that here was an opportunity for
+proving the strength and virility of it, and I said to myself, 'I will
+have courage, and stick to my program.'"
+
+Wagner stopped walking a moment, and looked about the room as if
+searching for something. Then he rushed to a corner, and seizing a
+walking-stick, raised it as if it were a baton.
+
+"Here is Beethoven," he exclaimed, "the working-man in his
+shirt-sleeves, with his great herculean breast bared to the elements."
+
+He straightened himself up, and, giving the stick a swing, brought it
+down with an abrupt "Ta-ta-ta-tum!"--the opening measure of Beethoven's
+"C Minor Symphony":
+
+[Illustration: Musical notation]
+
+The whole scene was graphically portrayed. Then throwing himself into a
+chair, he said: "The effect was electrical on orchestra and audience.
+There was no more apathy. The air was cleared as by a passing
+thunder-shower. There was the test."
+
+"When Wagner spoke of Mendelssohn, his tone of voice indicated the
+gentle refinement of the courtier and his music. When he mentioned
+Beethoven, his manner was animated and full of enthusiasm.
+
+Wagner's enthusiasm, his openness in taking me at once into his musical
+confidence, fascinated me, and gave me an insight into the wonderful
+vitality and energy of the man. He was planning a tramp through the
+Tyrol, about a week later, with a professor from the Zurich University.
+"Come along with us," he said. "Alle guten Dinge sind drei" ("All good
+things are three"). However, I did not feel at liberty to leave my
+parents to continue their trip alone, as I was acting as interpreter for
+them. Of course Wagner was not then what he afterward became in the eyes
+of the world. I now know what I missed.
+
+
+
+
+A WAGNER AUTOGRAPH
+
+
+But I did not leave Wagner's house without what many musicians, to whom
+I have shown it, consider one of the most interesting musical autographs
+ever penned. It is autographic from beginning to end, even to the lines
+of the staff; for when I asked Wagner for his autograph, he drew them
+himself on a sheet of blank paper, and then wrote what is evidently the
+germ of the dragon motive in "The Ring of the Nibelung." It is dated
+June 5, 1852, and it is particularly interesting that he should have
+written this motive at that time. From his correspondence with Liszt, it
+is clear that he had not yet finished the poem of the "Walkuere," and had
+not yet begun the score of the cycle. He wrote the books of the "Ring"
+backward, but in the composition of the cycle he began with the
+"Rheingold," in the autumn of the year in which I met him. The dragon
+motive occurs in the "Rheingold," but in quite a different form. He
+began the "Walkuere" in June, 1854, two years later, completing it in
+1856. In the meantime, in the autumn of 1854, he also began the music of
+"Siegfried," and it is in the first act of this music drama, written
+more than two years after I had met him, that we find the dragon motive
+exactly as it is written in my autograph, except that it is transposed a
+tone lower, and that the length of the notes is changed, though their
+relative value is the same, dotted halves being substituted for
+quarters.
+
+[Illustration: Autograph of Richard Wagner]
+
+The passage will be found on page 7 of Klindworth's piano-score of
+"Siegfried." This, I believe, is the only place in the four divisions of
+the "Ring" where the motive appears in this form.
+
+Added significance and value are given to the autograph by the lines
+which Wagner wrote under it, and which are signed and dated: "Wenn Sie
+so etwas aehnliches einmal von mir hoeren sollten, so denken Sie an mich!"
+("If you ever hear anything of mine like this, then think of me.") Even
+this was characteristic of the man. "Siegfried" was not heard until
+nearly a quarter of a century after he had written a passage from it in
+my autograph-book--_but it was heard_.
+
+
+
+
+MOSCHELES
+
+
+The playing of Moscheles was in a direct line of descent from Clementi
+and Hummel, and just preceded the Thalberg school. Moscheles was fond of
+quoting these authorities and of holding them up as excellent examples
+for his pupils. He advocated a very quiet hand position, confining, as
+far as possible, whatever motion was necessary to finger and hand
+muscles; and by way of illustration he said that Clementi's hands were
+so level in position and quiet in motion that he could easily keep a
+crown-piece on the back of his hand while playing the most rapid scale
+passages.
+
+I was not much surprised at this, for I knew it had been said of Henry
+C. Timm of New York, an admirable pianist of the Hummel school, that he
+could play a scale with a glass of wine on the back of his hand without
+spilling a drop. I, boy-like, could not resist the temptation to repeat
+what I had heard. There was a curious expression upon the face of our
+good teacher, which gave the impression that he thought it a pretty tall
+story, and my fellow-pupils put it down as a yarn prompted by desire on
+my part to get ahead of Moscheles. Among these was Charles Wehle of
+Prague, of whom I saw a good deal. Some years later, after I had left
+Weimar for America, Wehle happened to visit Liszt. My name was
+mentioned, and Wehle asked, "Did you ever hear his wonderful tale about
+Timm, the New York player?" Then he repeated the anecdote, but changed
+the glass of wine to a glass of water. Liszt shook his head
+incredulously, and said, "Mason never said anything about a glass of
+water all the time he was in Weimar."
+
+Moscheles was an excellent pianist and teacher, but he was already
+growing old, and his playing of sforzando and strongly accented tones
+was apt to be accompanied by an audible snort, which was far from
+musical. However, as a Bach-player he was especially great, and it was a
+delight to hear him. One evening, after my lesson, he began playing the
+preludes and fugues from the "Well-tempered Clavier," and I was
+enchanted with the finish, repose, and musicianship of his performance,
+which was without fuss or show. I have never heard any one surpass him
+in Bach.
+
+Paderewski's Bach-playing is much like that of my old teacher. Several
+years ago, in company with Adolf Brodsky, the violinist, I attended one
+of Paderewski's recitals given in this city. After listening to
+compositions of Bach and Beethoven, Brodsky said: "He lays everything
+from A to Z before you in the most conscientious way, and through
+delicacy and sensitiveness of perception he attains a very close and
+artistic adjustment of values."
+
+Thoroughly in accord with Brodsky, I vividly recall the similarity of
+Paderewski's interpretation to that of Moscheles, both being
+characterized by perfect repose in action, while at the same time not
+lacking in intensity of expression. The modern adaptations and
+alterations from Bach are not here referred to, but the music as
+originally written by the composer. In Paderewski's conception and
+performance, like that of Moscheles, each and all of the voices received
+careful and reverent attention, and were brought out with due regard to
+their relative, as well as to their individual, importance. Nuances were
+never neglected, neither were they in excess. Thus the musical
+requirements of polyphonic interpretation were artistically fulfilled.
+Head and heart were united in skilful combination and loving response.
+
+While I was in Leipsic, Moscheles celebrated his silver wedding, and one
+of the features of the occasion was odd and interesting. I forget
+whether I had the story direct from him or from one of my
+fellow-students. It is as follows: At the time Moscheles was paying
+attention to the lady who afterward became his wife he had a rival who
+was a farmer. What became of the farmer after Moscheles carried off the
+prize history does not make clear. A friend of Moscheles, an artist of
+ability, conceived the unique idea of commemorating the joyous
+anniversary, and, putting it into act, he painted two portraits of Mrs.
+Moscheles, one representing her as she appeared on that interesting
+occasion, and the other giving his idea of how she would have looked
+after twenty-five years of wedded life had she married the farmer.
+
+
+
+
+JOSEPH JOACHIM
+
+
+"Leipsic, Wednesday, September 19, 1849." Under this date I find in my
+diary a note to the effect that Joachim the violinist made me a friendly
+call at half-past ten o'clock. I had previously called on him to present
+a letter of introduction which I had received in Hamburg from Mortier de
+Fontaine.
+
+Joachim made a marked impression upon me as being genial and unassuming
+in manner. He very cordially invited me to come to his room, saying, "We
+will play sonatas for violin and pianoforte together." This afforded a
+fine opportunity to a young piano-student, and, coming as it did without
+solicitation or expectation, was all the more appreciated. Less than two
+weeks later, on September 30, I heard him play the Mendelssohn violin
+concerto at the first Gewandhaus concert of the season, and was
+enchanted with his musical interpretation of the beautiful composition.
+A little further on in the diary it is written that the second
+Gewandhaus concert was given on October 7. The Schumann "Symphony in B
+Flat Major, No. 1," was played, and "I never before experienced such a
+thrill of enthusiasm." On Thursday, October 18, the third Gewandhaus
+concert took place, the symphony being by Spohr, "No. 3, C Minor." An
+item of special interest regarding this concert is that I heard here for
+the first time the fine violoncellist Bernhard Cossmann, with whom, in
+later years, I became intimately acquainted. He was then in the Weimar
+orchestra and the Ferdinand Laub String Quartet, and was one of our
+"Weimarische Dutzbrueder."
+
+
+
+
+SCHUMANN'S "CONCERTO IN A MINOR"
+
+
+This concerto I heard for the first time in Leipsic, on Saturday,
+January 19, 1850. It was in one of the Euterpe Society's concerts,
+exceedingly well played by Adolph Blassman of Dresden, and I vividly
+remember the stunning effect it produced upon some of the best pupils of
+the Conservatory who were present. I was nearly as much excited over
+the composition as I had previously been at the performance of the
+"Symphony in B Flat Major."
+
+A few weeks later the same concerto was played in a Gewandhaus concert
+by Fraeulein Wilhelmine Clauss, a pupil of Mme. Schumann, who had studied
+it under her supervision. The result was another good rendering,
+although at the previous rehearsal there had been trouble with the
+so-called syncopated passage where the 3/2 and 3/4 rhythms alternate,
+and it was not until after many repeated attempts that success was
+attained.
+
+On account of the long, uninterrupted continuance of this 3/2 rhythm its
+character as a syncopation is entirely lost and it becomes simply an
+augmentation of the preceding and following 3/4 rhythm, and all of the
+best orchestral conductors I have seen always give out the beat
+accordingly--that is, in a manner equivalent to simply doubling the rate
+of speed in the 3/4 from that of the 3/2 movement. I do not see how the
+performers, both in orchestra and piano, can be kept together in any
+other way.
+
+[Illustration: Autograph of Joseph Joachim]
+
+
+
+
+CARL MAYER
+
+
+From Leipsic I went to Dresden in March, 1850, and stayed there a few
+months with some American friends who were studying the pianoforte under
+Carl Mayer, whose very beautiful and finished playing was more adapted
+for the salon than for the concert-hall. Although I took no lessons of
+him, I constantly enjoyed his society, frequently heard him play, and in
+this way profited much from the association.
+
+I wished, however, to get to work in the more advanced and modern
+methods, and so decided to go to Alexander Dreyschock in Prague. My
+departure from Dresden was somewhat delayed because, upon going to the
+Austrian consul's to get his vise, he refused to give it to me. This was
+owing to the political disturbances which had taken place in Europe a
+year or two before. Thereupon I wrote to Dreyschock for his assistance,
+and being on friendly terms with the Austrian minister at Dresden, he
+easily accomplished the desired result.
+
+
+
+
+DREYSCHOCK
+
+
+Alexander Dreyschock was one of the most distinguished
+pianoforte-virtuosos of his time, and his specialty was his wonderful
+octave-playing. Indeed, he acquired such fame in this particular that
+the mention of "octave-playing" at once suggested the name of Dreyschock
+to his contemporaries. He was also celebrated on account of his highly
+trained left hand, so much so that Saphir, the famous Vienna critic,
+paid tribute to the fact by writing a stanza which obtained wide
+circulation, and which runs as follows:
+
+    Welchen Titel der nicht hinke
+      Man dem Meister geben moechte,
+    Der zur Rechten macht die Linke?--
+      Nennt ihn, "Doctor beider Rechte."
+
+An anecdote, related to me by one of his most intimate friends not long
+after my arrival in Prague, is interesting in this connection, as well
+as instructive to piano-students. Tomaschek, his teacher, was in the
+habit of receiving a few friends on stated occasions for the purpose of
+musical entertainment and conversation. One evening the rapid progress
+in piano-technic was being discussed, and Tomaschek remarked that more
+and more in this direction was demanded each day. A copy of Chopin's
+"Etudes, Op. 10," open at "Etude No. 12, C Minor," happened to be lying
+on the piano-desk. It will be remembered that the left-hand part of this
+etude consists throughout of rapid passages in single notes, difficult
+enough in the original to satisfy the ambition of most pianists.
+Tomaschek, looking at this, remarked, "I should not wonder if, one of
+these days, a pianist should appear who would play all of these
+single-note left-hand passages in octaves." Dreyschock, overhearing the
+remark, at once conceived an idea which he proceeded next day to carry
+into execution. For a period of six successive weeks, at the rate of
+twelve hours a day, he practised the etude in accordance with the
+suggestion of Tomaschek. How he ever survived the effort is a mystery,
+but, at any rate, when the next musical evening at Tomaschek's occurred
+he was present, and, watching his opportunity for a favorable moment,
+sat down to the pianoforte and played the etude in a brilliant and
+triumphant manner, with the left-hand octaves, thus fulfilling the
+prediction of Tomaschek. Upon a subsequent occasion he repeated this
+feat at one of the Leipsic Gewandhaus concerts. Mendelssohn, as I am
+told, was present, and was very demonstrative in the expression of his
+delight and astonishment. I will add, for the benefit of those of my
+readers, should there be any, who are inclined to try the experiment,
+that certain adaptations are necessary in various parts of the etude in
+order to get the required scope for the left-hand octaves. Thus, the
+opening octave series, as well as other similar left-hand passages
+throughout the etude, must, when necessary, be played an octave higher
+than written.
+
+At the time of which I write (1849-1850) very little seems to have been
+known of the important influence of the upper-arm muscles and their very
+efficient agency, when properly employed, in the production of
+tone-quality and volume by means of increased relaxation, elasticity,
+and springiness in their movements.
+
+I received considerably over one hundred lessons from Dreyschock, and
+with slow and rapid scale and arpeggio practice his instruction had
+special reference to limber and flexible wrists, his distinguishing
+feature being his wonderful octave-playing. Beyond the wrists, however,
+the other arm muscles received practically little or no attention, and
+the fact is that during my whole stay abroad none of my teachers or
+their pupils, with many of whom I was intimately associated, seemed to
+know anything about the importance of the upper-arm muscles, the
+practical knowledge of which I had acquired through the playing of
+Leopold de Meyer as described in the earlier part of this book. In the
+Tomaschek method, as taught and practised by Dreyschock, the direction
+to the pupil was simply to keep the wrists loose. To be sure, this could
+not be altogether accomplished without some degree of arm-limberness,
+but no specific directions were given for cultivating the latter. So far
+as wrist-motion is concerned, Leschetitsky's manner of playing octaves
+has much in common with the Tomaschek-Dreyschock method, if the former
+may be judged from the playing of most of his pupils, who seem to pay
+but little attention to the upper-arm muscles. This is quite natural
+when it is remembered that Leschetitsky was in some sense an assistant
+of Dreyschock when the latter was at the head of the piano department in
+the Conservatory of Music at St. Petersburg. The Leschetitsky pupils,
+however, have a manner of sinking the wrists below the keyboard which
+was not in accordance with Dreyschock's manner of playing. It seems to
+me that the latter's method of level wrists is more productive of a
+full, sonorous, musical tone.
+
+I remained with Dreyschock for over a year, taking three lessons a week
+and practising about five hours a day. I played also in private
+musicales at the houses of the nobility and at the homes of some of the
+wealthy Jews, two classes of society which were entirely distinct from
+each other, never mingling in private life. I met and became well
+acquainted with Jules Schulhoff, whose compositions for the pianoforte
+were very effective, but more appropriate to the drawing-room than to
+the concert-hall.
+
+
+
+
+PRINCE DE ROHAN'S DINNER
+
+
+It was customary in Prague to give once a year an orchestral concert of
+high order, the pecuniary proceeds of which were for the benefit of the
+poor, and on one of these occasions I played with orchestra a brilliant
+composition of Dreyschock's entitled "Salut a Vienne." It was also the
+custom, in concerts of this order, to use the name of some nobleman--the
+higher the better--as patron. On this occasion the name used was that of
+the Prince de Rohan, a French nobleman who, expatriated, had lived for
+some time in Prague in a palace of the old Austrian Emperor Ferdinand,
+who, shortly before the time of which I write, had abdicated in favor
+of his nephew, the present emperor. A few days after the concert, while
+I was practising in my modestly appointed room, there was a loud knock
+at the door, and immediately there entered a servant of the prince in
+gorgeous livery, who, advancing to the middle of the room and
+straightening himself up, announced in stentorian tones, "His Highness
+Prince Rohan invites you to dinner," at the same time handing me a large
+envelop with a big seal on the back. Without waiting for a reply, he
+made a low obeisance and left the room.
+
+It turned out that all the principal artists who had taken part in the
+concert had been invited to the dinner, and on the appointed day one of
+these, an opera-singer of distinction, came to my room and asked if he
+might go with me. Never having been to a prince's house, and not knowing
+what ceremony might be considered appropriate to such an occasion, he
+conceived the idea of securing a chaperon. The incongruity of his
+selecting a green American youth for this purpose greatly amused me,
+but I said, "Come along; they won't hang us for anything we are likely
+to do." Arriving at the palace five or ten minutes before the hour, the
+porter at the outer gate refused us admission, saying we were too early.
+This untoward reception somewhat unsettled us for the moment, but there
+was nothing for us to do but to walk about until the appointed time. On
+presenting ourselves again at the gate at precisely the right moment, we
+were promptly admitted. After passing through the hands of several
+servants, we were finally ushered into the presence of the prince.
+
+He was not an imposing man in appearance, neither was he as well dressed
+as several of the four or five guests who arrived later, my companion
+and I being the first-comers. The prince offered me his arm, and led me
+through the picture-gallery adjoining the reception-room, pointing out
+the portraits of his ancestors, whose names were mostly familiar to me
+from French history. As all formality in his manner had passed away, I
+found the occasion intensely interesting.
+
+Dinner being announced, we proceeded to the dining-room, and, when we
+were seated, the prince said that he would greet us first with a glass
+of Schloss Johannisberger Cabinet wine, which he had just received from
+his friend Prince Metternich, the owner of that world-renowned vineyard.
+As is well known, this Cabinet wine is never on the market, and can be
+bought only at an administrator's sale, and then commands the highest
+price. It is not unusual for tourists to pay a large price for this wine
+on the spot, even then not getting the genuine thing, for the space
+where the Cabinet wine grows is very small compared with the quantity of
+wine which is credited to it. Several kinds of red and white wines were
+served, and various kinds of German beer, as well as English and Scotch
+ale. Finally, after seven or eight courses, a single glass of
+champagne--no more--was poured out for each guest. Liquid refreshments,
+however, did not end there, for we afterward adjourned to the library,
+where we found a roaring wood fire in a vast stone chimney-place, where
+cigars, liqueurs of many kinds, and finally coffee and tea with rum were
+served. There was no music.
+
+
+
+
+CHOPIN, HENSELT, AND THALBERG
+
+
+I had always looked forward to taking lessons of Chopin at some period
+during my sojourn in Europe, but this was not accomplished, on account
+of his death, which took place in Paris on October 17, 1849. Neither did
+I ever hear him play. One of Dreyschock's anecdotes about him is
+interesting as well as instructive, for it conveys an idea of one of the
+principal characteristics of his style. Dreyschock told me that, a few
+years before, Chopin gave a recital of his own compositions in Paris,
+which he, Dreyschock, attended in company with Thalberg. They listened
+with delight throughout the performance, but on reaching the street
+Thalberg began shouting at the top of his voice.
+
+"What's the matter?" asked Dreyschock, in astonishment.
+
+"Oh," said Thalberg, "I've been listening to _piano_ all the evening,
+and now, for the sake of contrast, I want a little _forte_."
+
+Dreyschock spoke of Chopin's extremely delicate and exquisite playing,
+but said that he lacked the physical strength to produce forte effects
+by contrast in accordance with his own ideas. This is illustrated by
+another anecdote which I heard many years afterward from Korbay. A young
+and robust pianist had been playing Chopin's "Polonaise Militaire" to
+the composer, and had broken a string. When, in confusion, he began to
+apologize, Chopin said to him, "Young man, if I had your strength and
+played that polonaise as it should be played, there wouldn't be a sound
+string left in the instrument by the time I got through."
+
+The distinguishing characteristic of Chopin's piano-playing was his
+lovely musical and poetic tone, his warm and emotional coloring, and his
+impassioned utterance. In those days one was not afraid to play with a
+great deal of sentiment, although pianists who were capable of doing
+this poetically were rare. In modern times it has become the fashion to
+ridicule any tendency toward emotional playing and to extol the
+intellectual side beyond its just proportion. It seems to me that there
+should be a happy combination and a delicate and well-proportioned
+adjustment between the temperamental and intellectual, with a slight
+preponderance of the former.
+
+An anecdote of Adolf Henselt, also related to me by Dreyschock, is
+entertaining as well as suggestive, especially to pianoforte-players,
+who are constantly troubled with nervousness when playing before an
+audience. Henselt, whose home was in St. Petersburg, was in the habit of
+spending a few weeks every summer with a relative who lived in Dresden.
+Dreyschock, passing through that city, called on him one morning, and
+upon going up the staircase to his room, heard the most lovely tones of
+the pianoforte imaginable.
+
+He was so fascinated that he sat down at the top of the landing and
+listened for a long time. Henselt was playing repeatedly the same
+composition, and his playing was also specially characterized by a warm
+emotional touch and a delicious legato, causing the tones to melt, as it
+were, one into the other, and this, too, without any confusion or lack
+of clearness. Henselt was full of sentiment, but detested
+"sentimentality." Finally, for lack of time, Dreyschock was obliged to
+announce himself, although, as he said, he could have listened for
+hours. He entered the room, and after the usual friendly greeting said,
+"What were you playing just now as I came up the stairs?" Henselt
+replied that he was composing a piece and was playing it over to
+himself. Dreyschock expressed his admiration of the composition, and
+begged Henselt to play it again. Henselt, after prolonged urging, sat
+down to the pianoforte and began playing again, but, alas! his
+performance was stiff, inaccurate, and even clumsy, and all of the
+exquisite poetry and unconsciousness of his style completely
+disappeared. Dreyschock said that it was quite impossible to describe
+the difference; and this was simply the result of diffidence and
+nervousness, which, as it appeared, were entirely out of the player's
+power to control. Pianoforte-players frequently experience this state of
+things. The only remedy is freedom from self-consciousness, which can
+best be achieved by earnest and persistent mental concentration.
+
+
+
+
+ANTON SCHINDLER, "AMI DE BEETHOVEN"
+
+
+After finishing my studies with Dreyschock, I went to Frankfort, not to
+study under any particular master, but in order to enjoy the opera and
+the musical life there. Moreover, two or three of my old Boston friends
+were temporarily settled there, pursuing their musical studies.
+
+Anton Schindler, one of the well-known musical characters of the day,
+and who had been Beethoven's most intimate friend during the latter
+years of the great composer's life, lived at Frankfort, and, being
+members of the same club, the Buerger Verein, I often enjoyed the
+pleasure of his society, and heard much concerning Beethoven. Schindler
+had written a life of Beethoven, and was naturally very proud of his
+close association with the great master. During his residence in Paris,
+some years previous to the time of which I am writing, he caused to be
+printed on his visiting-cards, "Anton Schindler, Ami de Beethoven."
+
+He worshiped his idol's memory, and was so familiar with his music that
+the slightest mistake in interpretation or departure from Beethoven's
+invention or design jarred upon his nerves--or possibly he made a
+pretense of this. He held all four-hand pianoforte arrangements of works
+designed and composed for orchestra as abominations. Extreme
+sensitiveness is a role sometimes assumed by men in no wise remarkable,
+in order to enhance their own importance in the eyes of others.
+Schindler's attitude as to the undesirability of orchestral pianoforte
+arrangements will meet with the approval of many, but he certainly
+carried his sensitiveness in regard to the interpretation of Beethoven's
+works to amusing extremes.
+
+[Illustration: Autograph of Anton Schindler]
+
+Every winter a subscription series of orchestral concerts was given in
+Frankfort, each program of which included at least one symphony. The
+concerts took place in a very old stone building called the "Museum,"
+and on the occasion here referred to the symphony was Beethoven's "No.
+5, C Minor." It so happened that, owing to long-continued rains and
+extreme humidity, the stone walls of the old hall were saturated with
+dampness, in fact, were actually wet. This excess of moisture affected
+the pitch of the wood wind-instruments to such a degree that the other
+instruments had to be adjusted to accommodate them. Schindler, it was
+noticed, left the hall at the close of the first movement. This seemed a
+strange proceeding on the part of the "Ami de Beethoven," and when later
+in the evening he was seen at the Buerger Verein and asked why he had
+gone away so suddenly, he replied gruffly, "I don't care to hear
+Beethoven's 'C Minor Symphony' played in the key of B minor."
+
+
+
+
+SCHINDLER AND SCHNYDER VON WARTENSEE
+
+
+Another story current in Frankfort at this time further illustrates
+Schindler's peculiarity. Among the noted musicians living in Frankfort
+was a theoretician, Swiss by birth, named Schnyder von Wartensee, who
+was of considerable importance in his day. Schindler and Von Wartensee
+had lived in Frankfort, but had never met each other, although common
+friends had at various times made ineffectual efforts to bring them
+together. They were both advanced in years, and, as it seemed, ought to
+have been genial companions. Possibly the failure to arrange a meeting
+had been due to Wartensee's being older than Schindler, and thus in a
+position to expect the latter to call first, while Schindler, being "Ami
+de Beethoven," felt it beneath his dignity to make the first move.
+However, some time previous to my arrival another plan for an interview
+was contrived, and as so many previous ones had failed the outcome of
+this was watched with interest.
+
+By the exercise of considerable diplomatic tact Schindler was persuaded
+to agree to call upon Wartensee and to fix a time for the visit. The
+friends of the gentlemen had all been looking forward with much interest
+to the result of this meeting, hoping thereby to hear a great many
+musical reminiscences, and a committee was appointed to watch Schindler
+and make sure that he kept the appointment. After a while the committee
+returned to the Buerger Verein and reported that they had seen him almost
+reach Wartensee's house, then pause for a moment, and suddenly turn and
+hurry away. Later Schindler himself came in, and being questioned
+concerning the interview, exclaimed, "Bah! as I got near the house I
+heard them [Wartensee and his wife] playing a four-handed piano
+arrangement of the 'Eroica.'"
+
+
+
+
+FIRST LONDON CONCERT
+
+
+In January, 1853, my stay in Frankfort was brought to an end by a letter
+from Sir Julias Benedict, asking me to come to London to play at one of
+the concerts of the Harmonic Union at Exeter Hall. I accepted the
+engagement, and made my first appearance in London under Benedict's
+conductorship, playing Weber's "Concertstueck." An account having been
+published in a London paper of the very delightful celebration, in 1899,
+of my seventieth birthday by my pupils, past and present, and by many of
+my friends, I received an inquiry from a lady living in London, asking
+whether I was the same William Mason whom she had heard in Exeter Hall
+nearly half a century ago!
+
+I accepted only one other engagement to play in public, though I
+remained near London for more than two months, just to look about.
+
+I was much impressed with the extent to which Mendelssohn's influence
+prevailed in English matters musical. I met a great many excellent
+musicians there, especially several fine organists; but a large
+majority, both in their ideas and in their style of playing and
+composition, were nothing but Mendelssohns in "half-tone," and to some
+extent this is still true of England.
+
+
+
+
+WITH LISZT IN WEIMAR
+
+
+After my London visit I was obliged to return to Leipsic to transact
+some business, and I decided to call on Liszt in Weimar en route. My
+intention was to make another effort to be received by him as a pupil,
+my idea being, if he declined, to go to Paris and study under some
+French master.
+
+I reached Weimar on the 14th of April, 1853, and put up at the Hotel zum
+Erbprinzen. At that time Liszt occupied a house on the Altenburg
+belonging to the grand duke. The old grand duke, under whose patronage
+Goethe had made Weimar famous, was still living. I think his idea was to
+make Weimar as famous musically through Liszt as it had been in
+literature in Goethe's time.
+
+Having secured my room at the Erbprinzen, I set out for the Altenburg.
+The butler who opened the door mistook me for a wine-merchant whom he
+had been expecting. I explained that I was not that person. "This is my
+card," I said. "I have come here from London to see Liszt." He took the
+card, and returned almost immediately with the request for me to enter
+the dining-room.
+
+I found Liszt at the table with another man. They were drinking their
+after-dinner coffee and cognac. The moment Liszt saw me he exclaimed,
+"Nun, Mason, Sie lassen lange auf sich warten!" ("Well, Mason, you let
+people wait for you a long time!") I suppose he saw my surprised look,
+for he added, "Ich habe Sie schon vor vier Jahren erwartet" ("I have
+been expecting you for four years"). Then it struck me that I had
+probably wholly misinterpreted his first letter to me and what he said
+when I called on him during the Goethe festival. But nothing was said
+about my remaining, and though he was most affable, I began to doubt
+whether I would accomplish the object of my visit.
+
+
+
+
+ACCEPTED BY LISZT
+
+
+When we rose from the table and went into the drawing-room, Liszt said:
+"I have a new piano from Erard of Paris. Try it, and see how you like
+it." He asked me to pardon him if he moved about the room, for he had to
+get together some papers which it was necessary to take with him, as he
+was going to the palace of the grand duke. "As the palace is on the way
+to the hotel, we can walk as far as that together," he added.
+
+I felt intuitively that my opportunity had come. I sat down at the piano
+with the idea that I would not endeavor to show Liszt how to play, but
+would play as simply as if I were alone. I played "Amitie pour Amitie,"
+a little piece of my own which had just been published by Hofmeister of
+Leipsic.
+
+[Illustration: LISZT IN MIDDLE LIFE]
+
+"That's one of your own?" asked Liszt when I had finished. "Well, it's a
+charming little piece." Still nothing was said about my being accepted
+as a pupil. But when we left the Altenburg, he said casually, "You
+say you are going to Leipsic for a few days on business? While there you
+had better select your piano and have it sent here. Meanwhile I will
+tell Klindworth to look up rooms for you. Indeed, there is a vacant room
+in the house in which he lives, which is pleasantly situated just
+outside the limits of the ducal park."
+
+I can still recall the thrill of joy which passed through me when Liszt
+spoke these words. They left no doubt in my mind. I was accepted as his
+pupil. We walked down the hill toward the town, Liszt leaving me when we
+arrived at the palace, telling me, however, that he would call later at
+the hotel and introduce me to my fellow-pupils. About eight o'clock that
+evening he came.
+
+After smoking a cigar and chatting with me for half an hour, Liszt
+proposed going down to the cafe, saying, "The gentlemen are probably
+there, as this is about their regular hour for supper." Proceeding to
+the dining-room, we found Messrs. Raff, Pruckner, and Klindworth, to
+whom I was presented in due form, and who received me in a very
+friendly manner.
+
+I had no idea then, neither have I now, what Liszt's means were, but I
+learned soon after my arrival at Weimar that he never took pay from his
+pupils, neither would he bind himself to give regular lessons at stated
+periods. He wished to avoid obligations as far as possible, and to feel
+free to leave Weimar for short periods when so inclined--in other words,
+to go and come as he liked. His idea was that the pupils whom he
+accepted should all be far enough advanced to practise and prepare
+themselves without routine instruction, and he expected them to be ready
+whenever he gave them an opportunity to play. The musical opportunities
+of Weimar were such as to afford ample encouragement to any
+serious-minded young student. Many distinguished musicians, poets, and
+literary men were constantly coming to visit Liszt. He was fond of
+entertaining, and liked to have his pupils at hand so that they might
+join him in entertaining and paying attention to his guests. He had
+only three pupils at the time of which I write, namely, Karl Klindworth
+from Hanover, Dionys Pruckner from Munich, and the American whose
+musical memories are here presented. Joachim Raff, however, we regarded
+as one of us, for although not at the time a pupil of Liszt, he had been
+in former years, and was now constantly in association with the master,
+acting frequently in the capacity of private secretary. Hans von Bulow
+had left Weimar not long before my arrival, and was then on his first
+regular concert-tour. Later he returned occasionally for short visits,
+and I became well acquainted with him. We constituted, as it were, a
+family, for while we had our own apartments in the city, we all enjoyed
+the freedom of the two lower rooms in Liszt's home, and were at liberty
+to come and go as we liked. Regularly on every Sunday at eleven o'clock,
+with rare exceptions, the famous Weimar String Quartet played for an
+hour and a half or so in these rooms, and Liszt frequently joined them
+in concerted music, old and new. Occasionally one of the boys would
+take the pianoforte part. The quartet-players were Laub, first violin;
+Stoerr, second violin; Walbruehl, viola; and Cossmann, violoncello. Before
+Laub's time Joachim had been concertmeister, but he left Weimar in 1853
+and went to Hanover, where he occupied a similar position. He
+occasionally visited Weimar, however, and would then at times play with
+the quartet. Henri Wieniawski, who spent some months in Weimar, would
+occasionally take the first violin. My favorite as a quartet-player was
+Ferdinand Laub, with whom I was intimately acquainted, and I find that
+the greatest violinists of the present time hold him in high estimation,
+many of them regarding him as the greatest of all quartet-players. We
+were always quite at our ease in those lower rooms, but on ceremonial
+occasions we were invited up-stairs to the drawing-room, where Liszt had
+his favorite Erard. We were thus enjoying the best music, played by the
+best artists. In addition to this there were the symphony concerts and
+the opera, with occasional attendance at rehearsal. Liszt took it for
+granted that his pupils would appreciate these remarkable advantages and
+opportunities and their usefulness, and I think we did.
+
+
+
+
+THE ALTENBURG
+
+
+Liszt's private studio, where he wrote and composed, was at the back of
+the main building in a lower wing, and may easily be distinguished in
+the picture by the awnings over the windows. I was not in this room more
+than half a dozen times during my stay in Weimar, and one of these I
+remember as the occasion of Liszt's playing the Beethoven "Kreutzer
+Sonata" with Remenyi, the Hungarian violinist, and giving him a lesson
+in conception and style of performance. Remenyi was a violinist of fine
+musical talent, but not a classicist, his style being after the fashion
+of the class represented by Ole Bull. He was, as is well known, a
+genuine Hungarian, thoroughly at home in the musical characteristics of
+his native country. He was unconsciously disposed to color and mark the
+music of all composers with Hungarian peculiarities, and this habit gave
+rise to a story that sometimes he added to the concluding strain of the
+theme in the slow movement of the "Kreutzer Sonata" the peculiar
+Hungarian termination as a final ornament. This story probably
+originated in a spirit of fun. It was, nevertheless, so characteristic
+of Remenyi that it obtained wide circulation.
+
+[Illustration: Musical notation]
+
+The picture gives a very good view of the house as it appeared in
+1853-54. In the nearest corner of the building were the two large rooms
+on the ground floor to which reference has already been made, of which
+we boys had the freedom at all times, and where strangers were
+unceremoniously received. The Furstin Sayn-Wittgenstein had apartments,
+I think, on the _bel etage_ with her daughter, the Prinzessin Marie.
+Any one who was to be honored with an introduction to them was taken to
+a reception-room up-stairs; adjoining this was the dining-room. This
+print is from a water-color painted for me by my friend Mr. Thomas Allen
+of Boston. It is copied from a photograph of the original,--a
+water-color by Carl Hoffman,--which Mr. Hoffman painted expressly for
+his friend Mr. James M. Tracy, a former pupil of Liszt, who is now a
+professional pianist and teacher in Denver, Colorado, and to whom I am
+indebted for permission to publish it here. Mr. Tracy writes me that it
+has been published before, but without his permission.
+
+We boys saw little of the Wittgensteins, and I remember dining with them
+only once. I sat next to the Princess Marie, who spoke English very
+well, and it may have been due to her desire to exercise in the language
+that I was honored with a seat next to her. Rubinstein met her when he
+was at Weimar (I shall have more to tell of his visit later), and
+composed a nocturne which he dedicated to her. When he came to this
+country in 1873 he told me that he had met her again some years later at
+the palace in Vienna, but that she had become haughty, and had not been
+inclined to pay much attention to him. There are many Wittgensteins in
+Russia. When I was in Wiesbaden in 1879-80 I saw half a dozen Russian
+princes of that name. There was but one Rubinstein.
+
+Liszt had the pick of all the young musicians in Europe for his pupils,
+and I attribute his acceptance of me somewhat to the fact that I came
+all the way from America, something more of an undertaking in those days
+than it is now. I became very well acquainted with those whom I have
+mentioned, especially with Klindworth and Raff, and before many days we
+were all "Dutzbrueder."
+
+[Illustration: THE ALTENBURG, LISZT'S HOUSE AT WEIMAR]
+
+The first evening Raff, whom I had previously never heard of, struck me
+as being rather conceited; but when I grew to know him better, and
+realized how talented he was, I was quite ready to make allowance for
+his little touch of self-esteem. We became warm friends, dining together
+every day at the table d'hote, and after dinner walking for an hour or
+so in the park. Nineteen years later I went abroad again and visited
+Raff at the Conservatory in Frankfort. He interrupted his lessons the
+moment that he heard I was there, came running down-stairs, threw his
+arms around my neck, and was so overjoyed at seeing me that I felt as if
+we were boys once more at Weimar. Of the pupils and of the many
+musicians who came to Weimar to visit Liszt at that time,--"die goldene
+Zeit" (the Golden Age), as it is still called at Weimar,--I think
+Klindworth and I are the only survivors. Klindworth is one of the most
+distinguished teachers in Europe, and taught for many years at the
+Conservatory in Moscow. He is now in Potsdam.
+
+
+
+
+HOW LISZT TAUGHT
+
+
+What I had heard in regard to Liszt's method of teaching proved to be
+absolutely correct. He never taught in the ordinary sense of the word.
+During the entire time that I was with him I did not see him give a
+regular lesson in the pedagogical sense. He would notify us to come up
+to the Altenburg. For instance, he would say to me, "Tell the boys to
+come up to-night at half-past six or seven." We would go there, and he
+would call on us to play. I remember very well the first time I played
+to him after I had been accepted as a pupil. I began with the "Ballade"
+of Chopin in A flat major; then I played a fugue by Handel in E minor.
+
+After I was well started he began to get excited. He made audible
+suggestions, inciting me to put more enthusiasm into my playing, and
+occasionally he would push me gently off the chair and sit down at the
+piano and play a phrase or two himself by way of illustration. He
+gradually got me worked up to such a pitch of enthusiasm that I put all
+the grit that was in me into my playing.
+
+I found at this first lesson that he was very fond of strong accents in
+order to mark off periods and phrases, and he talked so much about
+strong accentuation that one might have supposed that he would abuse it,
+but he never did. When he wrote to me later about my own piano method,
+he expressed the strongest approval of the exercises on accentuation.
+
+
+
+
+"PLAY IT LIKE THIS"
+
+
+While I was playing to him for the first time, he said on one of the
+occasions when he pushed me from the chair: "Don't play it that way.
+Play it like this." Evidently I had been playing ahead in a steady,
+uniform way. He sat down, and gave the same phrases with an accentuated,
+elastic movement, which let in a flood of light upon me. From that one
+experience I learned to bring out the same effect, where it was
+appropriate, in almost every piece that I played. It eradicated much
+that was mechanical, stilted, and unmusical in my playing, and developed
+an elasticity of touch which has lasted all my life, and which I have
+always tried to impart to my pupils.
+
+At this first lesson I must have played for two or three hours. For some
+reason or other Raff was not present, but Klindworth and Pruckner were
+there. They lounged on a sofa and smoked, and I remember wondering if
+they appreciated the nice time they were having at my ordeal. However,
+not many days afterward came my opportunity to light a cigar and lounge
+about the room while Liszt put them through their paces.
+
+Two or three hours is not a long time for a professional musician to
+practise, and I had often spent many more hours at the piano, but never
+under such strong incitement. I was exceedingly tired afterward, and
+actually felt stiff the next day, as if I had performed some very
+arduous physical work. Liszt heard of this, and turned it into a joke,
+telling people that at the time set for the next lesson I appeared at
+the Altenburg with my hand in a sling, and said that I had strained my
+wrist while hunting, and would be unable to play. I think this is _non e
+ver e ben trovato_, as I have no recollection of it.
+
+
+
+
+LISZT IN 1854
+
+
+The best impression of Liszt's appearance at that time is conveyed by
+the picture which shows him approaching the Altenburg. His back is
+turned; nevertheless, there is a certain something which shows the man
+as he was better even than those portraits in which his features are
+clearly reproduced. The picture gives his gait, his figure, and his
+general appearance. There is his tall, lank form, his high hat set a
+little to one side, and his arm a trifle akimbo. He had piercing eyes.
+His hair was very dark, but not black. He wore it long, just as he did
+in his older days. It came almost down to his shoulders, and was cut off
+square at the bottom. He had it cut frequently, so as to keep it at
+about the same length. That was a point about which he was very
+particular.
+
+
+
+
+HIS FASCINATION
+
+
+As I remember his hands, his fingers were lean and thin, but they did
+not impress me as being very long, and he did not have such a remarkable
+stretch on the keyboard as one might imagine. He was always neatly
+dressed, generally appearing in a long frock-coat, until he became the
+Abbe Liszt, after which he wore the distinctive black gown. His general
+manner and his face were most expressive of his feelings, and his
+features lighted up when he spoke. His smile was simply charming. His
+face was peculiar. One could hardly call it handsome, yet there was in
+it a subtle something that was most attractive, and his whole manner had
+a fascination which it is impossible to describe.
+
+I remember little incidents which are in themselves trivial, but which
+illustrate some character-trait. One day Liszt was reading a letter in
+which a musician was referred to as a certain Mr. So-and-so. He read
+that phrase over two or three times, and then substituted his own name
+for that of the musician mentioned, and repeated several times, "A
+_certain_ Mr. Liszt, a _certain_ Mr. Liszt, a _certain_ Mr. Liszt,"
+adding: "I don't know that that would offend me. I don't know that I
+should object to being called 'a _certain_ Mr. Liszt.'" As he said this
+his face had an expression of curiosity, as though he were wondering
+whether he really would be offended or not. But at the same time there
+was in his face that look of kindness I saw there so often, and I really
+believe he would not have felt injured by such a reference to himself.
+There was nothing petty in his feelings.
+
+
+
+
+LISZT'S INDIGNATION
+
+
+On one occasion, however, I saw Liszt grow very much excited over what
+he considered an imposition. One evening he said to us: "Boys, there is
+a young man coming here to-morrow who says he can play Beethoven's
+'Sonata in B Flat, Op. 106.' I want you all three to be here." We were
+there at the appointed hour. The pianist proved to be a Hungarian, whose
+name I have forgotten.
+
+He sat down and began to play in a conveniently slow tempo the bold
+chords with which the sonata opens. He had not progressed more than half
+a page when Liszt stopped him, and seating himself at the piano, played
+in the correct tempo, which was much faster, to show him how the work
+should be interpreted. "It's nonsense for you to go through this sonata
+in that fashion," said Liszt, as he rose from the piano and left the
+room.
+
+The pianist, of course, was very much disconcerted. Finally he said, as
+if to console himself: "Well, he can't play it through like that, and
+that's why he stopped after half a page."
+
+This sonata is the only one which the composer himself metronomized, and
+his direction is M.M. [Illustration: quarter-note] = 138. A less rapid
+tempo, [Illustration: quarter-note] = 100 or thereabouts, would seem to
+be more nearly correct, but the pianist took it at a much slower rate
+than even this.
+
+When the young man left I went out with him, partly because I felt sorry
+for him, he had made such a fiasco, and partly because I wished to
+impress upon him the fact that Liszt could play the whole movement in
+the tempo in which he began it. As I was walking along with him, he
+said, "I'm out of money; won't you lend me three louis d'or?"
+
+A day or two later I told Liszt by the merest chance that the hero of
+the Op. 106 fiasco had tried to borrow money of me. "B-r-r-r! What?"
+exclaimed Liszt. Then he jumped up, walked across the room, seized a
+long pipe that hung from a nail on the wall, and brandishing it as if it
+were a stick, stamped up and down the room in almost childish
+indignation, exclaiming, "Drei louis d'or! Drei louis d'or!" The point
+is, however, that Liszt regarded the man as an artistic impostor. He had
+sent word to Liszt that he could play the great Beethoven sonata, not an
+inconsiderable feat in those days. He had been received on that basis.
+He had failed miserably. To this artistic imposition he had added the
+effrontery of endeavoring to borrow money from some one whom he had met
+under Liszt's roof.
+
+
+
+
+OBJECTS TO MY EYE-GLASSES
+
+
+I have mentioned that Liszt was careful in his dress. He was also
+particular about the appearance of his pupils. I remember two instances
+which show how particular he was in little matters. I have been
+near-sighted all my life, and when I went to Weimar I wore eye-glasses,
+much preferring them to spectacles. Eye-glasses were not much worn in
+Germany at that time, and were considered about as affected as the mode
+of wearing a monocle. The Germans wore spectacles. I had not been in
+Weimar long when Liszt said to me: "Mason, I don't like to see you
+wearing those glasses. I shall send my optician to fit your eyes with
+spectacles."
+
+I hardly thought that he was serious, and so paid no attention to him.
+But, sure enough, about a week later there was a knock at my door, and
+the optician presented himself, saying he had come at the command of
+Dr. Liszt to examine my eyes and fit a pair of spectacles to them. As I
+was evidently to have no say in the matter, I submitted, and a few days
+later I received two pairs, one in a green and one in a red case. I
+thought them extremely unbecoming, but I was very particular to put them
+on whenever I went to see Liszt.
+
+Not long afterward Liszt went to Paris, and when we called to see him
+after his return, and he was talking about his experiences there, he
+said casually: "By the way, Mason, I find that gentlemen in Paris are
+wearing eye-glasses now. In fact, they are considered quite _comme il
+faut_, so I have no objection to your wearing yours." As he did not ask
+me to send him the spectacles, I kept them, and have them to this day.
+
+Klindworth, Pruckner, and I had played the Bach triple concerto in a
+concert at the town hall, and had been requested to repeat it at an
+evening concert at the ducal palace. An hour before the ducal carriage
+arrived to take me to the concert, a servant came from the Altenburg
+with a package which he said Liszt had requested him to be sure to
+deliver to me. On opening it, I found two or three white ties. It was a
+hint to me from Liszt that I most dress suitably to play at court.
+
+This incident shows the care that Liszt bestowed on little things
+relating to the customs and amenities of social life. He evidently sent
+the ties as a precautionary measure. Possibly he was not sure whether
+Americans were civilized enough to wear white ties with evening dress,
+and was afraid I might appear in a red-white-and-blue one. Seriously,
+however, it was very kind of him to think of a little thing like this.
+
+
+
+
+A MUSICAL BREAKFAST
+
+
+Before I went to Weimar I had not been of a very sociable disposition.
+At Weimar I had to be. Liszt liked to have us about him. He wished us to
+meet great men. He would send us word when he expected visitors, and
+sometimes he would bring them down to our lodgings to see us. In every
+way he tried to make our surroundings as pleasant as possible. It would
+have been strange if, under such circumstances, we had not derived some
+benefit from our intercourse with our great master and his visitors.
+
+I shall always recall with amusement a breakfast which, at Liszt's
+request, Klindworth and I gave to Joachim and Wieniawski, the
+violinists, then, of course, very young men, and to several other
+distinguished visitors. Liszt had been entertaining them for several
+days. We knew that it was about time for him to bring them down to see
+one of us. So I was not surprised when he turned to me one evening and
+said, "Mason, I want you and Klindworth to give us a breakfast
+to-morrow." I asked him what we should have. "Oh," he replied, "some
+_Semmel_ [rolls], caviar, herring," etc.
+
+The next morning Liszt and his visitors came. I remember looking out of
+my window and watching them cross the ducal park, over the long
+foot-path which ended directly opposite the house where Klindworth and I
+lived. It had been raining, and the path was slippery, so that their
+footsteps were somewhat uncertain.
+
+The breakfast passed off all right. When he had finished, Liszt said,
+"Now let us take a stroll in the garden." This garden was about four
+times as large as the back yard of a New York house, and it was
+unflagged and, of course, muddy from the rain of the previous night.
+Never shall I forget the sight of Liszt, Joachim, Wieniawski, and our
+other distinguished guests "strolling" through this garden, wading in
+mud two inches deep.
+
+
+
+
+LISZT'S PLAYING
+
+
+Time and again at Weimar I heard Liszt play. There is absolutely no
+doubt in my mind that he was the greatest pianist of the nineteenth
+century. Liszt was what the Germans call an _Erscheinung_--an
+epoch-making genius. Taussig is reported to have said of him: "Liszt
+dwells alone upon a solitary mountain-top, and none of us can approach
+him." Rubinstein said to Mr. William Steinway in the year 1873: "Put all
+the rest of us together and we would not make one Liszt." This was
+doubtless hyperbole, but nevertheless significant as expressing the
+enthusiasm of pianists universally conceded to be of the highest rank.
+There have been other great pianists, some of whom are now living, but I
+must dissent from those writers who affirm that any of these can be
+placed upon a level with Liszt. Those who make this assertion are too
+young to have heard Liszt other than in his declining years, and it is
+unjust to compare the playing of one who has long since passed his prime
+with that of one who is still in it. In the year 1873 Rubinstein told
+Theodore Thomas that it was fully worth while to make a trip to Europe
+to hear Liszt play; but he added: "Make haste and go at once; he is
+already beginning to break up, and his playing is not up to the
+standard of former years, although his personality is as attractive as
+ever."
+
+In March, 1895, Stavenhagen and Remenyi were dining at my house one
+evening, and the former began to speak in enthusiastic terms of Liszt's
+playing. Remenyi interrupted with emphasis: "You have never heard Liszt
+play--that is, as Liszt used to play in his prime"; and he appealed to
+me for corroboration, but, unhappily, I never met Liszt again after
+leaving Weimar in July, 1854.
+
+The difference between Liszt's playing and that of others was the
+difference between creative genius and interpretation. His genius
+flashed through every pianistic phrase, it illuminated a composition to
+its innermost recesses, and yet his wonderful effects, strange as it
+must seem, were produced without the advantage of a genuinely musical
+touch.
+
+I remember on one occasion Schulhoff came to Weimar and played in the
+drawing-room of the Altenburg house. His playing and Liszt's were in
+marked contrast. He has been mentioned in an earlier chapter as a
+parlor pianist of high excellence. His compositions, exclusively in the
+smaller forms, were in great favor and universally played by the ladies.
+
+Liszt played his own "Benediction de Dieu dans la Solitude," as pathetic
+a piece, perhaps, as he ever composed, and of which he was very fond.
+Afterward Schulhoff, with his exquisitely beautiful touch, produced a
+quality of tone more beautiful than Liszt's; but about the latter's
+performance there was intellectuality and the indescribable
+impressiveness of genius, which made Schulhoff's playing, with all its
+beauty, seem tame by contrast.
+
+I was not surprised to hear from Theodore Thomas what Rubinstein had
+told him concerning Liszt's "breaking up," for as far back as the days
+of "die goldene Zeit" it had seemed to me that there were certain
+indications in his playing which warranted the belief that his
+mechanical powers would begin to wane at a comparatively early period in
+his career. There was too little pliancy, flexion, and relaxation in his
+muscles; hence a lack of economy in the expenditure of his energies.
+
+He was aware of this, and said in effect on one occasion, as I learned
+indirectly through either Klindworth or Pruckner: "You are to learn all
+you can from my playing, relating to conception, style, phrasing, etc.,
+but do not imitate my touch, which, I am well aware, is not a good model
+to follow. In early years I was not patient enough to 'make haste
+slowly'--thoroughly to develop in an orderly, logical, and progressive
+way. I was impatient for immediate results, and took short cuts, so to
+speak, and jumped through sheer force of will to the goal of my
+ambition. I wish now that I had progressed by logical steps instead of
+by leaps. It is true that I have been successful, but I do not advise
+you to follow my way, for you lack my personality."
+
+In saying this Liszt had no idea of magnifying himself; but it was
+nevertheless genius which enabled him to accomplish certain results
+which were out of the ordinary course, and in a way which others, being
+differently constituted, could not follow. His advice to his pupils was
+to be deliberate, and through care and close attention to important,
+although seemingly insignificant, details to progress in an orderly way
+toward a perfect style.
+
+Notwithstanding this caution, and falling into the usual tendency of
+pupils to imitate the idiosyncrasies and mannerisms, even faults or weak
+points, of the teacher, some of the boys, in their effort to attain
+Lisztian effects, acquired a hard and unsympathetic touch, and thus
+produced mere noise in the place of full and resonant tones.
+
+Before going to Weimar I had heard in various places in Germany that
+Liszt spoiled all of those pupils who went to him without a previously
+acquired knowledge of method and a habit of the correct use of the
+muscles in producing musical effects. It was necessary for the pupil to
+have an absolutely sure foundation to benefit by Liszt's instruction. If
+he had that preparation Liszt could develop the best there was in him.
+
+There is danger of unduly magnifying the importance of a mere mechanical
+technic. In Liszt's earlier days he inclined in this direction, and
+wrote the "Etudes d'Execution Transcendante." I remember his saying to
+his pupils one day, when these were the subject of our conversation,
+that having completed them, his interest in that direction had ceased
+and he wrote no more. Moreover, he added, "I expected that some day a
+pianist would appear who would make this subject his specialty, and
+would accomplish difficulties that were seemingly impossible to
+perform." It has been said of Liszt that he worshiped this kind of
+technic. I think the assertion does him injustice. A friend of mine who
+visited him in Weimar about the year 1858 wrote that Liszt, speaking of
+one of his pupils, said: "What I like about So-and-so is that he is not
+a mere 'finger virtuoso': he does not worship the keyboard of the
+pianoforte; it is not his patron saint, but simply the altar before
+which he pays homage to the idea of the tone-composer." A perfect
+technic is more than a wonderful power of prestidigitation, or facility
+in the manipulation of an instrument. It implies qualities of mind and
+heart which are essential to an all-round musical development and the
+ability to give them adequate expression.
+
+
+
+
+LISZT AND PIXIS
+
+
+In his concertizing days Liszt always played without the music before
+him, although this was not the usual custom of his time; and in this
+connection I remember an anecdote told to me by Theimer, one of
+Dreyschock's assistant teachers. Pixis was an old-fashioned player of
+considerable reputation in his day, and was the composer of
+chamber-music, besides pianoforte pieces. Among other works of his was a
+duo for two pianofortes. While this composition was yet in manuscript it
+was played in one of the concerts of Pixis with the assistance of Liszt.
+Pixis, knowing Liszt's habit of playing from memory, requested him on
+this occasion at least to have the music open before him on the
+piano-desk, as he himself did not like to risk playing his part without
+notes, and he felt it would produce an unfavorable impression on the
+public if Liszt should play from memory while he, the composer, had to
+rely on his copy. Liszt, as the story goes, made no promise one way or
+the other. So when the time came the pianists walked on the stage, each
+carrying his roll of music. Pixis carefully unrolled his and placed it
+on the piano-desk. Liszt, however, sat down at the piano, and, just
+before beginning to play, tossed his roll over behind the instrument and
+proceeded to play his part by heart. Liszt was young at that time,
+and--well--somewhat inconsiderate. Later on he very rarely played even
+his own compositions without having the music before him, and during
+most of the time I was there copies of his later publications were
+always lying on the piano, and among them a copy of the "Benediction de
+Dieu dans la Solitude," which Liszt had used so many times when playing
+to his guests that it became associated with memories of Berlioz,
+Rubinstein, Vieuxtemps, Wieniawski, Joachim, and our immediate circle,
+Raff, Bulow, Cornelius, Klindworth, Pruckner, and others. When I left
+Weimar I took this copy with me as a souvenir, and still have it; and I
+treasure it all the more for the marks of usage which it bears. I also
+have a very old copy of the Handel "E Minor Fugue," which was given to
+me by Dreyschock and which I studied with him and afterward with Liszt.
+Dreyschock had evidently used this same copy when he studied the fugue
+under Tomaschek. It has penciled figures indicating the fingering, made
+by both Dreyschock and Liszt. A few years ago I missed this valuable
+relic for a while, and was much grieved by my loss. Fortunately it was
+discovered in the ash-barrel at the back of the house. Shades of
+Tomaschek, Dreyschock, and Liszt!
+
+
+
+
+LISZT CONDUCTING
+
+
+In his conducting Liszt was not unerring. I do not know how far he may
+have progressed in later years, but when I was in Weimar he had very
+little practice as a conductor, and was not one of the highest class. He
+conducted, however, and with good results on certain important
+occasions, such as, for instance, when "Lohengrin" was produced.
+
+On account of his strong advocacy of Wagner and modern music generally,
+he had many enemies, as was to be expected of a man of his prominence.
+If perchance a mishap occurred during his conducting there were always
+petty critics on hand to take advantage of the opportunity and to
+magnify the fault.
+
+One of these occasions happened at the musical festival at Karlsruhe in
+October, 1853, while he was conducting Beethoven's "Ninth Symphony." In
+a passage where the bassoon enters on an off beat the player made a
+mistake and came in on the even beat. This error, not the conductor's
+fault, occasioned such confusion that Liszt was obliged to stop the
+orchestra and begin over again, and the little fellows made the most of
+this royal opportunity to pitch into him.
+
+
+
+
+LISZT'S SYMPHONIC POEMS--REHEARSING "TASSO"
+
+
+When Liszt first began his career as an orchestral composer two parties
+were formed, one of which predicted success, the other disaster. The
+latter asserted that he was too much of a pianist and began too late in
+life for success in this direction. Even in Weimar, in his own
+household, so to speak, opinions were divided. I remember one of my
+fellow-pupils saying that he did not think it was his forte. Raff had
+pretty much the same opinion, and I inclined to agree with them. Liszt
+was in earnest, however, and availed himself of every means of
+preparation for the work. Frequently upon his request the best
+orchestral players came to the Altenburg, and he asked them about their
+instruments, their nature, and whether certain passages were idiomatic
+to them. About the time I came to Weimar to study with him he had nearly
+finished "Tasso," and before giving it the last touches he had a
+rehearsal of it, which we attended. We went to the theater, and he took
+the orchestra into a room which would just about hold it. Imagine the
+din in that room! The effect was far from musical, but to Liszt it was
+the key to the polyphonic effects which he wished to produce.
+
+
+
+
+EXTRACTS FROM A DIARY
+
+
+As an illustration of some of the advantages of a residence at Weimar
+almost _en famille_ with Liszt during "die goldene Zeit," a few extracts
+from my diary are presented, showing how closely events followed one
+upon another:
+
+"Sunday, April 24, 1853. At the Altenburg this forenoon at eleven
+o'clock. Liszt played with Laub and Cossmann two trios by Cesar Franck."
+
+This is peculiarly interesting in view of the fact that the composer,
+who died about ten years ago, is just beginning to receive due
+appreciation. In Paris at the present time there is almost a Cesar
+Franck cult, but it is quite natural that Liszt, with his quick and
+far-seeing appreciation, should have taken especial delight in playing
+his music forty-seven years ago. Liszt was very fond of it.
+
+"May 1. Quartet at the Altenburg at eleven o'clock, after which
+Wieniawski played with Liszt the violin and pianoforte 'Sonata in A' by
+Beethoven."
+
+"May 3. Liszt called at my rooms last evening in company with Laub and
+Wieniawski. Liszt played several pieces, among them my 'Amitie pour
+Amitie.'"
+
+"May 6. The boys were all at the Hotel Erbprinz this evening. Liszt came
+in and added to the liveliness of the occasion."
+
+"May 7. At Liszt's, this evening, Klindworth, Laub, and Cossmann played
+a piano trio by Spohr, after which Liszt played his recently composed
+sonata and one of his concertos. In the afternoon I had played during my
+lesson with Liszt the 'C Sharp Minor Sonata' of Beethoven and the 'E
+Minor Fugue' by Handel."
+
+"May 17. Lesson from Liszt this evening. Played Scherzo and Finale from
+Beethoven's 'C Sharp Minor Sonata.'"
+
+"May 20, Friday. Attended a court concert this evening which Liszt
+conducted. Joachim played a violin solo by Ernst."
+
+"May 22. Went to the Altenburg at eleven o'clock this forenoon. There
+were about fifteen persons present--quite an unusual thing. Among other
+things, a string quartet of Beethoven was played, Joachim taking the
+first violin."
+
+"May 23. Attended an orchestral rehearsal at which an overture and a
+violin concerto by Joachim were performed, the latter played by
+Joachim."
+
+"May 27. Joachim Raff's birthday. Klindworth and I presented ourselves
+to him early in the day and stopped his composing, insisting on having a
+holiday. Our celebration of this event included a ride to Tiefurt and
+attendance at a garden concert."
+
+"May 29, Sunday. At Liszt's this forenoon as usual. No quartet to-day.
+Wieniawski played first a violin solo by Ernst, and afterward with Liszt
+the letter's duo on Hungarian airs."
+
+"May 30. Attended a ball of the Erholung Gesellschaft this evening. At
+our supper-table were Liszt, Raff, Wieniawski, Pruckner, and Klindworth.
+Got home at four o'clock in the morning."
+
+"June 4. Dined with Liszt at the Erbprinz. Liszt called at my rooms
+later in the afternoon, bringing with him Dr. Marx and lady from Berlin,
+also Raff and Winterberger. Liszt played three Chopin nocturnes and a
+scherzo of his own. In the evening we were all invited to the Altenburg.
+He played 'Harmonies du Soir, No. 2,' and his own sonata. He was at his
+best and played divinely."
+
+"June 9. Had a lesson from Liszt this evening. I played Chopin's 'E
+Minor Concerto.'"
+
+"June 10. Went to Liszt's this evening to a bock-beer soiree. The beer
+was a present to Liszt from Pruckner's father, who has a large brewery
+in Munich."
+
+"Sunday, June 12. Usual quartet forenoon at the Altenburg. 'Quartet, Op.
+161,' of Schubert's was played, also one of Beethoven's quartets."
+
+The last entry may not seem to be particularly important, but it may be
+as well not to end the quotations from a musical diary with a reference
+to a bock-beer soiree.
+
+
+
+
+OPPORTUNITIES
+
+
+The period covered by these extracts was chosen at random, and they give
+a fair idea of the many musical opportunities which were constantly
+recurring throughout the entire year.
+
+Ferdinand Laub, the leader of the quartet, was about twenty-one years of
+age, and already a violinist of the first rank.
+
+Wieniawski and Joachim, young men of the age of twenty-two and nineteen
+years respectively, were among the most welcome visitors to Weimar.
+Joachim, already celebrated as a quartet-player, was regarded by some as
+the greatest living violinist. The playing of Wieniawski appealed to me
+more than that of any other violinist of the time, and I remember it now
+with intense pleasure.
+
+
+
+
+BRAHMS IN 1853
+
+
+On one evening early in June, 1853, Liszt sent us word to come up to the
+Altenburg next morning, as he expected a visit from a young man who was
+said to have great talent as a pianist and composer, and whose name was
+Johannes Brahms. He was to come accompanied by Eduard Remenyi.
+
+The next morning, on going to the Altenburg with Klindworth, we found
+Brahms and Remenyi already in the reception-room with Raff and Pruckner.
+After greeting the newcomers, of whom Remenyi was known to us by
+reputation, I strolled over to a table on which were lying some
+manuscripts of music. They were several of Brahms's yet unpublished
+compositions, and I began turning over the leaves of the uppermost in
+the pile. It was the piano solo "Op. 4, Scherzo, E Flat Minor," and, as
+I remember, the writing was so illegible that I thought to myself that
+if I had occasion to study it I should be obliged first to make a copy
+of it. Finally Liszt came down, and after some general conversation he
+turned to Brahms and said: "We are interested to hear some of your
+compositions whenever you are ready and feel inclined to play them."
+
+
+
+
+NERVOUS BEFORE LISZT
+
+
+Brahms, who was evidently very nervous, protested that it was quite
+impossible for him to play while in such a disconcerted state, and,
+notwithstanding the earnest solicitations of both Liszt and Remenyi,
+could not be persuaded to approach the piano. Liszt, seeing that no
+progress was being made, went over to the table, and taking up the first
+piece at hand, the illegible scherzo, and saying, "Well, I shall have to
+play," placed the manuscript on the piano-desk.
+
+We had often witnessed his wonderful feats in sight-reading, and
+regarded him as infallible in that particular, but, notwithstanding our
+confidence in his ability, both Raff and I had a lurking dread of the
+possibility that something might happen which would be disastrous to our
+unquestioning faith. So, when he put the scherzo on the piano-desk, I
+trembled for the result. But he read it off in such a marvelous way--at
+the same time carrying on a running accompaniment of audible criticism
+of the music--that Brahms was amazed and delighted. Raff thought, and so
+expressed himself, that certain parts of this scherzo suggested the
+Chopin "Scherzo in B Flat Minor," but it seemed to me that the likeness
+was too slight to deserve serious consideration. Brahms said that he had
+never seen or heard any of Chopin's compositions. Liszt also played a
+part of Brahms's "C Major Sonata, Op. 1."
+
+
+
+
+DOZING WHILE LISZT PLAYED
+
+
+A little later some one asked Liszt to play his own sonata, a work which
+was quite recent at that time, and of which he was very fond. Without
+hesitation, he sat down and began playing. As he progressed he came to a
+very expressive part of the sonata, which he always imbued with extreme
+pathos, and in which he looked for the especial interest and sympathy of
+his listeners. Casting a glance at Brahms, he found that the latter was
+dozing in his chair. Liszt continued playing to the end of the sonata,
+then rose and left the room. I was in such a position that Brahms was
+hidden from my view, but I was aware that something unusual had taken
+place, and I think it was Remenyi who afterward told me what it was. It
+is very strange that among the various accounts of this Liszt-Brahms
+first interview--and there are several--there is not one which gives an
+accurate description of what took place on that occasion; indeed, they
+are all far out of the way. The events as here related are perfectly
+clear in my own mind, but not wishing to trust implicitly to my memory
+alone, I wrote to my friend Klindworth,--the only living witness of the
+incident except myself, as I suppose,--and requested him to give an
+account of it as he remembered it. He corroborated my description in
+every particular, except that he made no specific reference to the
+drowsiness of Brahms, and except, also, that, according to my
+recollection, Brahms left Weimar on the afternoon of the day on which
+the meeting took place; Klindworth writes that it was on the morning of
+the following day--a discrepancy of very little moment.
+
+Brahms and Remenyi were on a concert tour at the time of which I write,
+and were dependent on such pianos as they could find in the different
+towns in which they appeared. This was unfortunate, and sometimes
+brought them into extreme dilemma. On one occasion the only piano at
+their disposal was just a half-tone at variance with the violin. There
+was no pianoforte-tuner at hand, and although the violin might have been
+adapted to the piano temporarily, Remenyi would have had serious
+objections to such a proceeding. Brahms therefore adapted himself to the
+situation, transposed the piano part to the pitch of the violin, and
+played the whole composition, Beethoven's "Kreutzer Sonata," from
+memory. Joachim, attracted by this feat, gave Brahms a letter of
+introduction to Schumann. Shortly after the untoward Weimar incident
+Brahms paid a visit to Schumann, then living in Dusseldorf. The
+acquaintanceship resulting therefrom led to the famous article of
+Schumann entitled "Neue Bahnen," published shortly afterward (October
+23, 1853) in the Leipsic "Neue Zeitschrift fur Musik," which started
+Brahms on his musical career. It is doubtful if up to that time any
+article had made such a sensation throughout musical Germany. I remember
+how utterly the Liszt circle in Weimar were astounded. This letter was
+at first, doubtless, an obstacle in the way of Brahms, but as it
+resulted in stirring up great rivalry between two opposing parties it
+eventually contributed much to his final success.
+
+
+
+
+"LOHENGRIN" FOR THE FIRST TIME IN LEIPSIC
+
+
+Liszt never questioned Wagner's sincerity. He considered "Lohengrin"
+Wagner's greatest work up to the time at which it was composed. It was
+dedicated to Liszt, and, as Raff told me, the good man could not
+conceive that Wagner would dedicate anything but his best and greatest
+to his friend and champion, such was Liszt's faith in the struggling
+composer whose cause he had made his own.[1]
+
+On the occasion of the first performance of a Wagner opera in any
+neighboring town, a delegation from Weimar was apt to be on hand for the
+purpose of making propaganda; and this was the case on Saturday, January
+7, 1854, when the opera of "Lohengrin" was given in Leipsic for the
+first time.
+
+We boys were demonstrative claqueurs, and almost always succeeded in
+making a sensation, especially in a town like Leipsic, where we had
+acquaintances among the Conservatory students and could get them to help
+us.
+
+The general public and a large majority of the musicians were not at
+all favorably disposed toward Wagner's music in those days, and in this
+connection a remark of Joachim Raff made to me in 1879-80, on the
+occasion of my second visit to Germany, was significant. Raff had been
+in earlier years, perhaps, the most ardent of all pioneers in the Wagner
+cause. A quarter of a century had elapsed since I had seen Raff, and
+naturally one of my first questions was, "Raff, how is the Wagner
+cause?" "Oh," said he, "the public have gone 'way over to the other
+extreme. You know how hard it was to force Wagner upon them twenty-five
+years ago, and now they go just as much too far the other way and are
+unreasonable in their excessive homage." "Well," I replied, "I suppose
+the matter will find its level and be adjusted as time passes on."
+
+After the performance of "Lohengrin," which, by the way, was successful,
+the whole Liszt party, by invitation, went to supper at the house of the
+concertmeister, Ferdinand David. Quite a number of other guests were
+present. Among them I remember with pleasure my Boston friends and
+fellow-townsmen Charles C. Perkins and J. C. D. Parker, who were
+temporarily located in Leipsic, pursuing their musical studies.
+
+Brahms also was present, and during the evening he played the Andante
+from his "F Minor Sonata, Op. 5."
+
+
+
+
+IN STUTTGART--HOTEL MARQUAND
+
+
+NOT long after my visit to Raff in 1879-80 I went on a pleasure trip to
+Stuttgart, and on account of old associations stopped at the Hotel
+Marquand. One of the objects of my visit was to meet again my old Weimar
+fellow-pupil Dionys Pruckner, at that time eminent among the staff of
+pianoforte teachers in the famous Stuttgart Conservatory of Music.
+Alighting at the hotel, I was impressed with the marks of consideration
+shown to me by the hotel porter. He was so very attentive that I was
+somewhat puzzled. The explanation was apparent the next day when he
+respectfully inquired if I was the kapellmeister of New York! He had
+read the name and address on one of my trunks and jumped at conclusions.
+I told him that I was not that individual, and explained that in New
+York no such office existed, although the title might be with propriety
+applied to the conductor of the Philharmonic Society. However, the idea
+found a lodgment in his head, quite to my advantage, as evidenced by the
+many attentions he paid to me throughout my stay.
+
+
+
+
+THE SCHUMANN "FEIER" IN BONN, 1880
+
+
+Over a quarter of a century elapsed after my first meeting with Brahms
+before I saw him again, and then the meeting occurred at Bonn on the
+Rhine, on May 3, 1880. He was there, in company with Joachim and other
+artists, to take part in the ceremonies attendant on the unveiling of
+the Schumann _Denkmal_.
+
+There were also musical performances, and at a morning recital of
+chamber-music the program consisted solely of Schumann's works, vocal
+and instrumental, with the addition of the Brahms "Violin Concerto,"
+played by Joachim. The concluding number was Schumann's "Piano Quartet
+in E Flat Major, Op. 47," Brahms playing the piano part, and Joachim,
+Heckmann, and Bellman playing respectively violin, viola, and
+violoncello.
+
+
+
+
+BRAHMS'S PIANOFORTE-PLAYING
+
+
+The pianoforte-playing of Brahms was far from being finished or even
+musical. His tone was dry and devoid of sentiment, his interpretation
+inadequate, lacking style and contour. It was the playing of a composer,
+and not that of a virtuoso. He paid little if any attention to the marks
+of expression as indicated by Schumann in the copy. This was especially
+and painfully apparent in the opening measures of the first movement.
+This introductory passage is marked, "Sostenuto assai," followed by the
+main movement marked, "Allegro ma non troppo." Instead of accommodating
+himself to the quiet and subdued nature of the introduction, the
+pianist quite ignored Schumann's esthetic directions, and began with a
+vigorous attack, which was sustained throughout the movement. The
+continued force and harshness of his tone quite overpowered the stringed
+instruments. As an ensemble the performance was not a success.
+
+On going home to dinner, and learning that Brahms was stopping at the
+hotel, I gave my card to the porter, with instructions to deliver it to
+Brahms as soon as he came in. When about half-way through the table
+d'hote the porter entered and said that Brahms was in the outer hall,
+waiting to see me. He was very cordial. At the moment I had quite
+forgotten that I had met him at David's house in Leipsic, so I said:
+"The last time I met you was in Weimar on that very hot day in June,
+1853; do you remember it?"
+
+"Very well indeed, and I am glad to see you again. Just now my time is
+very much engaged, but we are going up the river on a picnic this
+afternoon--Joachim and others; will you come along? We are going to a
+summer restaurant on the Rhine, where they have excellent beer, and it
+will be _ganz gemuetlich_."
+
+I regretted extremely that I had to forego the pleasure of this
+excursion, and fully realized the opportunity I was losing; but my
+party--there were four of us, my wife and I and two children--had
+previously arranged our plans, and in order to make connections we were
+obliged to go on to Cologne that day.
+
+Here was a companion-piece to the disappointment occasioned by my having
+to forego the pleasure and profit of a foot-tramp through the Tyrol with
+Richard Wagner, as already related in these "Memories." But so the Fates
+ordained.
+
+Partly on account of the untoward Weimar incident, and partly for the
+sake of his own individuality, I took a peculiar interest in Brahms. His
+work is wonderfully condensed, his constructive power masterly. By his
+scholarly development of themes through augmentation, diminution,
+inversion, imitation, and other devices, he seems to be introducing new
+thematic material, while the fact is, as will be seen on close
+investigation, that he is presenting the original theme in varied form
+and shape, and gradually unfolding and expanding its possibilities to
+the uttermost. In other words, his treatment is exhaustive and complete.
+In his later piano compositions this is readily apparent, and as these
+pieces are short, and at the same time complete in form, they furnish
+excellent opportunities to the student for analytical studies. In all
+that relates to the intellectual faculty Brahms is indisputably a
+master. I find this to be the consensus of opinion among intelligent
+musicians. But there are differences of opinion as regards his emotional
+susceptibilities, and it is just this fact that prevents many from fully
+accepting him. The emotional and intellectual should be in equipoise in
+order to attain the highest results, but in the music of Brahms the
+latter seems to predominate. In sympathetic and affectionate treatment,
+so far as relates to his piano composition, he does not compare with
+Chopin.
+
+
+
+
+A HISTORICAL ERROR CORRECTED
+
+
+I have read in a recent number of a musical magazine the following
+sentence: "We have seen with what ardor the first compositions of this
+serious young man [Brahms] were greeted by Schumann and Liszt."
+
+I have already mentioned the fact that all of the published accounts of
+the first meeting of Liszt and Brahms were far from accurate, and in
+fact convey an impression directly opposite to the truth; and the
+foregoing statement, according to my belief, is just as far from being
+in accordance with the facts. I am quite sure that Liszt was not
+enthusiastic about Brahms at the time of the first interview in Weimar
+heretofore described, and the letter received from my friend Karl
+Klindworth, in Berlin, sustains me in this belief. Liszt was of too
+kindly a disposition to treasure up animosity against Brahms on account
+of the mishap on that occasion; but the fact that Brahms was put forward
+by the anti-Wagnerites as their champion may possibly have influenced
+him somewhat. A coolness also sprang up between Joachim and Liszt,
+although during my stay in Weimar the violinist had been welcomed so
+frequently at the Altenburg. During the entire career of Brahms he and
+Joachim were close friends.
+
+
+
+
+MORE ABOUT LISZT'S WONDERFUL SIGHT-READING
+
+
+Liszt's playing of the Brahms scherzo was a remarkable feat, but he was
+constantly doing almost incredible things in the way of reading at
+sight. Another instance of his skill in this direction occurs to me and
+is well worthy of mention.
+
+Raff had composed a sonata for violin and pianoforte in which there were
+ever-varying changes in measure and rhythm; measures of 7/8, 7/4, 5/4,
+alternated with common and triple time, and seemed to mix together
+promiscuously and without regard to order. Notwithstanding this apparent
+disorder, there was an undercurrent, so to speak, of the ordinary 3/4 or
+4/4 time, and to the player who could penetrate the rhythmic mask the
+difficulty of performance quickly vanished. Raff had arranged with Laub
+and Pruckner that they should practise the sonata together, and then, on
+a favorable occasion, play it in Liszt's presence. So on one of the
+musical mornings at the Altenburg these gentlemen began to play the
+sonata. Pruckner, of sensitive and nervous organization, found the
+changes of measure too confusing, especially when played before company,
+and broke down at the first page. Another and yet a third attempt was
+made, but with the like result. Liszt, whose interest was aroused,
+exclaimed: "I wonder if I can play that!" Then, taking his place at the
+instrument, he played it through at sight in rapid tempo and without the
+slightest hesitation. He had intuitively divined the regularity of
+movement which lay beneath the surface.
+
+
+
+
+LISZT'S MOMENTS OF CONTRITION
+
+
+Deep beneath the surface there was in Liszt's organization a religions
+trend which manifested itself openly now and then, and there were
+occasions upon which his contrition displayed itself to an inordinate
+degree. Joachim Raff, long his intimate friend and associate, told me
+that these periods were sometimes of considerable duration, and while
+they lasted he would seek solitude, and going frequently to church,
+would throw himself upon the flagstones before a _Muttergottesbild_, and
+remain for hours, as Raff expressed it, so deeply absorbed as to be
+utterly unconscious of events occurring in his presence.
+
+[Illustration: AUTOGRAPH OF VIEUXTEMPS]
+
+Rubinstein also told me that on one occasion he had been a witness of
+such an act on the part of Liszt. One afternoon at dusk they were
+walking together in the cathedral at Cologne, and quite suddenly
+Rubinstein missed Liszt, who had disappeared in a mysterious way. He
+searched for quite a while through the many secluded nooks and corners
+of the immense building, and finally found Liszt kneeling before a
+_prie-dieu_, so deeply engrossed that Rubinstein had not the heart to
+disturb him, and so left the building alone.
+
+
+
+
+PETER CORNELIUS
+
+
+Sometime, I think late, in 1853 Peter Cornelius, nephew of the
+celebrated painter of that name, and composer of the comic opera "The
+Barber of Bagdad," came to Weimar and was added to the Altenburg circle.
+He was well known and highly esteemed by musicians, and as he was always
+cheery and bubbling over with musical enthusiasm, I at once became very
+fond of him as a friend, and later on paid due homage to his decided
+talent as a composer. As an illustration of how easy it is to underrate
+the abilities of a new acquaintance the following incident is both
+interesting and instructive. In October, 1853, or thereabouts, quite a
+large musical festival took place in Karlsruhe, which was under the
+general direction of Liszt, who also conducted the orchestra. It goes
+without saying that under the management of Liszt a number of selections
+from the Wagner operas were played, and one of these happened to be the
+bridal chorus from "Lohengrin." Wagner at that time was an entirely new
+experience to Cornelius, and after the concert, while speaking to Liszt
+of the beauty of Wagner's music, he instanced this bright and pretty
+melody, emphasizing its beauty as though it were the special object of
+his admiration. We boys, while we recognized the beauty of the bridal
+march and its fitness for the place in which it occurs, were apt to
+coddle ourselves upon our superior knowledge of Wagner, and would have
+saved our enthusiasm for the more completed and distinctly Wagnerian
+characteristics. The enthusiasm of Cornelius for the purely melodic
+phrases of Wagner, which were in no wise characteristic of his genius,
+rather led us to look down upon the musical perceptions of Cornelius--or
+perhaps I should speak only for myself and give these as my personal
+impressions; but it was not long before his great talent was duly
+recognized and acknowledged, at least by musicians. Cornelius was a
+charming fellow, and I enjoyed his society because he was so
+enthusiastically and intensely musical.
+
+
+
+
+SOME FAMOUS VIOLINISTS
+
+
+I have already mentioned in these papers my meeting with Joachim in
+Leipsic in the year 1849. He was then about eighteen years of age and
+already famous as a violinist. He was of medium height, had broad, open
+features, and a heavy shock of dark hair somewhat like that of
+Rubinstein. I had a letter of introduction to him, which I presented a
+short time after my arrival in Leipsic, and received immediately a
+return call from him. He was kind and affable, and easy to become
+acquainted with, but owing to diffidence on my part I did not improve
+the opportunity as I should have done, a circumstance which I now much
+regret. He played the Mendelssohn concerto in one of the Gewandhaus
+concerts within a month of my arrival at Leipsic, and I heard him then
+for the first time, and was much impressed by his beautiful performance.
+Subsequently, when in Weimar, I had the pleasure of meeting him on many
+occasions, for he was in the habit of going there not infrequently, and
+would sometimes take part in the Altenburg private musicales, as well as
+in the public concerts at the theater.
+
+During the year 1845-46 I heard and became well acquainted with three
+famous violinists, Vieuxtemps, Ole Bull, and Sivori, who came to Boston
+and played many times both in public and in private. They were all great
+players, each having his special individuality. Vieuxtemps and Ole Bull
+I met several times in later years, and became familiar with their
+playing. Vieuxtemps came to Weimar and played both in private and in
+public. His playing was wonderfully precise and accurate, every tone
+receiving due attention, and his phrasing was delightful. Scale and
+arpeggio passages were absolutely clean and without a flaw. He was
+certainly a player of exquisite taste, and he still preserved his
+characteristics when I heard him years later, in 1853 at Weimar, and in
+1873 at New York. Ole Bull came to Boston a year or so after Vieuxtemps.
+He was a born violinist, and developed after his own fashion and nature,
+in the manner of a genius. Vieuxtemps was the result of scientific
+training and close adherence to well-founded principles. Ole Bull, on
+the other hand, was a law unto himself, and burst out into full blossom
+without showing the various degrees of growth. He did not realize the
+importance of close attention to detail while in the course of
+development.
+
+Sivori was of the gentle, poetic, and graceful class of players. Beauty
+and grace rather than self-assertion characterized his style. Ernst,
+whom I heard in Homburg in the year 1852, was a player of great
+intensity of feeling, and was regarded as the most fervent violinist of
+his time. Joachim's style impressed me as classical and rather reserved,
+and while I enjoyed and admired it, there was present no feeling of
+enthusiasm. Wilhelmj, with his broad and noble style, was certainly most
+impressive. Henri Wieniawski had a musical organization of great
+intensity, and this, combined with his perfect technic, made his playing
+irresistible. Ferdinand Laub, for some reason not so well known to the
+general public as he should be, is generally conceded by the most
+distinguished violinists to have been the greatest of all
+quartet-players. Laub was concertmeister during the whole period of my
+stay in Weimar, and was an intimate friend of mine. It will be
+remembered that at that time Bernhard Cossmann was the violoncellist of
+the Weimar string quartet. I owe many delightful moments of musical
+enjoyment to his exquisitely poetical and refined playing. The last time
+I met him was at his own house in Frankfort. His wife and children
+were present, and being thus quite _en famille_, we played together, for
+the sake of old times, the piano and violoncello sonata of Beethoven in
+A major.
+
+[Illustration: AUTOGRAPH OF OLE BULL]
+
+There are many others whom I am prevented by lack of space from
+mentioning; but I must not omit the name of my friend Adolf Brodsky, a
+violinist of the first rank, and a man of great nobility of character.
+His playing is broad, intelligent, and thoroughly musical, whether as
+soloist or as first violin in chamber quartet music. Sometimes I have
+heard him in the privacy of my own home, where, feeling entire freedom
+from restraint, he has thrown himself intensely into his music, to my
+thorough and complete musical satisfaction.
+
+
+
+
+REMENYI
+
+
+I have already had something to say of Eduard Remenyi, the Hungarian
+violinist who accompanied Brahms to Weimar in 1853. He was a talented
+man, and was esteemed by Liszt as being, in his way, a good violinist.
+He remained at Weimar after Brahms left there, and I became intimately
+acquainted with him. He was very entertaining, and so full of fun that
+he would have made a tiptop Irishman. He was at home in the Gipsy music
+of his own country, and this was the main characteristic of his playing.
+He had also a fad for playing Schubert melodies on the violin with the
+most attenuated pianissimo effects, and occasionally his hearers would
+listen intently after the tone had ceased, imagining that they still
+heard a trace of it.
+
+Not long before leaving Weimar I had some fun with him by asking if he
+had ever heard "any bona-fide American spoken." He replied that he did
+not know there was such a language. "Well," said I, "listen to this for
+a specimen: 'Ching-a-ling-a-dardee, Chebung cum Susan.'" I did not meet
+him again until 1878, twenty-four years after leaving Weimar. I was
+going up-stairs to my studio in the Steinway building when some one
+told me that Remenyi had arrived and was rehearsing for his concerts in
+one of the rooms above. So, going up, I followed the sounds of the
+violin, gave a quick knock, opened the door, and went in. Remenyi looked
+at me for a moment, rushed forward and seized my hand, and as he wrung
+it cried out: "Ching-a-ling-a-dardee, Chebung cum Susan!" He had
+remembered it all those years.
+
+
+
+
+SOME DISTINGUISHED OPERA-SINGERS
+
+
+My concert-playing and teaching have naturally made me more interested
+in instrumental than in vocal music. Moreover, the principal celebrities
+who came to visit Liszt during my sojourn at Weimar were composers and
+instrumentalists. For that reason I met but few distinguished
+opera-singers during my stay abroad. However, I heard the best of them
+in opera or concert.
+
+In Boston, about the year 1846-47, the Havana Italian Opera gave a
+season at the Howard Athenaeum of that city, and created considerable
+interest. They gave, I think for the first time in this country, Verdi's
+"Ernani," which was received with great favor. The principal soprano was
+Mme. Fortunata Tedesco, who was afterward at the Grand Opera in Paris
+from 1851 to 1857. The tenor was Signore Perelli, who had an
+exceptionally fine voice. Both of these singers had well-trained voices
+and were well supported by chorus and orchestra. As this was my first
+experience in opera, it produced a deep and lasting impression.
+
+The opera season in Leipsic in the year 1852, beginning about the 1st of
+February and continuing up to the 1st of May, was notable, for it
+afforded the opportunity of hearing in quick succession three singers of
+world-wide reputation: Henriette Sontag, Johanna Wagner, and De la
+Grange.
+
+
+
+
+HENRIETTE SONTAG
+
+
+[Illustration: Autograph of Henriette Sontag]
+
+The singer of whom I have the liveliest impression is Henriette Sontag,
+whom I heard in Leipsic on her first appearance after she had been
+twenty years in retirement. The interest I took in the occasion was much
+increased by the fact that I had a seat next to Moscheles, who was very
+communicative, and gave me an interesting history of his long
+acquaintance with Sontag, whom he had heard at her last appearance, I
+think, before her retirement. He was naturally on the _qui vive_, and
+impatiently waited for the opera to begin. Like many of her other old
+admirers who were in the theater, he was full of expectancy mingled with
+dread of possible failure. She appeared as _Maria_ in Donizetti's "Fille
+du Regiment" In this part the voice of the singer is heard before she
+appears on the stage, and as soon as Moscheles heard Sontag's voice
+trilling behind the scenes, he exclaimed with delight, "It is Sontag!
+Nobody I have heard since she left the stage could do that! She is the
+same Henriette!"
+
+Some of the roles in which I heard her were _Amina_ in "Sonnambula,"
+_Martha_ in the opera of that name, _Susan_ in "The Marriage of Figaro,"
+and _Rosina_ in "The Barber of Seville." I enjoyed the lovely feminine
+quality of her voice and manner. There was something peculiarly charming
+and womanly about her. She sang with unfailing ease and grace, her voice
+being so flexible that it sounded like the trilling of birds. The most
+difficult roulades and cadences were given with absolute accuracy and
+rhythm. It was simply fascinating.
+
+
+
+
+JOHANNA WAGNER
+
+
+During the month of March of the same year, Johanna Wagner, niece of
+Richard Wagner, sang in several operas. Among those in which I heard her
+were Bellini's "Romeo and Juliet," as _Romeo_; "Fidelio," as _Leonora_
+or _Fidelio_; and "Iphigenia in Aulis," by Gluck, as _Iphigenia_. Here
+indeed she was a contrast to Sontag, and in these parts she seemed to me
+quite unapproachable. Her voice was large and full, and her acting most
+dramatic. Like all the German singers whom I heard, she lacked the
+nicety of detail, the clear and beautiful phrasing, characteristic of
+the Italians I had heard in Boston. But when I grew to know the German
+method, I began to admire it, not so much for the actual singing itself
+as for the combination of qualities that entered into it--the artistic
+earnestness, the acting, and the musicianship.
+
+
+
+
+MME. DE LA GRANGE
+
+
+It was my experience that the Germans themselves greatly admired singing
+of the Italian school, for when, following Sontag and Wagner, Mme. de la
+Grange came the next month and sang an engagement in Leipsic (April and
+May, 1852), the management doubled the prices, and, notwithstanding
+this, the house was crowded every time she sang. She was in her prime,
+and one of the finest singers I ever heard. Her style was brilliant and
+dazzling, but never lacking in repose. Her high tones were clear and
+musical, without any trace of shrillness, and in the most rapid passages
+the tones were never slurred or confused, but distinct and in perfect
+rhythmic order. The roles in which she most appealed to me were as
+_Queen of the Night_ in "The Magic Flute," by Mozart, and _Rosina_ in
+"The Barber of Seville," by Rossini. But she also sang both parts of
+_Isabella_ and _Alice_ in Meyerbeer's "Robert the Devil" in the most
+admirable manner.
+
+
+
+
+"DER VEREIN DER MURLS"
+
+
+Liszt was the head and front of the Wagner movement; but except when
+visitors came to Weimar and were inveigled into an argument by Raff, who
+was an ardent disciple of the new school, there was but little
+discussion of the Wagner question. Pruckner started a little society,
+the object being to oppose the Philistines, or old fogies, and uphold
+modern ideas. Liszt was the head and was called the Padishah (chief),
+and the pupils and others, Raff, Bulow, Klindworth, Pruckner, Cornelius,
+Laub, Cossmann, etc., were "Murls." In a letter to Klindworth, then in
+London, Liszt writes of Rubinstein: "That is a clever fellow, the most
+notable musician, pianist, and composer who has appeared to me among the
+modern lights--with the exception of the Murls. Murlship alone is
+lacking to him still." On the manuscript of Liszt's "Sonate" he himself
+wrote, "Fur die Murlbibliothek."
+
+
+
+
+THE WAGNER CAUSE IN WEIMAR
+
+
+My admiration for Wagner did not go to the extreme of Liszt's and of my
+fellow-pupils'. Liszt rarely expressed his opinion of Wagner, because he
+took it for granted that everybody knew it, and he was not a
+controversialist. I know that he considered those people who refused to
+follow Wagner as old fogies, and my colleagues used to twit me for not
+being as enthusiastic as they were. Certain passages in his operas have
+always given me great musical enjoyment and delight, but here and there
+are crudities which, as it seemed to me, were unpardonable in a great
+composer. Under these circumstances I could not pose as a genuine Murl,
+although this fact did not disturb the genial and fraternal relations
+which existed between my colleagues and me; and on occasion also I was
+equal to the best of them in exercising the specialty of a genuine Murl
+claqueur.
+
+I think that Wagner will always rank among the greatest composers, but
+will not always remain as preeminent as he is now in the popular
+estimation. Some of his compositions are wonderfully intricate, although
+musical, but at times his faults appear and disturb the balance of
+things in such a way that the music loses the effect of spontaneity and
+becomes forced.
+
+In the Weimar days the general objection of the "old fogies" was that
+his music lacked melody. Doubtless by melody they meant the little tunes
+of the anti-Wagner period; but the fact is that Wagner has contributed
+his share to increasing the scope of melody and enlarging its
+boundaries. It may be that he has gone too far in this direction and has
+completely obliterated all limitations, thus approaching dangerously
+near confusion. It was said that he had no melody, but his scores are
+full of it. There are sometimes so many melodies in combination, each
+exercising its individuality and proceeding independently, that the
+"tune effect" is obscured and lost in the crowd of accompanying tunes.
+But to me Wagner's melody seems restless. It comes on suddenly and
+progresses without periods of repose. There is almost constant motion,
+which produces a feeling of unrest. A sentence must have its commas,
+semi-colons, and periods, and punctuation is as necessary in music as it
+is in letters.
+
+I have never quite understood just what it is in Wagner's music that so
+fascinates many people whom I know to be unmusical.
+
+
+
+
+RAFF IN WEIMAR
+
+
+Of my Weimar comrades, Joachim Raff, it is hardly necessary to say,
+became the most distinguished. My first impression of him was not wholly
+favorable. He was hard to become acquainted with and not disposed to
+meet one half-way. He was fond of argument, and if one side was taken
+he was very apt to take the other. He liked nothing better than to get
+one to commit himself to a proposition and then to attack him with all
+his resources, which were many. Upon better acquaintance, however, one
+found a kind heart and faithful friend whose constancy was to be relied
+on. He was very poor, and there were times when he seemed hardly able to
+keep body and soul together. Once he was arrested for debt. The room in
+which he was confined, however, was more comfortable, if anything, than
+his own. He had a piano, a table, music-paper, and pen and ink sent
+there. How this was accomplished I do not know, but I think Liszt must
+have had a hand in it. Raff enjoyed himself composing and playing, and
+we saw to it that he had good fare. The episode made little impression
+on him: so long as he could compose he was happy. However, the matter
+was compromised, and in a short time he returned to his own lodgings. He
+was a hard worker and composed incessantly, with only a brief interval
+for dinner and a little exercise. We habitually sat together, and
+afterward usually took a short walk. I enjoyed his conversation
+exceedingly and derived much profit from it.
+
+At about five o'clock in the afternoon, looking out of my window, I
+would frequently see Raff coming over the path leading through the park,
+with a bundle of manuscript under his arm. He liked to come and play to
+me what he had composed. His playing was not artistic, because he paid
+little attention to it, and he did not attempt to elaborate or finish
+his style.
+
+He composed very rapidly, and many of his compositions do not amount to
+much. He could not get decent remuneration for good music, and he had to
+live; therefore he wrote many pieces that were of the jingling sort,
+because his publishers paid well for them. Sometimes, however, he turned
+out a composition which was really worthy, and among his works are
+symphonies, sonatas, trios, and chamber-music which gained him
+reputation. His symphony "Im Walde" is well known in the musical world,
+and his "Cavatina" for violin, although not a piece of importance, is
+one of the most popular and effective violin solos and exists in various
+arrangements. At times he was much dejected, and there was a dash of
+bitterness in his disposition. I think he felt that, being obliged to
+turn out music for a living, he would never attain the rank to which his
+talents entitled him.
+
+In promoting the cause of Wagner, Raff did considerable work for which
+Liszt got the credit. I think that at one time Raff acted as Liszt's
+private secretary; but he had decided ideas of his own, and knew how to
+express them. Being generally in close accord with Liszt, and having a
+ready pen, he rendered great assistance in promulgating the doctrines of
+the new school by means of essays, brochures, and newspaper articles. Of
+course much that he wrote was based upon suggestions made by Liszt. Raff
+was a tower of strength in himself, while at the same time acting as
+Liszt's mouthpiece in the Wagner propaganda.
+
+
+
+
+DR. ADOLF BERNHARD MARX
+
+
+When Dr. Adolf B. Marx of Berlin was in Weimar in June, 1853, it was by
+invitation of Liszt for the purpose of bringing out a new oratorio which
+he had just composed. As usual on such occasions, we gave him a warm
+reception, and Liszt arranged a midday dinner at the Hotel zum
+Erbprinzen, at which some eight or ten guests were present. In the
+afternoon we all attended a rehearsal of the oratorio, which lasted from
+four o'clock until eleven o'clock P.M. According to my present
+recollections, the work did not have a brilliant success. I was reminded
+of this event by the receipt of the following letter in March, 1901,
+from an old friend, Mr. Adolph Stange, who happened to be present on the
+occasion:
+
+
+SUWALKI, POLAND, RUSSIA,
+
+24 January, 1901.
+
+     DEAR DR. MASON: When you wrote your "Memories of a Musical Life,"
+     July-October, 1900, of Century Illustrated Monthly Magazine, you
+     probably did not have any presentiment that there is in a distant
+     country, far from you, somebody who only by one day younger than
+     yourself (born January 25, 1829) will be reading with the greatest
+     interest your excellent and truthful description of different
+     musical celebrities and authorities. Being myself for many years a
+     pupil of Gerke and of Henselt in St. Petersburg, I had been with
+     many of the eminent men you name personally acquainted; with
+     Moscheles and Rubinstein I had more often and more intimate
+     relations, and my delight was naturally great in reading your true
+     and graphic account of some of my former musical friends. It is
+     indeed with a feeling of admiration and gratitude that I am now
+     addressing these lines to its author. Your interesting description
+     of your stay at Weimar in 1853 gave me special pleasure, as in that
+     same year, in May, June, and July, I had also been with Liszt in
+     Weimar, and I remember you, dear Dr. Mason, perfectly, as well as
+     Klindworth, Pruckner, the two Wieniawskis, Winterberger, Raff, and
+     others; they are all living in my memory. That period of my youth
+     is full of the most beautiful and noble impressions.
+
+     Your account of that incomparable meister we both, I dare say,
+     equally admire, awakened in me Liszt's greatness as artist, and
+     still more, if I may say so, the greatness of his nature and
+     character, so richly endowed with so many generous and noble
+     instincts; and I recall with delight to my mind our pleasant walks
+     in the Schlossgarten, where we visited Klindworth in his modest
+     apartments; the supper at the Hotel zum Erbprinzen, where Liszt
+     wished to get acquainted with the card-game "preference," which I
+     had to show him; our visits to the Schloss, in the ground floor of
+     which we listened to Liszt's divine playing and afterward got
+     invited to dine up-stairs with the Princess Wittgenstein and her
+     charming daughter. I believe you had already left Weimar when
+     Professor Adolf Marx came from Berlin to visit Liszt and brought
+     with him the score of his new oratorio. Marx wished to say a few
+     words about its performance to Liszt before the first rehearsal,
+     but was much disappointed, as he told me, not to find an
+     appropriate moment to speak with the meister, whose attention was
+     constantly taken up by his pupils. On the day of the rehearsal,
+     Marx, who was sitting next to me, again expressed his regret at not
+     having found an opportunity to talk the matter over with Liszt.
+     Shortly after the rehearsal had commenced I felt several times
+     Marx's elbows, which, giving way to his enthusiasm, came in close
+     and sensible contact with mine. At last he exclaimed: "Liszt
+     guesses my most secret thoughts and intentions in my own
+     composition!" ...
+
+     Let me, dear Dr. Mason, assure you what real and intense enjoyment
+     I experienced by the perusal of your "Musical Memories," and beg
+     to thank you from all my heart for giving me the possibility of
+     recalling once over again those dear and ever-present reminiscences
+     of a bygone but ever-delightful time in my life. It is seldom one
+     can read in a biography a description like yours, which expresses
+     in a few words, with so much reality, truthfulness, and
+     impartiality, the characteristics of a whole series of well-known
+     artists. Finally, you will ask: "Stranger, who art thou?" I will
+     not, like _Lohengrin_, make a mystery of it, but answer your
+     question: I wanted to become what you are now! After my return from
+     Weimar, however, where I had been for a time Liszt's pupil, I
+     entered into Russian state service, remaining, nevertheless, during
+     my whole life, though a dilettante, a great and fervent admirer of
+     that art, and a real artist in my heart. I sign, with veneration to
+     your person, Dr. Mason, and have the honor to remain,
+
+Yours very truly,
+
+ADOLPH STANGE.
+
+
+
+
+BERLIOZ IN WEIMAR
+
+
+[Illustration: Autograph of Hector Berlioz]
+
+Hector Berlioz came to Weimar occasionally, and I remember particularly
+one of his visits, which took place in May, 1854. He was famous as
+an orchestral conductor, and I saw him in this capacity in a concert the
+program of which consisted exclusively of his own compositions. These
+were especially attractive on account of their magnificent orchestral
+coloring. In this regard he was certainly wonderful, and produced many
+gorgeous effects. His masterly skill and intelligence in the treatment
+and development of his themes were also everywhere apparent. Every
+detail received careful attention, and the result was admirable.
+
+Not long afterward he gave a similar concert in the Leipsic Gewandhaus
+Hall, on which occasion the Weimar contingent was of course present.
+There was no need of our services as claqueurs, however, for the hall
+was crowded and the audience demonstrative.
+
+Schubert was spontaneous and inspired, and thus stands in contrast to
+Berlioz. Melody gushed from Schubert at such a rate, and musical ideas
+crowded upon each other so rapidly, that he did not take time to work up
+his compositions. There are a few which he elaborated with care, but
+they are the exceptions, and emphasize the general spontaneity of his
+work. If he had constructive power,--and certain passages in his work
+show that he had,--he nevertheless failed to make adequate use of it.
+His music is charming and delightful on account of its melodious
+freshness and naivete. It appeals directly to the heart. The only
+drawback is his servile adherence to conventionalities, such, for
+instance, as the old method of invariably repeating every section of a
+movement.
+
+Beethoven stands as the model of constructive power and emotional
+expression in happy equipoise. Both the head and the heart are
+satisfactorily employed, and in his orchestral treatment they find full
+expression. This is true of all of his concerted works; but his weak
+point is manifested in his pianoforte compositions, especially in the
+sonatas, which are not idiomatic of the instrument for which they were
+written. It is not intended to find fault with the music _per se_. It is
+simply to say that his ideas are all orchestrally conceived, and as
+they are not in the nature of the pianoforte, that instrument is
+inadequate to their true expression. The sonatas are not pianistic,
+idiomatic--_klaviermaessig_. Had he written them for orchestra, we would
+have had thirty-two symphonies.
+
+Chopin's compositions are the very essence and consummation of the
+piano, and he is, therefore, the pianoforte composer _par excellence_.
+On the other hand, his orchestral work is weak and incompetent, as, for
+example, the accompaniment to his concertos and some other pieces.
+
+Schumann is at home in both directions. He is polyphonic in orchestral
+treatment, and at the same time thoroughly pianistic. Without suggesting
+comparisons, his music is _musical_ and complete. Beethoven's is heroic.
+
+
+
+
+ENTERTAINING LISZT'S "YOUNG BEETHOVEN"
+
+
+Liszt sometimes left Weimar for a few days in order to be present at or
+to conduct music festivals. On one of these occasions, early in June,
+1854, I remained alone at home on account of slight illness. As
+Klindworth had gone to London for concert-playing and
+pianoforte-teaching, I had moved into a suite of rooms in the Hotel zum
+Erbprinzen. As a matter of interest to pianists I here note the fact
+that these identical rooms had been occupied by Hummel several years
+previously.
+
+On the afternoon of the day on which Liszt left with his cortege the
+head waiter came to me, saying that a young man who had just arrived was
+in the cafe inquiring for Liszt and seemed disappointed on learning of
+his absence. "I told him," said the waiter, "that you were the only one
+of the family here. Will you see him?" I assented, and in a few moments
+he ushered in a young man about twenty-four years of age, of strong
+features and with a great shock of dark hair, who introduced himself as
+Anton Rubinstein. I explained to him that Liszt had gone away for three
+or four days to conduct a festival, that I could not say precisely when
+he would return; but in the meantime, if I could make him feel at home,
+I should be very glad.
+
+After some conversation he asked me to play. I remember very well how he
+looked sitting on the sofa, and the position of the piano in the room. I
+played, but he did not. I had a suspicion that he was inveigling me into
+playing without any intention of allowing me to take his measure. He sat
+there like a gruff Russian bear; or perhaps my imagination helped to
+produce this impression.
+
+Rubinstein was already quite well known as a child prodigy, but of
+course not nearly so famous as he afterward became. I do not recollect
+paying him very much attention during Liszt's absence, but, then, he did
+not allow me--he was rambling about all the time; nor did I hear him
+play before Liszt came back. When Liszt returned, Rubinstein was
+immediately invited to take up his residence on the Altenburg. I
+remember that there, one afternoon, he played many of his own
+compositions. His playing was full of rush and fire, and characterized
+by strong emotional temperament. He had a big technic and reveled in
+dash and fire. Those who heard Mark Hambourg here during the winter of
+1899-1900 can form a very good idea of Rubinstein's personal appearance
+at the time of which I write, and also his very pronounced style of
+playing. His early touch lacked the mellow and tender beauty of tone
+which distinguished it in later years.
+
+
+
+
+RUBINSTEIN'S OPPOSITION TO WAGNER
+
+
+Rubinstein's well-known dislike of Wagner, it seems to me, was
+temperamental in a large degree, and it was quite natural that he was
+not in agreement with him. Doubtless Chopin would not have approved of
+Wagner's music, whatever he might have thought of his method. The
+melodies of Chopin and Rubinstein are full of sentiment and well
+defined, and their compositions run in entirely opposite channels from
+those of Wagner, whose music is a vast sensuous upheaval, which
+proceeds uninterruptedly from the beginning of an act to the end.
+
+All musicians have a good deal of self-esteem. Rubinstein had his own
+way of composing, which corresponded to his musical temperament. He had
+to write everything just as it suited his musical ear, and he could not
+conceive of any one else having as fine a musical ear as he. At all
+events, he never stopped long enough to find out if any one else had.
+Few musicians do. Liszt was fond of Rubinstein, and used to call him the
+"young Beethoven," on account of a certain fancied resemblance he bore
+to the great composer. He also recognized Rubinstein's great ability as
+a pianist, although I think that as a player he rated Tausig much
+higher. Many years after I left Weimar a relative of mine met Liszt in
+Rome. She had a short time previous to this heard Rubinstein in concert,
+and was in a state of great enthusiasm about his playing, and so
+expressed herself to Liszt. His sole comment was, "Have you ever heard
+Tausig?" The inference was that those who had heard Rubinstein and not
+Tausig had missed hearing the greater of the two. I think Liszt regarded
+Tausig as the best of all his pupils.
+
+As I have said once before in these pages, I never saw Liszt after
+leaving Weimar in July, 1854. I occasionally received letters from
+him--several of them quite long and exceedingly entertaining. One of
+these (the original in French) is reproduced here because it is
+characteristic of his pleasantry and good humor:
+
+     MY DEAR MASON: Although I do not know at what stage of your
+     brilliant artistic peregrinations these lines will reach you, I
+     feel assured that you are not ignorant that I am very, very
+     sincerely and affectionately obliged to you for keeping me in kind
+     remembrance, a fact to which the musical journals which you have
+     sent me bear good witness. The "Musical Gazette" of New York has in
+     particular given me genuine satisfaction, not alone on account of
+     the agreeable and flattering things concerning me personally which
+     it contains, but furthermore because this journal seems to me to
+     inculcate an excellent and superior direction of opinion in your
+     country. As you know, my dear Mason, I have no other self-interest
+     than to serve the good cause of art so far as is possible, and
+     wherever I find men who are making conscientious efforts in the
+     same direction, I rejoice and am strengthened by the good example
+     which they give me. Be so good as to present to your brother, the
+     head editor of the "Musical Review", as I suppose, my very sincere
+     thanks and compliments. If he would like to receive some
+     communication from Weimar upon matters of interest which occur in
+     the musical world of Germany, I will willingly have them sent to
+     him through the medium of Mr. Pohl, who, by the way, does not live
+     any longer at Dresden, where the numbers of the "Musical Gazette"
+     were addressed by mistake, but at Weimar in the Kaufstrasse. His
+     wife, one of the best harpists that I know, stands among the
+     virtuosos of our "Chapelle", and is an important factor in the
+     representation of the opera, as also in concerts.
+
+     Apropos of concerts, in a few days I will send you the program of a
+     series of symphonic performances, which ought to have been
+     established here several years ago, and to which I consider it an
+     honor and a duty to give definite encouragement from the year 1855.
+
+     I expect Berlioz toward the end of January. We shall then hear his
+     trilogy "L'Enfance du Christ", of which you already know "La Fuite
+     en Egypte". To this he has added two other short oratorios, "Le
+     Songe d'Herode" and "L'Arrivee a Sais".
+
+     The dramatic symphony "Faust" (in four parts, with solos and
+     choruses) will also be given in full during his stay here.
+
+     In regard to visits from artists who have been personally agreeable
+     to me during the last month, I would name Clara Schumann and
+     Litolff.
+
+     In Brendel's journal, "Neue Zeitschrift", you will find an article
+     signed with my name, on Mme. Schumann, whom I have again heard with
+     that sympathy and absolute admiration which her talent compels.
+
+     As for Litolff, I confess that he has made a very vivid impression
+     on me. His fourth concerto symphony (manuscript) is a very
+     remarkable composition, and he played it in so masterly a manner,
+     with such verve, with such boldness and certainty, that I derived
+     intense pleasure from it.
+
+     If there was a little of the quadruped in the amazing execution of
+     Dreyschock (and this comparison should not vex him; is not the lion
+     classed among quadrupeds as well as the poodle?), in that of
+     Litolff, there is certainly something _winged_; moreover, he has
+     all the superiority over Dreyschock that a biped having ideas,
+     imagination, and sensibility has over another biped which imagines
+     itself possessed of all this wealth--often very embarrassing!
+
+     Do you continue your familiar intercourse with the Old Cognac in
+     the New World, my dear Mason? Let me again commend _measure_ to
+     you, an essential quality for musicians. In truth, I am not too
+     well qualified to extol the _quantity_ of this _quality_, for, if I
+     remember rightly, I have often employed tempo rubato when I was
+     giving my concerts (work which I would not begin again for anything
+     in the world), and even quite recently I have written a long
+     symphony in three parts, called "Faust" (without text or vocal
+     parts), in which the _horrible_ measures 7/8, 7/4, 5/4 alternate
+     with common time and 3/4. By virtue of which I conclude that you
+     should be satisfied with 7/8 of a little bottle of old cognac in
+     the evening, and never exceed five quarts!
+
+     Raff, in his first volume of "Wagner Frage", has thoroughly
+     realized something like _five quarts_ of doctrinal sufficiency, but
+     that is an unadvisable example to copy in a critical matter, and
+     above all in the matter of cognac and other spirits!
+
+     My dear Mason, excuse these bad jokes, justified only by my good
+     intentions; that you may bear yourself valiantly, physically and
+     morally, is the most cordial wish of
+
+                      Your very friendly affectionate
+                                      F. LISZT.
+
+
+ WEIMAR, December 14, 1854.
+
+     You did not know Rubinstein in Weimar?[2] He spent some time here,
+     and was conspicuously different from the opaque mass of self-styled
+     _composer-pianists_ who do not even know what it is to play the
+     piano, still less with what fuel it is necessary to heat one's self
+     in order to compose, so that with what they lack in talent for
+     composition they fancy themselves pianists, and vice versa.
+
+     Rubinstein will publish forthwith about fifty
+     compositions--concertos, trios, symphonies, songs, light pieces,
+     etc., which deserve notice.
+
+     Laub has left Weimar. Ed. Singer takes his place in our orchestra.
+     The latter gives much pleasure here, and is pleased himself also.
+
+     Cornelius, Pohl, Raff, Pruckner, Schreiber, and all the new school
+     of the new Weimar send you their friendliest greetings, to which I
+     add a hearty _shake-hand_.
+
+                                 F. L.
+
+Other letters received from Liszt are perhaps not very important, but
+with one exception never having been published before, they are printed
+in the Appendix.
+
+[Illustration: Autograph of Ferdinand Laub]
+
+Pupils of Liszt and Thalberg and their pupils in search of an
+entertaining diversion may amuse themselves by tracing their
+musical pedigree back to Bach, Mozart, and Beethoven, and thus lay claim
+to very distinguished ancestry, as shown in the following table:
+
+    Liszt, Franz, born Oct. 22, 1811.
+    Czerny, Carl, born Feb. 21, 1791.
+    Beethoven, Ludwig van, born Dec. 16, 1770.
+    Neefe, Christian G., born Feb. 5, 1748.
+    Hiller, Johann A., born Dec. 25, 1728.
+    Homilius, G. A., born Feb. 2, 1714.
+    Bach, Johann Sebastian, born March 21, 1685.
+    Thalberg, Sigismond, born Jan. 7, 1812.
+    Hummel, J. N., born Nov. 14, 1778.
+    Mozart, Wolfgang A., born Jan. 27, 1756.
+
+If there be any whose pride is not sufficiently nourished by this
+display, they may go still further and show, by authentic records, a
+descent through Bach from Josquin Desprez, the most eminent
+contrapuntist of the Netherlands school, who lived about 1450-1521.
+
+During the winter of 1879-80, which I spent at Wiesbaden on account of
+ill health, I received a very cordial invitation to visit Liszt at
+Weimar some time in July, and made plans to do so, which were
+frustrated, however, through unforeseen circumstances. Bulow, when on
+his first visit here, in 1875, told me that the old charm had entirely
+passed away. The "Golden Time" was among the things that were.
+
+The last message I had from Liszt was brought to me by Mr. Louis
+Geilfuss of Steinway & Sons, who met Liszt in one of the streets of
+Bayreuth only a few days before his death, which occurred somewhat
+unexpectedly on July 31, 1886.
+
+
+
+
+AT WORK IN AMERICA
+
+
+When I returned from Europe in 1854 my parents had moved from Boston,
+and were living at Orange, New Jersey.
+
+On landing in New York, I hurried to Boston, and went immediately to the
+house of Mr. Webb. This had been my constant purpose ever since the time
+I left America in 1849. In due course Miss Webb and I became engaged,
+and were married on March 12, 1857.
+
+My first enterprise after returning from Germany was a concert tour.
+This I believe to have been the first exclusively pianoforte recital
+tour ever undertaken in this country. Gottschalk, who was here at that
+time, had traveled about giving concerts, but he was never without a
+singer or associate of some kind.
+
+In 1863 I had attended a recital given in Frankfort, Germany, by
+Ferdinand Hiller, the program of which consisted exclusively of his own
+compositions, concluding with a free improvisation on themes suggested
+by the audience. My recitals were fashioned after this, only I played
+very few of my own pieces. The programs were somewhat similar to those
+of the present time, ranging from Beethoven and Chopin to Liszt. At that
+time Bach's name, according to my recollection, was never seen on a
+pianoforte-recital program. A large number of these compositions, such
+as Liszt's "Twelfth Rhapsody" and Chopin's "Fantasie Impromptu," were
+played for the first time in this country at these concerts.
+
+
+
+
+TOURING THE COUNTRY
+
+
+My friend Oliver Dyer managed the tour. My brothers Daniel and Lowell
+were at this time booksellers and publishers in New York, under the
+firm-name of Mason Brothers, and Mr. Dyer was connected with them in
+business. He was a man of action, and possessed good literary ability.
+He had lived for a time in Washington as reporter of speeches made in
+Congress, and later on he was connected with Robert Bonner on the
+"Ledger".
+
+He arranged a pamphlet in which he set forth and doubtless embellished
+the facts connected with my sojourn in Germany and the favor with which
+my playing had been received. When, in the course of our tour, we
+arrived at a town where a lecture was to be given,--not an uncommon
+occurrence,--he would take down the lecture stenographically and write
+notices of it for the local papers. The editors appreciated this favor,
+and were so kindly disposed toward us that they would print any advance
+notices he chose to write about me. In what he wrote of me, however, I
+was not willing to have him go to extremes, though he would frequently
+slip something into the paper without my knowledge, leaving me to find
+fault with him the next day.
+
+All along the route it was difficult to persuade people that an
+entertainment of pianoforte-playing exclusively could be made
+interesting. They had never heard of such a thing, and insisted that
+there ought to be some singing for the sake of variety. We stopped in
+Albany, Troy, Utica, and many other places on the way to Chicago, where
+I gave two concerts, one of which took place on New Year's eve. After
+the concert I attended a large reception given in a private residence. I
+remember being struck by the fact, as it seemed to me, that there were
+so many young ladies at this reception, and I asked the hostess if there
+were no married ladies in Chicago. "Why, Mr. Mason," she replied, "there
+are only two or three unmarried ladies in the room." At that period
+Chicago was full of young men who had come from the Eastern States,
+principally New England. After staying in Chicago for two or three years
+and getting well started in business they would get married, many of
+them going to their native places for their brides. This accounted for
+the youthful appearance of the assemblage, and illustrates in part the
+very rapid growth of Chicago.
+
+Up to the time we arrived in Chicago we had rainy weather constantly,
+and partly on this account we were out of pocket. Dyer was for going
+back to New York by the quickest route. I said: "No; I am going back
+through the same towns, and shall give concerts in every one of them. If
+the people liked my playing well enough they will come again and bring
+their neighbors. If they did not like it, I shall soon find it out." As
+it turned out, I had much larger audiences all the way home.
+
+
+
+
+"YANKEE DOODLE" AND "OLD HUNDRED"
+
+
+Copying the custom of Ferdinand Hiller, I used to close my concerts by
+an improvisation upon themes suggested by the audience. All sorts of
+themes were put into the hat--from Mozart, Beethoven, "Jordan is a hard
+road to travel," "We won't go home till morning," and many negro
+melodies. I had a faculty of developing a subject in such a way as to
+hold my audience.
+
+One night somebody sent up the request that I should play simultaneously
+"Old Hundred" with one hand and "Yankee Doodle" with the other. This I
+did, merely to show that even two such dis-similar melodies could be
+played together in a musical way. There was a good deal of applause, but
+also considerable hissing from the religions element, so I made a speech
+explaining that I meant no disrespect to "Old Hundred" by placing it in
+such close connection with "Yankee Doodle," and that the melody which
+had to a certain extent been adopted as a national air was on that
+account worthy of being played with any hymn.
+
+Fifteen years later, in 1870, George F. Root, who had assisted my father
+in his musical convention work in the East, but who had settled in
+Chicago and was doing the same kind of pioneer work in the West, was
+holding a summer musical convention in South Bend, Indiana. He wished to
+introduce piano as well as vocal teaching, and invited me to take
+charge of the piano classes. It was a fearfully hot summer, and during
+the month I was in South Bend the temperature was continuously close to
+100 deg.. Toward the close of the season concerts were given, and it was so
+hot that in lieu of a dress-coat I wore a linen duster, cut off at the
+waist.
+
+At the last concert I received a request from two or three people to
+play "Yankee Doodle" with one hand and "Old Hundred" with the other.
+Possibly they had heard me do so in 1855. Remembering my experience
+then, I made a few remarks, in which I told them that some little
+feeling had been created fifteen years before by my doing the same
+thing, but that--and here I got a little mixed--in playing "Yankee
+Doodle" with "Old Hundred" I did not intend any disrespect to "Yankee
+Doodle." At this the audience began to laugh. Schuyler Colfax, who was
+then Vice-President of the United States, was on the stage behind me,
+and I could hear him chuckling. I thought to myself, "Well, I have made
+some funny mistake, though I don't know what it is, so I won't go back
+and try to correct it."
+
+Afterward Mr. Colfax, who was a noted speaker, told me that whenever he
+made a _lapsus linguae_, if it amused the audience he never attempted to
+correct it.
+
+On my return from this concert tour to New York, I established the
+series of chamber-music concerts which, begun as an experiment,
+continued thirteen years. I also settled down as a teacher. While I had
+returned from Weimar with the full intention of continuing my career as
+a piano-virtuoso, and while my concert tour had been promising enough, I
+found that the public demanded a constant repetition of pieces to which
+it happened to take a liking, and I knew that I should soon weary of
+playing the same things over and over again. Moreover, I felt that from
+my father I had inherited a certain capacity for giving instruction, and
+that the chamber-music concerts and engagements with the Philharmonic
+and at other concerts in New York and elsewhere would serve to keep up
+my practice as a virtuoso.
+
+
+
+
+SETTLING DOWN TO TEACH
+
+
+In 1855 I accepted as pupils some four or five young ladies who were
+being educated at a fashionable boarding-school in New York. One of
+these girls was very bright and intelligent but without special musical
+talent. She was extremely averse to application in study, and the
+problem for me was to invent some way by which mental concentration
+could be compelled, for from the moment she sat down to the piano to
+practise she was constantly looking at the clock to see if her
+practice-hour was up. After a little study I found that in playing a
+scale up one octave and back, without intermission, in 9/8 time, there
+are necessarily nine repetitions of the scale before the initial tone
+falls again on the first part of the measure. Thus,
+
+[Illustration: musical notation]
+
+and so on until another accent falls upon the initial C. Such an
+exercise is called a rhythmus, and the repetitions compel mental
+concentration just as surely as the addition of a column of figures
+does. I found that if the compass was extended four octaves, thus, from
+
+[Illustration: musical notation]
+
+the nine repetitions of the scale would require from three to four
+minutes if played at a moderate rate of speed. I saw at once that a
+state of mental concentration could not be avoided by the pupil, and
+that in this exercise lay a basic principle. I gave the exercise to my
+pupil. The result was that when the next lesson-hour came around and I
+asked her how she found the new exercise, she exclaimed: "How do I like
+it? Why, you have played a pretty trick on me! It took me nearly an hour
+to accomplish it; but I like it. Why did you not give it to me before!"
+"Because," I said, "I invented it simply in order to compel your
+attention to your work." Following up the principle of grouping the
+tones, I applied the rhythmic process not only to all sorts of scale
+passages, but included in the treatment arpeggios, broken chords,
+octaves, and in fact all passages idiomatic of the pianoforte. The work
+of amplification was readily accomplished, and the result was a complete
+method in which for the first time, so far as I am aware, scientific
+rhythmic treatment was elaborated. This "Accentual Treatment of
+Exercises," as I called the system, was first published in the Mason &
+Hoadley Method, New York, 1867. The importance of accentual treatment is
+now recognized in every modern method.
+
+The idea of starting a series of matinees of chamber-music occurred to
+me. I wished especially to introduce to the public the "Grand Trio in B
+Major, Op. 8," by Johannes Brahms, and to play other concerted works,
+both classical and modern, for this kind of work interested me more than
+mere piano-playing. So I asked Carl Bergmann, who was the most noted
+orchestral conductor of those days, and thus well acquainted with
+musicians, to get together a good string quartet. This he accomplished
+in a day or two, and made me acquainted with Theodore Thomas, first
+violin; Joseph Mosenthal, second violin; and George Matzka, viola,
+Bergmann himself being the violoncellist. We very soon began rehearsing,
+and our first concert, or rather matinee, took place in Dodworth's Hall,
+opposite Eleventh street, and one door above Grace Church in Broadway.
+The program was as follows:
+
+    Tuesday, November 27, 1855
+
+    1. Quartet in D Minor, Strings        _Schubert_
+
+    2. Romance from Tannhaeuser,
+    "Abendstern"                           _Wagner_
+
+    3. Pianoforte Solo, Fantasie Impromptu,
+    Op. 66 (first time)                    _Chopin_
+    Deux Preludes, D flat and G,
+    Op. 24                                 _Heller_
+
+    4. Variations Concertante for
+    Violoncello and Piano, Op. 17        _Mendelssohn_
+
+    5. "Feldwaerts flog ein Voeglein"      _Nicolai_
+
+    6. Grand Trio in B Major, Op. 8,
+    Piano, Violin, and Cello (first
+    time)                                  _Brahms_
+
+It will be observed that we started out with a novelty, Brahms's Trio,
+which was played then for the first time in America. I repeated it in
+Boston a few weeks later with the assistance of some members of the
+Mendelssohn Quintet Club. It received appreciation on both occasions and
+was listened to attentively, but without enthusiasm. The newspapers
+spoke well of it in general, but there were some who regarded it as
+constrained and unnatural. The vocal pieces were inserted in deference
+to the prevailing idea of the period that no musical entertainment could
+be enjoyed by the public without some singing. We quickly got over that
+notion, and thenceforth, with rare exceptions, our programs were
+confined to instrumental music.
+
+It was my purpose in organizing these concerts to make a point of
+producing chamber-work, which had never before been heard here,
+especially those of Schumann and other modern writers.
+
+
+
+
+THEODORE THOMAS AT TWENTY
+
+
+The organization as originally formed would probably have remained
+intact during all the years the concerts lasted had it not become
+apparent almost from the start that Theodore Thomas had in him the
+genius of conductorship. He possessed by nature a thoroughly musical
+organization and was a born conductor and leader.
+
+Before we had been long together it became apparent that there was more
+or less friction between Thomas and Bergmann, who, being the conductor
+of the Germania and afterward of the Philharmonic orchestras, also a
+player of long experience and the organizer of the quartet, naturally
+assumed the leadership in the beginning. The result was that Bergmann
+withdrew after the first year, and Bergner, a fine violoncellist and
+active member of the Philharmonic Society, took his place. The
+organization was then called the Mason and Thomas Quartet, and so styled
+it won a wide reputation throughout the country. I should say in passing
+that Bergmann was an excellent though not a great conductor.
+
+[Illustration: THE MASON-THOMAS QUARTET
+
+MATZKA, MOZENTHAL, BERGNER, THOMAS, MASON]
+
+From the time that Thomas took the leadership free and untrammeled,
+the quartet improved rapidly. His dominating influence was felt and
+acknowledged by us all. Moreover, he rapidly developed a talent for
+making programs by putting pieces into the right order of sequence, thus
+avoiding incongruities. He brought this art to perfection in the
+arrangement of his symphony concert programs.
+
+Our viola, Matzka, was also an excellent musician, and for many years
+the first viola of the Philharmonic orchestra. Mosenthal, who played
+second violin, achieved a wide reputation as composer and conductor, in
+which latter capacity he did splendid work for the Mendelssohn Glee
+Club. He was also one of the best teachers of piano and violin in New
+York.
+
+
+
+
+THOMAS AS CONDUCTOR
+
+
+Thomas's fame as a conductor has entirely overshadowed his earlier
+reputation as a violinist. He had a large tone, the tone of a player of
+the highest rank. He lacked the perfect finish of a great violinist,
+but he played in a large, quiet, and reposeful manner. This seemed to
+pass from his violin-playing into his conducting, in which there is the
+same sense of largeness and dignity, coupled, however, with the artistic
+finish which he lacked as a violinist. He is a very great conductor, the
+greatest we have ever had here, not only in the Beethoven symphonies and
+other classical music, but in Liszt, Wagner, and the extreme moderns.
+Why should he not conduct Wagner as well as anybody else, or better?
+Everything is large about Wagner, and everything is large about Thomas.
+His rates of tempo are in accord with those of the most celebrated
+conductors whom I heard fifty years ago. In modern times the tendency
+has been toward an increased rate of speed, and this detracts in large
+measure from the impressiveness of the works, especially those of
+Mozart, Beethoven, Von Weber, and others.
+
+That the skilful orchestral conductor does not rely solely upon the ear
+but sometimes receives assistance from the eye in his work is
+illustrated by an experience of Theodore Thomas which he related while
+dining at my house some two years since. On one occasion, when a benefit
+concert was tendered to him, the orchestra was increased to jubilee
+dimensions, and I think there were sixteen violoncello-players, with
+other instruments in due proportion. During the final rehearsal Mr.
+Thomas became aware of some imperfections, probably of phrasing, and
+traced the error to the violoncellists, but could not at first detect
+the individual whose fault it was. On closer scrutiny he observed that
+one of them was bowing in the wrong way, and thus obscuring the
+phrasing.
+
+The newspapers, in reviewing the concert, mentioned this incident as
+illustrating the wonderfully sensitive ear of the conductor, whereas on
+this occasion, at least, the eye was the detective agent.
+
+It is possible, however, for a trained ear to detect errors in mere
+manipulation, and I am reminded by one of my former pupils that, having
+taken advantage, during one of his lessons, of my momentary absence in
+an adjoining room, to play a passage according to his own ideas of
+proper technic, he was astonished to hear me call out to him that he had
+used the wrong finger in striking one of the keys.
+
+That Thomas had entire confidence in himself was shown in the outset of
+his career. One evening, as he came home tired out from his work, and
+after dinner had settled himself in a comfortable place for a good rest,
+a message came to him from the Academy of Music, about two blocks away
+from his house in East Twelfth street. An opera season was in progress
+there. The orchestra was in its place, and the audience seated, when
+word was received that Anschuetz, the conductor, was ill. The management
+had not provided against that contingency, and was in a position of much
+embarrassment. Would Thomas come to the rescue? He had never
+conducted opera, and the work for the evening's performance was an opera
+with which he was unfamiliar. Here was a life's opportunity, and Thomas
+was equal to the occasion. He thought for a moment, then said, "I will."
+He rose quickly, got himself into his dress-suit, hurried to the Academy
+of Music, and conducted the opera as if it were a common experience. He
+was not a man to say, "Give me time until next week." He was always
+ready for every opportunity.
+
+[Illustration: THEODORE THOMAS
+
+ABOUT TWENTY-FOUR YEARS OLD]
+
+On Christmas day, 1900, a friend presented me with a calendar for the
+year 1901. It has a leaf for each day of the year. The calendar
+evidently required much labor in preparation, and necessitated
+correspondence with many friends at home as well as abroad, and many are
+the cordial responses that were received. The result is a daily pleasure
+and surprise. The leaf for February 11, 1901, the day of my present
+writing, has reference to the third concert of chamber-music, eighth
+season of Mason and Thomas, which took place on Tuesday evening,
+February 10, 1862:
+
+
+     Tuesday, February 10, 1862
+
+     The third soiree of Mason and Thomas had the following program:
+
+     Quartet, C Major, No. 2                 _Cherubini_
+     Piano Trio, D Major, Op. 70, No. 1      _Beethoven_
+     Quartet, A Major, Op. 41, No. 3         _Schumann_
+
+     A program as interesting and fresh to-day as thirty-eight years
+     ago. The weather was very cold,--below zero,--and during the largo
+     of the trio the gas gave out. We continued playing for some time,
+     but finally had to stop. The "Geister" [the composition here
+     referred to is called by the Germans the "Geister Trio"] did not
+     assist us! Do you remember the fact?
+
+     Es ist schon lange her.
+
+     THEODORE THOMAS.
+
+
+
+
+KARL KLAUSER, MUSICAL DIRECTOR AT MISS PORTER'S SCHOOL
+
+
+Through Mosenthal our quartet became acquainted with Mr. Karl Klauser,
+who was an active and enthusiastic musician of thorough education, and
+who has accomplished a great deal of useful work both as a compiler and
+teacher of classic and modern compositions. Mr. Klauser is a native of
+St. Petersburg, born of German parents; he came to New York in 1850, and
+was engaged as musical director in Miss Porter's famous school for young
+ladies in 1855, a post which he filled with credit and ability for many
+years. He was enthusiastically fond of chamber-music, and frequently
+attended the rehearsals of our quartet; and it was through him that we
+were induced to give recitals in Farmington six months after our
+beginning in New York. On Thursday, June 26, 1856, our program was as
+follows:
+
+   String Quartet in E flat, No. 4                               _Mozart_
+   Trio, Piano, Violin, and Violoncello, G Minor, Op. 15, No. 2  _Rubinstein_
+   Variations from Quartet No. 5                                 _Beethoven_
+   Also solos for pianoforte and for violoncello.
+
+On the following day another recital was given, with an entire change of
+program.
+
+At that time one of the undergraduates of the school was a young girl
+who is now the wife of a distinguished lawyer of New York, and is
+herself prominent in good works. Not long ago I received from her the
+following very agreeable letter about the early Farmington days:
+
+     MY DEAR DR. MASON: I am glad to hear that you are to share your
+     pleasant "Memories" with your friends. I hope, in looking back to
+     the happy times when you were young, you will not forget your
+     annual visits to dear old Farmington; for if you do not remember
+     them in words, many old admirers will wonder how you could fail to
+     make much of occasions so precious to them.
+
+     As one of Miss Porter's girls, who can now live over again the
+     coming to town of William Mason, Theodore Thomas, J. Mosenthal, G.
+     Matzka, F. Bergner, and the long-looked-for chamber-concerts, I
+     feel sure that in all of your generous giving of a God-given
+     genius, you never gave more real pleasure than you gave those
+     school-girls and teachers hungry for a taste of life outside the
+     school, and for good music, the best of all company. You were then
+     to them what you only hoped to be after years of hard work,--great
+     men in your profession,--and they could not have dressed with more
+     care or been more excited if they had been going to listen with
+     royalty to the greatest of the old masters.
+
+     Among the choicest of my pictures of Farmington days is that of the
+     girls in white and dainty pinks and greens and blues, with flowers
+     to wear and flowers to throw to you, almost dancing down that
+     beautiful street on a summer day to "the concert," and in the
+     foreground a quaint dark figure whom all the girls remember on
+     festive occasions as bearing the burden of her choice with a New
+     England sense of propriety at war with her keen sympathy with all
+     that is natural in young people, and with the pride in her
+     good-looking family which made her blind to their youthful follies.
+     That was long ago when we were giddy girls, but the verdict of our
+     heads and hearts was a true one.
+
+     Sure that your memories, dear Dr. Mason, must be bright in the
+     sunlight of so many warm friendships, I am listening to the music
+     of long ago.
+
+     March 31, 1901.
+
+
+
+
+LOUIS MOREAU GOTTSCHALK
+
+
+I knew Gottschalk well, and was fascinated by his playing, which was
+full of brilliancy and bravura. His strong, rhythmic accent, his vigor
+and dash, were exciting and always aroused enthusiasm. He was the
+perfection of his school, and his effects had the sparkle and
+effervescence of champagne. He was as far as possible from being an
+interpreter of chamber or classical music, but, notwithstanding this,
+some of the best musicians of the strict style were frequently to be
+seen among his audience, among others Carl Bergmann, who told me that he
+always heard Gottschalk with intense enjoyment. He first made his mark
+through his arrangement of Creole melodies. They were well defined
+rhythmically, and he played them with absolute rhythmic accuracy. This
+clear definition in his interpretation contributed more than anything
+else to the fascination which he always exerted over his audience. He
+did not care for the German school, and on one occasion, after hearing
+me play Schumann at one of the Mason-Thomas matinees, he said: "Mason, I
+do not understand why you spend so much of your time over music like
+that; it is stiff and labored, lacks melody, spontaneity, and naivete.
+It will eventually vitiate your musical taste and bring you into an
+abnormal state."
+
+Although an enthusiastic admirer of Beethoven symphonies and other
+orchestral works, he did not care for the pianoforte sonatas, which he
+said were not written in accordance with the nature of the instrument.
+It has been said that he could play all of the sonatas by heart; but I
+am quite sure that Mr. Richard Hoffman, who was his intimate friend,
+will sustain me in the assertion that such was not the fact.
+
+I have known Mr. Hoffman for more than fifty years, having met him for
+the first time in the year 1847 or thereabout. His playing is still
+characterized by precision, accuracy, and clearness in phrasing, with an
+excellent technic, combined with repose. I have many times enjoyed his
+artistic interpretations, and I heard him with great pleasure not a long
+while ago, on the occasion of his fiftieth anniversary as a teacher in
+this country.
+
+Returning to Gottschalk, a funny thing happened one day. At the time of
+which I write, forty-five years ago, William Hall & Sons' music-store
+was in Broadway, corner of Park Place, and was a place of rendezvous for
+musicians. Going there one day, I met Gottschalk, who, holding up the
+proof-sheet of a title-page which he had just received from the printer,
+said: "Read that!" What I read was, "The Latest Hops," in big block
+letters after the fashion of an outside music title-page. "What does
+this mean?" I asked. "Well," he replied, "it ought to be 'The Last
+Hope,' but the printer, either by way of joke or from stupidity, has
+expressed it in this way. There is to be a new edition of my 'Last
+Hope,' and I am revising it for that purpose."
+
+[Illustration: Autograph of Moreau Gottschalk]
+
+I have in my autograph-book a letter of his, undated, but written in the
+late fifties:
+
+     MY DEAR M.: If you have nothing to do, come and spend the evening
+     with me on Sunday next. No formality. Smoking required, impropriety
+     allowed, and complete liberty, with as little music as possible.
+     I was going to mention that we will have a glass of wine and
+     chicken salad.
+
+    Your friend,
+    GOTTSCHALK.
+    149 East Ninth Street.
+
+
+
+
+PROPAGANDA FOR SCHUMANN'S MUSIC
+
+
+Gottschalk's remark about my liking for Schumann's music was at that
+time echoed by others, for when I returned from Germany and found
+Schumann virtually unknown here, I made it my mission to introduce his
+music into this country--a labor of love in which I was afterward
+greatly aided by the quartet concerts and by my teaching. Shortly after
+my return from Germany I went to Breusing's, then one of the principal
+music-stores in the city,--the Schirmers are his successors,--and asking
+for certain compositions by Schumann, I was informed that they had his
+music in stock, but as there was no demand for it, it was packed away in
+a bundle and kept in the basement. Pretty soon, however, my pupils
+began calling for Schumann's pieces, and Schumann moved up from the
+cellar to the main floor. His music was expensive, because it was
+published in sets, and if a pupil wanted to buy one of the "Novellettes"
+or "Kinderscenen," it was necessary to purchase the whole collection.
+After a while, however, some of the music-dealers began to publish a
+number of the pieces separately. This had the effect in some measure of
+opening up the sale of his music to pupils and amateurs.
+
+
+
+
+SIGISMOND THALBERG
+
+
+Thalberg's playing was characterized by grace, elegance, and perfection
+of finish in detail. His style was suave, courteous, and aristocratic.
+Being a pupil of Hummel, who had in turn taken lessons of Mozart for two
+years, it was quite within the line of descent that he should have
+acquired the extremely smooth legato touch of those masters. As
+distinguished from any pianist-composer up to his time, his specialty
+was the surrounding of a melody with arabesques and ornamental passages
+of scales and arpeggios played with rapidity, clearness, and brilliancy.
+Parish Alvars, the harpist, had originated this device, and Thalberg
+adapted it to the pianoforte, for which instrument it was better suited
+and more effective than on the harp.
+
+The important influence of the upper-arm muscles in the production of
+powerful and resonant tones seems to have been but little known in those
+days. Leopold de Meyer's constant use of these, as noted elsewhere, was
+apparently unconscious and instinctive.
+
+Thalberg's octave-playing was not altogether elastic and free from
+rigidity, for in long-continued and rapid octave passages a close
+observer would have noticed a contraction of his facial muscles and a
+compression of the lips, which would have been avoided under the
+conditions of properly devitalized upper-arm muscles and loose wrists.
+
+Shortly after his arrival in our country he went by invitation to my
+brother's house in West Orange, New Jersey, on a visit of some weeks.
+This afforded an opportunity which was not neglected, and as a result I
+became well acquainted with him and his method of practice. In this way
+he was virtually one of my best teachers, although no regular lessons
+were received from him. Moreover, in several of his concerts I played
+with him his duo for two pianofortes on themes from "Norma," and these
+were occasions of great artistic profit. One learned much, also, from
+hearing him practise. His daily exercises included scale and arpeggio
+passages played at various rates of speed and with different degrees of
+dynamic force. These were always put into rhythmic form, and the
+measures, sometimes in triple and sometimes in quadruple time in many
+varieties, were invariably indicated by means of accentuation. Dynamic
+effects, such as crescendos and diminuendos, also received due
+attention. In short, as it seems to me, he made it a point--as well in
+the cultivation and development of physical technic as in his
+public performances--to play _musically_ at all times.
+
+[Illustration: Autograph of Sigismond Thalberg]
+
+Thalberg's technic seemed to be confined mainly to the finger, hand,
+wrist, and lower-arm muscles, but these he used in such a deft manner as
+to draw from his instrument the loveliest tones. He was altogether
+opposed to the high-raised finger of some of the modern schools, and in
+his work entitled "L'Art du Chant applique au Piano" he cautions
+students against this habit. The same advice had been previously given
+by Carl Czerny in his "Letters on the Art of Playing the Pianoforte,"
+namely: "Do not strike the keys from too great a height, as in this case
+a thud will accompany the tone."
+
+Thalberg adds: "Gewoehnlich arbeitet man zu viel mit den Fingern und zu
+wenig mit dem Geiste" ("Generally one works too much with the fingers
+and too little with the intelligence").
+
+This is reasonable advice, for a touch which starts off simply for
+strength and mechanical development, separate from other traits, becomes
+eventually so obstinately fixed and determined that its influence will
+dominate and stand constantly in the way of poetic and musical
+development. In this connection it is well to remember and apply the
+proverb: "An ounce of prevention is worth a pound of cure."
+
+He was very fond of his grand pianofortes, both of which were made by
+Erard of Paris. One of these instruments was drawn upon a much larger
+scale than had previously been made by this or, so far as I know, by any
+other manufacturer. The tone was powerful and of a lovely musical
+character. Thalberg's idea was that the better the instrument the
+greater the advantage afforded the virtuoso, not only for public
+playing, but as well for the purpose of practice and musical development
+I remember his telling me that a fine instrument even suggested ideas to
+the composer and furthered his work. An experience of many years has
+proved to me the soundness of his theory and the importance of its
+practical application.
+
+The not uncommon assertion that "any piano will do for a beginner" is
+wrong in principle. How absurd to assert that any associates will do
+for children in the beginning! It is just at this tender age when
+impressions are so easily received that the best musical advantages
+should be afforded. What can be better adapted to the cultivation of a
+musical ear than the constant presence of musical tones of the highest
+quality and purity? The ear requires close musical companionship in
+order to promote corresponding development.
+
+The cultivation of a physical technic is important, indeed
+indispensable, but it should not precede or be separated from musical
+companionship. Its development should at all stages be surrounded by a
+musical atmosphere in which its adaptability to the expression of
+poetical ideas may be developed. The heart and head should be closely
+united.
+
+
+
+
+PEDAL AND PEDAL SIGNS--WHY NOT DISPENSE WITH THE LATTER?
+
+
+Prolonged or organ tones are not possible on the pianoforte. From the
+moment the hammer strikes the string the tone begins to diminish in
+volume and soon fades away. One of the chief arts of the pianist is to
+sustain a tone throughout the full value of the note which represents
+it, and this is accomplished either by steady pressure on the key or by
+the use of the open pedal, frequently misnamed the loud pedal. The use
+of the word "loud" in this connection is illogical and misleading. The
+word "open" is much better, because this pedal, when pressed, causes the
+dampers to be raised from the strings, thus leaving them open, and so
+prolonging the tones. Furthermore, the open pedal is constantly used in
+the softest and most delicate passages. Its mission is simply to prolong
+the tones, whether loud or soft. In either case the tone dies rapidly
+away, and the pianist, sensitively aware of this, and feeling the
+necessity of keeping up the volume of sound, is led unconsciously to
+anticipate or take the next tone a little before its due time. The
+effect of this process in continuation is to produce a feeling of unrest
+on the part of the hearer, and is fatal to repose. On this account
+Thalberg earnestly recommends to piano-students that "the tones
+invariably be held throughout their absolute or exact value" (see "L'Art
+du Chant"). Tones can be sustained, so far as this is possible on the
+pianoforte, in two ways, namely, by means of the open pedal or by
+holding down the keys firmly during the exact value represented by the
+notes. How can this value be determined? Solely through the medium of
+the ear. "The proof of the pudding is in the eating." The proof of
+musical sounds, as to quality and duration, is in the listening.
+
+This being granted, it seems to follow that all signs, such as "Ped.,"
+*, or [** two check marks], etc., should be discarded as being even
+worse than useless, for when pupils pay careful attention to them they
+are apt to be guided solely by the eye. They press down the pedal at the
+sign "Ped.," and release it at the following asterisk (*), doing this in
+a merely perfunctory way, and hence they either fail to produce a true
+legato effect or err in the opposite direction of an over-legato, which
+results in a confusion of sounds. This may be best avoided by
+practising on an instrument of fine musical quality and beautiful
+singing tone, which promotes the habit of listening attentively, and
+thus contributes in the highest degree to the development and training
+of the ear.
+
+It is true that musical temperament is inborn, and those who possess it
+have native insight, and hence develop with rapidity. There are,
+however, very many who are not "to the manner born." Such are obliged to
+acquire habits through persistent and persevering effort. All travel the
+same road, but the genius flies while the less gifted plods along.
+However, for the benefit and consolation of the latter, I remind them
+that the tortoise left the hare asleep and won the race. The ear should
+be cultivated for music, the eye for painting, the mind in both; and the
+heart especially in music, because the latter is the "language of the
+emotions."
+
+A little pedal study from my work entitled "Touch and Technic" (Part IV,
+page 18), will serve to illustrate what I mean. It is on an elementary
+plane and can easily be accomplished by a beginner with a little care
+and ordinary perseverance.
+
+[Illustration: PEDAL STUDY FOR THE PIANOFORTE
+
+(_To be played throughout with one finger_)]
+
+It is to be played with only one finger, and the tones of the melody
+must receive special emphasis so as to stand out clearly, and they must
+be sustained by means of the open pedal throughout the exact length of
+time represented by the notes. The crescendo and diminuendo must be
+observed according to direction, and as a help to this effect the soft
+pedal may be used simultaneously, either all of the time or
+occasionally, in an experimental way and according to fancy. This
+promotes the faculty of judgment and leads to individuality, a very
+desirable result.
+
+The melody is on the middle line and the accompaniment on the outer
+lines. The melody must predominate in power, and must be sustained
+throughout the exact value of its representative notes, which are mostly
+dotted halves, viz.: [Illustration: dotted quarter-note]. This is
+accomplished by firmly pressing the open pedal, the finger in the
+meanwhile playing the accompaniment. Thus the tone is sustained solely
+by means of the pedal. Carefully observe the effects of crescendo < and
+diminuendo >. Play strictly in time.
+
+In the final measure still continue the pedal pressure after the C in
+the treble has been played. There are now four tones sounding together.
+Now replace the finger, silently and without striking, on the melody key
+E. While still pressing this key raise the foot from the pedal. This
+leaves the E sounding alone. Hold down the key until the tone has quite
+died away.
+
+
+
+
+RUBINSTEIN AND THE AUTOGRAPH-HUNTER
+
+
+One afternoon I accompanied Rubinstein from his hotel to Steinway Hall,
+where he was to give a recital. Just outside of the stage-entrance were
+two young ladies, one of whom stepped forward and, handing me a sheet of
+paper and a pencil, begged me to ask Rubinstein for his autograph, and
+to leave it for her in the dressing-room, so that she could get it
+after the recital. I told her that Rubinstein did not like writing
+autographs; that he was a man of kindly disposition, but sometimes acted
+from impulse; nevertheless, I would see what could be done. So,
+following Rubinstein up-stairs to the retiring-room, I handed him the
+writing materials, stating the young lady's request.
+
+He took them, saying nothing, but walked with an air of determination to
+the window, opened it, and threw them into the street "Mason," he said,
+"I don't like your country. People pry too much into private affairs."
+He then went on to speak of newspaper writers who had interviewed him
+and ingeniously beguiled him into speaking of many things which
+concerned solely his own personality, and the next day published all of
+these things in detail. He said: "There is absolutely no privacy in this
+country." "Rubinstein," I said, "I can quite appreciate your position,
+and understand why you should have come to such conclusions, but I am
+sure that upon due reflection you will realize that you are doing us an
+injustice. You have been incessantly occupied during your sojourn here,
+have hurried from place to place, given concerts with hardly any
+intermission, and naturally have had no time to see people in their
+homes. You have not been able to judge of our domestic life or to mingle
+in society and study our habits." He admitted this at once and made due
+acknowledgment. Wieniawski, who was once with us when a similar
+conversation occurred just before the close of their stay here, said:
+"Mason, I regret extremely that I have not been able to go out to Orange
+to visit you. We have traveled constantly and rushed from place to place
+in order to fulfil concert engagements, so that there has been no time
+for social intercourse. I don't wish you to gather from my apparent
+neglect an idea that Poles are unsociable; on the contrary, I assure you
+we are very fond of social life."
+
+Rubinstein came here with a great reputation, and achieved a good
+success. He had transcendent ability, accompanied, however, by certain
+limitations. By nature impulsive and excitable, he often lost
+self-control, and in consequence he frequently anticipated his climax.
+He was like a general who excelled in a brilliant sortie, but who had
+not the dogged persistence necessary to a long-sustained battle, and at
+the critical points he was constantly losing his self-poise. When,
+however, he did effect a climax, it was apt to be a great one, a
+jubilee. Liszt, on the other hand, was remarkable for his reserve force
+and for the discretion with which he made use of it; for if, perchance,
+he missed a climax he immediately made preparation for a new one, and
+was always sure to reach the zenith at precisely the right moment.
+
+There were occasions on which Rubinstein played with the most wonderful
+repose, and at such times his playing was musical and poetic in the
+highest degree. This was particularly the case in slow or moderate
+movements characterized by tenderness, affection, and fervor. But in
+the rapid and spirited movements his tendency was to run away and
+finally to lose self-possession--an affliction to which the large
+majority of concert pianists are subject. Violinists and singers are not
+nearly so much so, because they can prolong their tones with steady
+force, or diminish and increase the tone at will. As I have already
+pointed out, the case is different with the pianist, for after the
+piano-key has been struck the tone immediately begins to decrease in
+power, and this incites the player to produce another tone; so he
+proceeds a little too quickly, constantly gaining a little in speed and
+crowding one tone upon the other. The effect is exasperating to the
+listener, who becomes more and more restless, until finally all quiet
+and repose is utterly lost.
+
+The unevenness in Rubinstein's playing I believe to have been wholly due
+to the temperamental moods of a man of extreme artistic sensitiveness.
+He was a thoroughly conscientious artist and worked at the piano
+incessantly many hours a day. I remember his once saying to me: "I
+dislike nothing more than to have people say to me, as they frequently
+do, 'But you do not have to practise, for you are a born genius and get
+everything by nature.' It is provoking to listen to such stuff after
+having worked so hard."
+
+
+
+
+EVOLUTION IN MUSICAL IDEAS BEETHOVEN PIANOFORTE RECITALS
+
+
+No pianist ever dreamed of playing Beethoven's sonatas in public in
+those days. They were reserved for the parlor; and one, or two at most,
+were enough for an evening. The mental absorption of this amount was
+sufficient. Lighter pieces filled out the program. I am quite sure that
+it was Bulow who first played several of Beethoven's sonatas
+consecutively at a recital. I learned of this through Anton Rubinstein
+when he was here in 1873. He spoke of it as being an extraordinary
+thing, and added that, as a musician, he could not give it his approval.
+It might be a scientific thing to do, but was certainly not congenial to
+a true musical nature, which required variety. A dinner consisting of
+heavy dishes throughout, without the interspersion of condiments,
+vegetables, and tarts to stir and incite the appetite, would be both
+distasteful and fatal to good digestion. The pieces selected for the
+musical feast should be homogeneously arranged; and so should the
+various courses of the dinner.
+
+However, notwithstanding what Rubinstein said in 1873, I noticed that,
+but a comparatively short time afterward, he also began the practice of
+giving recitals at which he played several sonatas in sequence. It is
+possible that he did this less to gratify his own personal artistic
+tastes than in deference to those of the public who had not his musical
+organization, and so could stand the intensity of the thing while he
+profited by the physical practice.
+
+
+
+
+RUBINSTEIN'S FAVORITE SEAT AT A PIANOFORTE RECITAL
+
+
+Rubinstein, as a listener, was particular as to the location of his seat
+at a concert or recital of pianoforte music, and always sought a place
+in one of the galleries on the left hand, facing the stage. Thus he sat
+in the corner diagonal to the pianoforte, looking over the right
+shoulder of the player.
+
+It is true that even on the ground floor or parterre of a hall this
+position affords a great advantage, and the tones of the pianoforte are
+essentially more full of resonance and musical tone than in any other
+location. This may be accounted for on the theory that the raised lid of
+the instrument deflects the sound in that direction. There is a
+corresponding disadvantage in a position on the opposite side of the
+house, especially if seated on the ground floor near the stage. I have
+frequently tried both of these positions, and always with the same
+result; hence I have learned to make due allowance in judging of the
+pianist. A listener unaware of this difference may seriously err in
+estimating the tone quality of the instrument.
+
+
+
+
+BACH'S "TRIPLE CONCERTO" AND "LES AGREMENTS"
+
+
+In Bach's time many embellishments were used in playing the clavichord.
+They were all included under the general title _Les Agrements_, or, in
+German, _Manieren_. Of these the mordent, almost identical with the
+modern _Pralltriller_, was in most frequent use. It is quite a little
+thing and simple enough, but there are few players who succeed in giving
+it the right snap or rattle, without which its true significance is
+wholly lost. I have already mentioned playing this concerto with
+Klindworth and Pruckner at a court concert in Weimar. While previously
+rehearsing it, Liszt was very particular in his directions, especially
+regarding the mordents, and we did our best to follow them. Moreover,
+Liszt was an authority. He always made thorough investigation of a
+subject before expressing an opinion upon it, and he was very careful to
+give a historically accurate and truthful rendering of these
+old-fashioned ornaments. I afterward found that when three pianists
+came together for the purpose of playing this concerto a good deal of
+time was wasted in discussing the proper way of playing the mordent. It
+was on the program of the Mason-Thomas matinees in New York more than
+once, and on one occasion we had the assistance of the well-known
+pianists Messrs. Timm and Scharfenberg. There was no friction at that
+time, as the three performers were of one mind.
+
+In May, 1873, Theodore Thomas arranged a grand musical festival in New
+York, of which Rubinstein was the principal attraction. The "Triple
+Concerto" was one of the features of the festival. Rubinstein played the
+first piano, and Mills and I the other two.
+
+The concerto has the accompaniment of a string quartet, which may be
+doubled or increased to the size of a small orchestra if desired. It was
+thought best to have a preliminary rehearsal for the three pianos alone,
+and a time was appointed for our meeting together at my studio in
+Steinway Hall. Mr. Thomas, not being familiar with the concerto, wished
+to be present in order to become acquainted with it, and at the
+appointed time was the first to make his appearance. I told him that
+Rubinstein, not precise in historical methods, would play the mordents
+in accordance with the mood in which he happened to be. "However," I
+continued, "I have an old book by Friedrich Wilhelm Marpurg, published
+in Berlin in 1765, in which he gives written examples of all of the
+_Manieren_. We will show this to Rubinstein and have some fun. But I do
+not propose to waste time in discussions. He can play as he likes, and
+Mills and I will follow suit."
+
+Rubinstein shortly made his appearance, and Mills came a little later. I
+told Rubinstein about my ancient authority, adding that we should be
+spared the tediousness of a discussion as to the manner of playing. "Let
+me see the old book," said Rubinstein. Running over the leaves, he came
+to the illustrations of the mordent. The moment his eyes fell upon them
+he exclaimed: "All wrong; here is the way I play it," and going to the
+piano, he played as follows:
+
+[Illustration: Musical notation]
+
+This is what Marpurg calls a kind of double mordent, or _Doppelschlag_.
+The three keys are struck almost simultaneously, but the middle one only
+is held down, while the upper and lower ones are immediately released,
+thus producing the effect of a turn. The true way of playing the mordent
+is thus:
+
+[Illustration Musical notation]
+
+However, we adopted Rubinstein's way without comment.
+
+[Illustration: Autograph of Anton Rubinstein]
+
+What I have written about Rubinstein and Bach's "Triple Concerto in D
+Minor" recalls to my mind an occasion when I played it with Mr.
+Boscovitz and Mme. Essipoff at the latter's last recital here, I think
+in the year 1876. When, at the rehearsal, we came to discuss the
+mordents, Essipoff exclaimed: "I cannot play those things; show me
+how they are done." After repeated trials, however, she failed to get
+the knack of playing them, as, indeed, so many pianists do, so at the
+recital she omitted them and left their performance to Boscovitz and me.
+I think the effect of the concerto was not marred by the omission. The
+incident just related most not be construed as in any degree a
+disparagement of Mme. Essipoff's playing; as an artist she belongs
+easily in the first rank of women players and her style is charming.
+
+In taking leave of my old book by Marpurg I present a specimen of advice
+which he addresses to pianoforte-students, namely: "In regard to
+deportment and manners [at the pianoforte], one should take care to
+avoid making faces, bobbing the head, snorting, twisting the mouth,
+gritting the teeth, and all such ridiculous things. In the absence of
+the teacher, a pupil who has fallen into such ungainly habits can
+correct them by means of a mirror placed in front on the music-rack."
+The foregoing is as honest a translation from the German as I am able to
+make. Daring a half-century's experience in pianoforte-teaching I do not
+remember a single case among my pupils of one who stood in need of this
+advice.
+
+
+
+
+A SIGNIFICANT AUTOGRAPH FROM RUBINSTEIN
+
+
+Just before leaving Weimar I had asked Rubinstein to write in my
+autograph-book, and he immediately complied.
+
+The theme, which he wrote in the key of E flat major, is characteristic
+of him. It is strong and has a vigorous upward movement. It suggests the
+young man just starting out in life, with the vitality and courage of
+early manhood. It is dated "Weymar, le 5. Juin, 1854."
+
+I did not see Rubinstein again until 1873, the year of his visit to this
+country. Happening in his room one day with my book, the idea occurred
+to me of asking him to write in it again, under his former signature.
+For some reason he was averse to doing so, but finally consented. At a
+glance the second theme seems like the first, but on examination the
+difference will appear. He has transposed the theme to E flat minor, and
+its character is entirely changed. The young man has reached the summit
+of the hill and realizes that he is now upon the descent. The allegro
+maestoso of former years has changed to an adagio, and, as Rubinstein
+aptly writes, it is "not the same."
+
+An autograph written for me by Joachim Raff is also interesting. On the
+night before I left Weimar, June 25, 1854, Raff and I had supper at the
+Erbprinz together, and as the evening wore on we somehow got into a
+heated discussion about _Zukunftsmusik_, taking opposite sides. However,
+as a matter of course, we made up before parting. He had previously
+written his musical autograph in the book, but now he added a kind
+thought to speed me on my way, namely: "That he may live well, work
+well, and soon return to Weimar music. Mitternachtscheide."
+
+
+
+
+RUBINSTEIN, PADEREWSKI, AND "YANKEE DOODLE"
+
+
+Not long before Rubinstein's departure for Europe he wrote a large
+number of variations on "Yankee Doodle," and meeting me shortly
+afterward, he informed me of the fact, and added: "I have inscribed your
+name at the head of the title-page, and they are now in the hands of the
+publisher." He said further, and in a seemingly apologetic tone: "They
+are good, I assure you, and I have taken much pleasure in writing them."
+He played this composition at his farewell concert in New York, and in
+point of fact the variations were very well made; but I think that much
+of his playing at the concert referred to was improvised.
+
+The second season Paderewski was here I sat next to him at a dinner
+given just after his arrival. During conversation he said somewhat
+suddenly: "Mr. Mason, I have just composed a fantasy on 'Yankee Doodle,'
+and have dedicated it to you."
+
+[Illustration: Autograph of I. J. Paderewski]
+
+He looked at me, and thought he saw a curious expression in my
+face,--although I was quite unaware of such a thing,--and continued,
+"You don't like it!" "Oh, I do," I protested, "and esteem the dedication
+as a great honor." "I see you don't," he said. "Well," I replied, "I
+already have one 'Yankee Doodle' from Rubinstein, and was thinking that
+the coincidence of your dedicating me another was very curious, that is
+all. Let me explain to you that 'Yankee Doodle' does not stand in the
+same relation to the United States as 'God Save the Queen' to England,
+'Gott erhalte Franz den Kaiser' to Austria, or the 'Marseillaise' to
+France. 'Yankee Doodle' was written by an Englishman in derision of us."
+I am afraid that my remarks discouraged him, for he never finished the
+composition. He played it to me as far as he had progressed with it, and
+it is certainly the best treatment of the theme I have ever heard. He
+had given it respectability, and, indeed, he told me that he really
+liked the tune.
+
+
+
+
+MEETINGS WITH VON BUeLOW
+
+
+Von Bulow, who had been a pupil of Liszt a year or two before my time,
+would occasionally return to Weimar from his concert tours, and during
+these visits I became well acquainted with him. In certain ways he was a
+wonderful man. He had an extraordinary memory and remarkable technic. He
+was invariably accurate and precise in his careful observance of rhythm
+and meter by means of proper accentuation, and the clear phrasing
+resulting therefrom made up a good deal for the absence of other
+desirable features, for his playing was far from being impassioned or
+temperamental. His Chopin-playing always impressed me as dry, and his
+Beethoven interpretations lacked warmth and fervency.
+
+I remember he once said to me: "Rubinstein can make any quantity of
+errors during his performance, and nobody is disturbed by it; but if I
+make a single mistake it will be noticed immediately by every one in
+the audience, and the effect will be spoiled."
+
+Personally, Von Bulow and I got along very well together. He always made
+kind inquiry for me when he met common friends in Europe, and he once
+presented me with an autograph of Brahms which he valued highly. The
+following letter he wrote me shortly after his arrival in this country,
+in response to an invitation to make me a few days' visit in Orange, New
+Jersey, where I was then residing.
+
+
+BOSTON, October 21, 1875.
+
+     MY DEAR COLLEAGUE: I have just now received your kind note, and
+     although I have not a single moment of leisure, I want to thank you
+     and to tell you how happy I should be to meet you again after
+     nearly a quarter of a century out of sight.
+
+     Alas! it is quite impossible for me to make you a visit before my
+     arrival in New York. I must work very hard in spite of a bad health
+     and a not at all Rubinstein-like constitution.
+
+     As this specimen of cablegrammatical shows, I am unable to express
+     myself in your language without a heap of wrong notes in every
+     line. It was but two years ago, when I made my first appearance in
+     old England (much less sympathetic to me than New England), that I
+     began to stammer the Anglo-Saxon idiom. Please kindly excuse the
+     shortness and weakness of my reply.
+
+     Many thousand most friendly compliments from our common co-pupil
+     Carl Klindworth,[3] whom I saw last summer in Tyrol; we often spoke
+     of you.
+
+     Yours most truly,
+     HANS VON BUeLOW.
+
+I know from what Von Bulow himself told me that he accepted
+philosophically the trouble between himself and his wife Cosima Liszt,
+and her subsequent marriage to Wagner. Soon after he arrived in New
+York, in 1876, I called on him, and during our conversation I broached
+the subject in a tentative way. I was not sure that his feelings toward
+Wagner were not so hostile that mention of the Bayreuth master would
+have to be avoided, and I thought it just as well to arrive immediately
+at a clear understanding of the matter.
+
+[Illustration: Autograph of Hans von Bulow]
+
+"Bulow," I said, "you will excuse me if I touch on a rather
+delicate subject. Of course your friends abroad know just what your
+present attitude is toward Wagner; but over here we know little or
+nothing about it. Perhaps you would like to enlighten me. I hope,
+however, I have not touched on a painful subject."
+
+"Not at all," he exclaimed. "What happened was the most natural thing in
+the world. You know what a wonderful woman Cosima is--such intellect,
+such energy, such ambition, which she naturally inherits from her
+father. I was entirely too small a personality for her. She required a
+colossal genius like Wagner's, and he needed the sympathy and
+inspiration of an intellectual and artistic woman like Cosima. That they
+should have come together eventually was inevitable."
+
+
+
+
+EDVARD GRIEG
+
+
+On July 1, 1890, my daughter, sister-in-law, and I were in Bergen,
+Norway, having just returned from a very pleasant trip to the North
+Cape.
+
+Being so near Grieg's home, an hour and a half's drive from Bergen, and
+having received an invitation to visit him, we presented ourselves at
+his "Villa Troldhangen" in the afternoon. The day was bright and lovely,
+and thus we saw Grieg's place under the most favorable aspect. Our
+reception by Mr. and Mrs. Grieg was most hospitable, and we felt
+immediately at home. After half an hour's conversation, we all strolled
+through the beautiful grounds, which in many places are thick with trees
+and shrubs, while here and there are clearings through which the waters
+of the fiord shine bright and clear. The wild flowers, with their rich,
+brilliant colors, were especially attractive; indeed, this is everywhere
+in Norway an attractive feature.
+
+Mr. Grieg is a man of high intelligence and culture, and is thoroughly
+natural and genial. I have very pleasant memories of our cordial
+reception and delightful visit.
+
+
+
+
+RATES OF TEMPO--THE PRESENT TIME COMPARED WITH FIFTY YEARS AGO
+
+
+In recalling Liszt's playing I cannot help noticing the marked
+difference in modern rates of tempo as compared with those which were
+considered authentic fifty years ago. This is noticeable in many of
+Chopin's compositions, especially the larger ones, such as the sonatas,
+ballades, fantasies, etc., with all of which I am very familiar, having
+heard them played not only by Liszt in Weimar, but in other German
+cities, and by artists of the highest rank, many of whom were
+contemporaries and personal friends of Chopin. They all seemed to adopt
+a certain rate of speed, as if in conformity with the composer's
+intention, and it was in agreement with my own intuitions. Dreyschock
+and Liszt had often heard the composer play his own pieces and must
+certainly have been familiar at least with his rates of tempo. I was
+very close to the Chopin day, having been in Germany only a few months
+when he died. Two of my teachers and nearly all of the musicians I had
+met were his contemporaries and had heard him play his own compositions.
+I certainly ought to have the Chopin traditions.
+
+
+
+
+ELECTROCUTING CHOPIN
+
+
+[Illustration: Autograph of Edvard Grieg]
+
+The question is, Should Chopin be played in accordance with the spirit
+of the time in which he lived, should his works be played in the tempo
+in which he played them, or, because electricity has brought about so
+many changes and has enabled us to do so many things much more rapidly
+than formerly, should Chopin's music be electrified, or, as it seems to
+me, electrocuted? I think there is a general tendency to play the rapid
+movements in Chopin, and, in fact, in all composers not of the extreme
+modern type, too fast. To play these movements rapidly and give the
+phrases with absolute clearness, one must have such breadth, command of
+rhythm, and repose in action that he can put the tones together like a
+string of pearls, so that each is rounded into shape, and the
+phrase is a complete and definite series of tones, and not like a lot of
+over-boiled peas, so soft that they all mash together. In too rapid
+playing the effect of speed is lost. The Chopin "Waltz in D Flat Major"
+is often played much too fast. The theme is said to have been suggested
+to the composer by a lap-dog in his room suddenly beginning to chase his
+tail. Whether true or not, the story is suggestive. Destroy the contour
+of that waltz by playing it at too high a rate of speed, and the dog is
+no longer chasing his tail, but dashing aimlessly about the room.
+
+Nor should the tempo be too slow. Slow movements are effective, but
+sufficient animation must prevail to impart life and fervency to the
+music. A stream may flow so sluggishly that the water loses its
+clearness. This is not repose, but stagnation. During the musical season
+of 1899-1900 in New York I heard modern pianists play some of Chopin's
+compositions so slowly that the effect produced upon me was like that
+of a music-box running down. One endures it for a while, but finally is
+wrought up to such a feeling of impatience as to induce the exclamation,
+"Either stop that thing altogether or wind it up."
+
+
+
+
+TEMPO RUBATO
+
+
+In modern times there is also a tendency to excessive use of tempo
+rubato.
+
+I have recently heard the second part, of Chopin's "C Sharp Minor
+Scherzo"--the choral with arpeggio passages--played by a celebrated
+pianist in such a way that, mathematically adjusted, about one measure
+was added to every section of four.
+
+The player was afterward highly extolled on account of his wonderful
+rubato effects. The truth is that he was all the while simply playing
+mathematically out of time. Rubato ("robbed") is a slight modification
+of rhythmic flow in alternation with a corresponding compensation; it is
+like excitement in verbal narrative; it is alternately losing and
+making up, but within judicious bounds, so that in the end the balance
+is preserved. The nature of music is essentially "tune and time"--in
+other words, emotion and intelligence, or heart and head, in loving and
+well-balanced combination. These conditions are absolute and can never
+be violated without disaster. Hence a true rubato must be played in
+time, but accommodatingly.
+
+
+
+
+UNUSUAL PUPILS--TRANSPOSING--POSITIVE AND RELATIVE PITCH
+
+
+I once gave to an intelligent pupil the task of transposing one of
+Bach's inventions into various keys. My directions were that at her next
+lesson she should be prepared to play it successively in three or four
+different keys. As she came to my studio for her lesson but once a
+month, there was ample time for preparation, and she succeeded in
+accomplishing the feat with ease and without error. But, more than this,
+she continued her transposing until she had completed the round of all
+the twelve keys without a mistake--a rare and creditable performance,
+deserving the emulation of all young ladies and gentlemen engaged in the
+study of musical development and the cultivation of pianoforte technic.
+
+Another case is that of a young lady pupil not remarkably musical, but
+who has an ear for positive pitch. By this is meant that she could
+immediately name the pitch of any tone on hearing it sung or played. All
+competent musicians possess the power of relative pitch. I mean by this
+that if a definite pitch is given to one who has a musical ear, the
+pitch of any other tone immediately following or sounding in connection
+will be instantly perceived, and the interval between the two tones--in
+other words, their pitch relationship--at once understood.
+
+[Illustration: THE STUDIO IN THE STEINWAY BUILDING--WEST SIDE]
+
+The power of positive pitch has been regarded by many as a very
+desirable gift, but judging from the experience of the pupil of whom I
+am writing, it would appear to be just the other way. This young
+lady, to whom I had also given the task of transposition into various
+keys, complained, on coming for her next lesson, that the effect upon
+her was very disagreeable, in fact, extremely painful. She explained
+that she was obliged to look at the music on the pianoforte-desk while
+transposing, and that on account of her quick perception of positive
+pitch she heard in companionship both the tones of the original key and
+those of the key to which she was transposing, thus producing a jargon
+and discord which was distressing. This at first seemed very strange to
+me, indeed almost incredible, but not having an ear for positive pitch
+myself, either by nature or through cultivation, I could not judge from
+personal experience, so, having confidence in her sincerity, simply gave
+her assertion credence.
+
+Later on, however, her statement received confirmation through the
+authentic testimony of a German musician and conductor of high eminence.
+At the time this gentleman came to our country, somewhat over fifteen
+years ago, the standard of concert pitch was slightly lower in Europe
+than with us. Since then it has been adjusted and is now uniform the
+world over. This discrepancy caused our German friend extreme annoyance,
+for having an acute and delicate perception of positive pitch, it pained
+and confused him to hear the familiar symphonies and other works of the
+great masters played in a higher pitch than that to which he had become
+accustomed. This is, therefore, the penalty for an ear for positive
+pitch.
+
+Some of the greatest musicians have possessed this faculty, notably
+Mozart, but others of equal rank were without it. Of course a musical
+ear of the most delicate sensibility as to relative pitch is common to
+all of them, and this by the grace of God, as the Germans happily
+express it.
+
+Another case is that of a lady having by nature an ear for positive
+pitch, who occasionally attends church with me. She is constantly
+disturbed by the difference of pitch between the tones of the organ and
+the pitch indicated by the notes of the tones in the hymn-book. She
+reasons that either the tones of the organ are above standard pitch or
+else the organist transposes the music. At any rate, the two vary by the
+interval of a semitone.
+
+Theodore Thomas is not only able to detect the disagreement, but at the
+same time perceives whether it is by reason of transposition from the
+original key or on account of the tones of the organ differing from
+standard pitch.
+
+
+
+
+APPLEDORE, ISLES OF SHOALS
+
+
+MY first visit to Appledore was in August, 1863, two of my brothers
+having discovered the island, so to speak, the year before. We were
+enthusiastic fishermen, and during our summer vacation almost lived on
+the ocean. Furthermore, during almost the entire year I was engaged in
+teaching or in public appearances as a concert-player, so that in my
+vacation I detested the very sight or even thought of a pianoforte.
+Appledore afforded an ideal retreat where retirement verging almost on
+oblivion was possible, and thus it happened that I had spent many
+summers there before my musical vocation was brought to light.
+
+A few years later my friend Professor John K. Paine of Harvard
+University also discovered the Shoals, and from that time came year
+after year without intermission. After a year or two he had a piano sent
+down from Boston for the summer and placed in the reception-room in
+Celia Thaxter's cottage. I had the pleasure of Mrs. Thaxter's
+acquaintance, but up to that time simply in a formal way, and beyond a
+call on my arrival and one on taking leave, I had little association
+with her; Professor Paine, however, quickly formed a habit of playing
+Beethoven's sonatas to her, and she very shortly showed a delight in
+music, and especially in Beethoven's sonatas, with which she became
+quite familiar. In the year 1864 Isidor Eichberg accompanied my brothers
+and myself to the island, and that led, still later on, to Mr. Julius
+Eichberg's becoming an habitue of the island. He brought his violin with
+him, and with Mr. Paine frequently played compositions of Bach for piano
+and violin. Finally I was drawn into the current, and played, with
+Eichberg, Schumann's and other sonatas. As I grew older I gave less time
+to fishing. Moreover, whereas I had formerly spent only a couple of
+weeks or so at the island, I now began to go early in July and stay
+until September, so that in the nature of things I could not fish all
+the time, and gradually formed a habit of playing in Mrs. Thaxter's
+cottage every day from eleven o'clock in the morning until the arrival
+of the boat, about an hour and a half later.
+
+Hers was an interesting and enthusiastic nature, which attracted to her
+many literary and artistic people. She held, in a most charming and
+informal way, what may really be called a salon. The walls of her parlor
+were covered with paintings and pictures of all kinds, many of them the
+work and gifts of personal friends. As she herself expressed it, "a
+beautiful thought was always suggested whenever and wherever she
+looked."
+
+Her love of flowers amounted almost to a passion, and no expenditure of
+time or strength given to garden work was grudged, even when the effort
+of very early rising was involved. And when did garden ever better repay
+the personal love and care of the gardener? Where were ever seen such
+radiant, waving poppies, such hundred-hued pansies, such stately and
+brilliant hollyhocks, and such fragrant sweet peas? And upon entering
+the parlor, it seemed as if one had hardly left the garden, so many and
+so beautiful were the masses of flowers.
+
+As I have said, Mrs. Thaxter was very fond of music, and every morning
+welcomed those of her friends who shared this taste to hear any artist
+who might be on the island.
+
+It was my pleasure, being so much at Appledore, to play a great deal in
+these informal ways. The doors wide open to the sun and salt breezes,
+the people sitting in the room and grouped on the piazza, shaded by its
+lovely vines, the beautiful vistas of gaily colored flowers, sea and sky
+beyond, made a charming and ever-to-be-remembered scene.
+
+Chopin and Schumann were the favorite composers, their compositions
+being constantly requested. After a while I enlarged the repertoire by
+introducing several of Edward MacDowell's smaller works. These found
+immediate favor. Some half-dozen years ago, having become acquainted
+with and thoroughly enthusiastic over the "Sonata Tragica" of this
+composer, I began to play it early in the summer on arriving at the
+Shoals. At first the audience was somewhat reserved in the expression of
+an opinion, but after a few hearings the composition found friends who
+really appreciated and enjoyed it. Being curious to ascertain what
+result a closer acquaintanceship with the work would bring about, and
+wishing to do some missionary work, I formed the resolution of playing
+it once a day during the season, and announced my intention to the
+audience. With but the exception of a few days, the scheme was carried
+out, and with gratifying success, for the "Sonata Tragica" became
+eventually the favorite of the majority, and it was constantly called
+for.
+
+One or two ladies who found it tedious at the outset became thorough
+converts, and finally experienced genuine musical enjoyment from it. On
+the publication of the "Sonata Eroica" a few years later a similar
+result was reached, but not in the same degree as in the case of the
+"Tragica."
+
+This incident is related to illustrate the remarkable effect of musical
+surroundings and the great advantage of living in a musical atmosphere.
+Here were people of intelligence and culture who, under adverse
+circumstances, would not have appreciated the beauty of these
+intellectual works, but who after closer association were led to
+perceive their beauty and who learned to love them.
+
+Sundays were celebrated by the playing of Beethoven's sonatas. Every
+one seemed to look forward to and enjoy these pleasant mornings. Mrs.
+Thaxter was a delightful hostess, and possessed the rare quality of
+bringing out the best in those about her.
+
+During the summer of 1894 Mrs. Thaxter seemed as well and active as
+usual, still working in her garden, still the lively center of her group
+of friends and admirers. One day she did not appear, nor the next, and
+then we heard she had peacefully passed away.
+
+None who were at Appledore then will easily forget that 26th of August,
+nor the day she was buried on her island home.
+
+The funeral service was held in the well-known sitting-room; the address
+was made by her old friend the Rev. Dr. James De Normandie, and, by
+request of her sons, I played Schumann's "Romance in F Sharp," and
+Dvo[^r]ak's "Holy Mount,"
+
+    The tides of Music's golden sea
+    Setting toward Eternity.
+
+When the simple service was over the coffin was followed by her old and
+faithful friends and the island fishermen to the grave by that of her
+father and mother. The long procession of people, through the gray mist,
+winding in and out along the rocky way, the leaden sky and sea, the
+hushed voices of the children, usually ringing out so merrily from rocks
+and hotel piazzas, accentuated the sense of our loss.
+
+At the grave, all lined with bayberry and flowers, the coffin was
+lowered, and each of those present came forward and laid upon it a few
+of the flowers she loved so dearly.
+
+
+
+
+MUSIC IN AMERICA TO-DAY
+
+
+A year or two ago a young lady came to my studio and asked for a single
+lesson. She told me that she had been studying in Germany for some
+years, and named the city, which is one of the well-known musical
+centers. She was then going to the West on her way home, and stopped a
+day over in New York expressly for a lesson from me. I heard her play
+several pieces, and was surprised and pleased with her manner and style.
+She phrased with intelligence and gave due attention to rhythmic
+requirements. Her tone was large, full, and musically resonant, and
+could not have been produced otherwise than through the agency of the
+upper-arm muscles, which were constantly in active use. The flexibility
+and elasticity of hands and wrists were also apparent, and finally the
+evident repose in action of all of these qualities capped the climax. I
+said to her: "My dear young lady, I cannot add to your playing, for it
+is already finished and artistic. I might possibly suggest a different
+rendering in certain parts, but, after all, this would amount only to a
+matter of taste. If you had studied exclusively under my guidance for a
+course of years, and I had succeeded in doing my best, aided by your own
+intelligence and careful practice, I should have sought to bring about
+just the result which you have reached. I think your teacher must be a
+young man." "He is," she replied; "but why?" "Because," I answered, "his
+method is free from the stiffness and rigidity of the old German school.
+Has he, perhaps, a method of his own?" Her immediate reply was, "He uses
+your method." She also told me her teacher's name, which I have now
+unfortunately forgotten. I think this teacher deserves to have more
+pupils!
+
+But the time has gone by when it was necessary for students of the piano
+to go abroad to complete a musical education. There are now teachers of
+the piano of the first rank in all of our principal cities, who secure
+better results with American pupils than foreign teachers do, because
+they have a better understanding of our national character and
+temperament. Such men among my own former pupils are E. M. Bowman in New
+York, S. S. Sanford in New Haven, W. S. B. Matthews and William H.
+Sherwood in Chicago, and many others who are distinguished in their
+profession as teachers, and who have done and are doing much in
+furtherance of sound musical education and in the cultivation of a
+refined, musical taste in America. Our country has also produced
+composers of the first rank, and the names MacDowell, Parker, Kelley,
+Whiting, Paine, Buck, Shelley, Chadwick, Brockway, and Foote occur at
+once to the mind. Enormous progress in the art and science of music has
+been made in America since I began my studies in Germany in the year
+1849. Our teachers meet in great numbers in convention during the summer
+months and in summer schools and classes, and it is difficult to
+overestimate the beneficent results which flow from these assemblies.
+They create a musical atmosphere, in which teachers and pupils live and
+move and have their being. They afford opportunities for the intelligent
+discussion of mooted questions and for the interchange of ideas, and
+lead to a wider dissemination of the best educational methods.
+
+[Illustration: Autograph of Kneisel Quartet]
+
+Harvard, Yale, Columbia, and Princeton all have their chairs of music,
+and doubtless this is true of others of our universities and colleges.
+The city of New York has become one of the great musical centers of the
+world. The Philharmonic Society, the opera season, the Kneisel Quartet,
+and many others of high artistic merit, afford opportunities for the
+gratification of musical taste which are hardly to be excelled
+elsewhere; and the popularity of these and of the countless pianoforte
+recitals and chamber-music concerts bears eloquent testimony to the
+growth of an intelligent musical taste among us. Boston and Chicago have
+their world-renowned orchestras, led by Gericke and Thomas, who are
+passed masters of their art. The cities of Pittsburg, Cincinnati, and
+St. Louis have their orchestras, each under competent leadership. The
+most celebrated artists at home and from abroad are heard in our
+principal cities. The season just closed (1900-01) is in striking
+contrast to those of my early manhood. Among the many prominent pianists
+who have played to us there are some of extraordinary talent, who give
+abundant promise of brilliant future achievement.
+
+Ernst von Dohnanyi, born at Pressburg, July 27, 1877, is a wonderfully
+talented musical composer and at the same time a pianist whose technic
+is complete, combining as it does the emotional, intelligent, and
+mechanical elements in happy union and adjustment. Von Dohnanyi has by
+nature as intense, thorough, and complete a musical organization as
+ever came within my experience. He composes with marvelous spontaneity
+and rapidity. His ideas are fresh and original, and their expression and
+elaboration are effected with the freedom of an improvisation, thus in
+no way emphasizing their mechanical setting forth.
+
+He is just completing, in the twenty-fourth year of his age, an
+elaborate symphony in D minor for grand orchestra, the scheme of which
+is as follows: I. Allegro; II. Adagio; III. Scherzo; IV. Intermezzo; V.
+Finale: Introduction, Tema con Variazioni; Fuga.
+
+This is a massive production, apparently the result of inherent
+qualities carried into act by impulse, in other words, of spontaneous
+achievement. It is so instinctive and impulsive that the art of its
+construction hardly occurs to the hearer at first, but as an
+afterthought excites wonder and admiration.
+
+Early in March of the present year (1901), Von Dohnanyi, his wife, and a
+few other friends, among them Emil Pauer, dined at my house, and during
+the evening Von Dohnanyi played his symphony on the pianoforte. This
+instrument is naturally quite inadequate to the interpretation of such a
+work, but Von Dohnanyi's technic is so complete, his tone so massive
+while intensely musical, and his enthusiasm so contagious that we became
+conscious of an ever-increasing interest, steadily growing in intensity.
+The occasion and its experience will not be forgotten by any of those
+present.
+
+A week later the Von Dohnanyis spent the evening with us just before
+their departure on the following day for Europe, and he played again a
+portion of the work, deepening and confirming the impression made at the
+first hearing. The future of this young man is full of promise. His
+teacher in composition was Hans Koessler in Pesth; his pianoforte
+teacher was Stephen Thoman of the same city. Later on he had eight
+lessons of Eugen d'Albert in Berlin, after which the latter said to him:
+"You can go on by yourself now; I have taught you all I can."
+
+Leopold Godowsky is a pianist of the first class, but above all he is a
+specialist, and altogether unapproachable in his specialty. His left
+hand is in every respect the equal of his right, and passages of extreme
+intricacy and rapidity come out with an astonishing clearness of detail.
+Nothing in his work, however minute, is slighted, but musical expression
+and finish of execution are above criticism. His specialty is his
+rearrangement and working up of many of Chopin's Etudes in such manner
+that several of the various themes of these are, so to speak,
+intertwined. In some instances three different melodies can be heard
+progressing simultaneously in loving union, with a smoothness, delicacy,
+and accuracy in counterpoint which is simply marvelous. There is never a
+suspicion of haste in his playing, no matter how rapid the rate of
+speed. His manner is full of repose--respectful, earnest, and
+sympathetic; thus there is no suggestion of violence to the composer's
+original production.
+
+I know that among my best friends, whose judgment I esteem, there are
+some who do not hold the same opinion, and who think that the
+composer's work should be left intact. It seems to me, however, that
+much depends upon the manner of treatment. The French proverb runs: "Il
+y a fagots et fagots"; or, in the more homely phrase of dear old Boston,
+"There are beans, and then there are beans." Moreover, the fact that
+these compositions are etudes (studies), and therefore avowedly for the
+purpose of developing physical technic as well as poetic style, should
+be duly considered in judging of their _raison d'etre_. Similar
+treatment of the sonatas, ballades, and nocturnes would surely be a
+different thing. Furthermore, the solid and dignified Brahms--one of the
+three B's of Bulow's trinity--set an example, by rearranging a rondo by
+Von Weber, which he turns upside down, so to speak, making a bass of
+what in the original is the right-hand part. Brahms has also utterly
+destroyed the charm of Chopin's "Etude in F Minor, Op. 25, No. 2," which
+lies in the very rapid and delicately pianissimo playing of passages of
+triplets in the right hand as against duals in the left. In the original
+these passages are throughout of single tones in both hands, and hence
+can be performed in the most dainty and fascinating manner; but Brahms
+has changed the right hand part to double thirds and; sixths, thus
+completely altering the character of the music, and doing violence to
+the exquisitely light, delicate, and graceful effect of the original
+version. In passing judgment upon the work of Brahms, however, it must
+not be forgotten that he publishes this in company with several other
+arrangements, under the general title, "Studien fur das Pianoforte,"
+thus indicating that his object is the development of physical technic.
+
+In this connection, I remember Rubinstein's telling me as long ago as
+1873, in the artists' retiring-room during one of his recitals at
+Steinway Hall, that he used in his boyhood's days "to do all sorts of
+things with Chopin's etudes," as he expressed it, "in order to exercise
+and strengthen the fingers." By way of illustration, he went to an
+upright piano which happened to be in the room, and began playing with
+his left hand alone the right-hand part of the chromatic-scale etude;
+"Op. 10, No. 2," and this he did with fluency.
+
+Godowsky has played his arrangements to me on several occasions at my
+studio and at home _en famille_, and has invariably produced a state of
+happy good humor which was of long duration and which in large measure
+returns to me as I write.
+
+April 20, 1901. Yesterday evening I attended the farewell concert of
+Ossip Gabrilowitsch, the talented young Russian pianist. He was at his
+best, and proved his right to stand in the front rank of modern
+pianists. His playing throughout of a program of compositions of
+Beethoven, Brahms, Chopin, and Liszt was masterly, combining as it did
+genuine musical quality, intelligence in phrasing, and great brilliancy,
+as well as poetry in interpretation. He is yet a young man and has not
+reached the full climax of his power, and will doubtless show still
+further development in the next few years. Other pianists who have
+played in New York during the season of 1900-01, and who deserve to be
+classed with the highest, are Harold Bauer, who has deservedly won a
+very high reputation through his splendid ability in all styles of piano
+music, and Arthur Friedheim, whose recent concert was brilliant in high
+degree, and who on that occasion gave an interpretation of Liszt's great
+"Sonata in B Minor" which it seems to me was not surpassed by the master
+himself--and I have heard Liszt play this work many times. Richard
+Burmeister also gave a masterly interpretation of this same sonata
+earlier in the season. This is the sonata, by the way, of which mention
+has been made, in the earlier part of these "Memories," as having been
+played by Liszt on the occasion of the first visit of Brahms to Liszt,
+in the year 1853.
+
+We have also had Teresa Carreno, Adele aus der Ohe, and Fannie
+Bloomfield-Zeisler, all of them of the first rank and established
+reputation. Of these the first-named is a friend of long standing, for
+my first acquaintance with her dates back to the early sixties, when she
+first came to New York as a child prodigy. I well remember the
+impression she made upon me at that time, both from her artistic playing
+and her charming appearance in short dresses and "pantalets," the
+fashion for children of that day. A friendship was immediately begun and
+established, which still continues.
+
+Josef Hofmann, with his tremendous technic and executive skill, has
+given pleasure to many; and Arthur Whiting, Howard Brockway, and Henry
+Holden Huss have ably upheld the reputation of American virtuosos and
+composers.
+
+In bringing these papers to a close, I desire to make my grateful
+acknowledgment to the friends and pupils of many years who united in
+celebrating the seventieth anniversary of my birth by presenting me with
+a beautiful silver loving-cup, which I fondly cherish as an evidence of
+affectionate regard, and which will be ever filled and overflowing with
+loving memories, not alone of those who united in the gift, but of the
+many others whom I have known in the course of an unusually long
+professional career. To one and all I offer my heartfelt thanks.
+
+
+
+
+APPENDIX
+
+
+PART I
+
+
+EARLY LIFE OF LOWELL MASON
+
+     ADDRESS OF WILLIAM S. TILDEN, PRESIDENT OF THE MEDFIELD HISTORICAL
+     SOCIETY, AT CHENERY HALL, MEDFIELD, FRIDAY, JANUARY 8, 1892, THE
+     CENTENNIAL ANNIVERSARY OF THE BIRTH OF DR. LOWELL MASON
+
+
+FELLOW-CITIZENS: Most that has been hitherto said and written has been
+rather concerning the public and professional career of Dr. Mason; and
+we shall doubtless have presented many interesting mementos to-day, in
+letter and address, relating to those things in which he is most
+generally known. What I have to present in this paper will refer
+particularly to his birth, parentage, and early surroundings, of which
+comparatively little has been said.
+
+[Illustration: LOWELL MASON
+
+FROM A DAGUERREOTYPE]
+
+Lowell Mason was of English descent, being in the sixth generation from
+Thomas Mason and Margery Partridge. Thomas, born in England, was the son
+of Robert, who settled in Dedham, from whence he, with his brother
+Robert, came to Medfield in the second year of its settlement. The
+marriage of Thomas Mason and Margery Partridge, April 23, 1653, is the
+first recorded marriage in this old town. He received his house-lot by
+original grant from the town. It was upon North street, where Amos E.
+Mason now lives, the homestead having never been out of the possession
+of the Mason family. Thomas Mason and two of his sons were killed by the
+Indians on that fateful morning in February, 1676, when the town was
+burned. His eldest son was killed the following year, while fighting the
+Indians at the "Eastward" (now Maine), leaving one boy, Ebenezer, who
+was seven years of age only when his father was killed, and who,
+therefore, became the progenitor of the line from which Lowell Mason
+sprang. The son of this Ebenezer, Thomas Mason, left the homestead on
+North street, and settled in the extreme northeast corner of the town,
+at what is now known as the Charles Newell place. He married the
+daughter-in-law of Samuel Sady, who kept a tavern on North street, where
+the Pfaff mansion now stands; and his son Barachias, grandfather of
+Lowell, inherited, through his mother, that place, and settled upon it,
+where he lived with his son Johnson, father of Lowell. There the man
+whose nativity we celebrate to-day was born. The building has been
+preserved, and is, no doubt, the "farm-house," so called, on Adams
+Avenue.
+
+The first twenty years of his life were spent in his native town of
+Medfield; and very little has ever been written about this portion of
+his life, and much of that somewhat incorrectly. His biographers seem to
+have endeavored to add to his fame by magnifying his want of
+opportunities for education and culture in his youth. In a discourse
+upon Mr. Mason's life and labors, the Rev. George B. Bacon, his pastor,
+says: "Mr. Mason had no advantages of education. He was the son of a
+mechanic in a small New England town. He began almost in his cradle that
+fight for a living which left small opportunity for study or culture."
+Another writer says: "He spent twenty years of his life doing nothing
+but playing upon all sorts of musical instruments, and there was no one
+to teach him their use." We feel inclined to believe that these
+statements were half-truths only, and are not a complete statement, by
+any means, of the conditions and pursuits of his youth.
+
+We think it can be shown that while Medfield is proud of having such a
+son, he was fortunate in having such a birthplace. We believe in the
+influence of heredity in genius, but also in the influence of
+environments. He was especially favored in both these respects,
+descending for generations from an honored ancestry and surrounded in
+his youth by educated people of high moral and religious character. His
+parents were in fairly comfortable circumstances, and he was, as is
+usual in such cases, permitted considerable freedom in following the
+promptings of his natural genius, which, springing as he did from a
+musical family, early showed tendency toward that branch of art.
+
+Dr. Holmes says: "If we wish to educate a boy properly, we must begin
+with his grandfather." Barachias Mason was a graduate of Harvard
+University in 1742, but one hundred and fifty years ago. He was a
+schoolmaster, a teacher of singing-schools, and a selectman of the town
+for several years. This certainly is a fair start, on Dr. Holmes's
+principle. His son, Colonel Johnson Mason, Lowell's father, lived with
+him, and inherited the homestead, where he kept a public school for many
+years. He was a merchant. In this pursuit, it seems, young Lowell
+assisted him in his boyhood, as we learn that, on the occasion of his
+narrow escape from drowning in 1806, he was out with a team on business
+for his father, near what is now poor-farm bridge, where he was rescued
+from a watery grave by two boys about his own age after having sunk for
+the third time. Colonel Mason manufactured straw goods to some extent.
+He was also an ingenious mechanic, inventing some useful machines used
+in the straw business of those days. He was town clerk for nineteen
+years, town treasurer, and a member of the legislature; he was a
+musician, a player on musical instruments, particularly the violoncello,
+and, together with his wife, sang in the parish choir for more than
+twenty years. When the musical talent of the town united, on a
+Fourth-of-July occasion in 1840, to supply the music, Colonel Mason
+stood at the head of the basses, although then over seventy years of
+age. He was also a prominent military man, commissioned captain in 1800,
+and lieutenant-colonel in 1803. It will thus be seen that he was one of
+the most intelligent and influential men in the town.
+
+So much for the parentage; now for the neighborhood influences about the
+Mason family. The nearest neighbor was the Rev. Thomas Prentiss,
+minister of the old parish church from 1770 to 1814, and who sent four
+boys to Harvard College, one of whom was of Lowell Mason's own age, a
+schoolmate and playmate. His seatmate in the North School, which he
+attended, and a lifelong friend, was the late Joseph Allen, D.D., of
+Northboro, Massachusetts, who ever said that Lowell Mason was one of the
+best scholars in the school; and the schools of the town being then
+under the supervision of Dr. Prentiss, they were doubtless fairly good
+schools. Ellis Allen, another friend and schoolmate, said that Lowell
+Mason was the most popular and talented, as well as the handsomest,
+young man in town. The next neighbor on the other side was George
+Whitefield Adams (brother of the celebrated historian, Hannah Adams),
+who built organs at his homestead, where Dr. Bent now lives; and,
+without doubt, Lowell was familiar with that instrument, as he was with
+many others--the violin, violoncello, flute, and clarinet particularly.
+He led the Medfield Band in his day, playing the clarinet. Mr. Adams
+went to Savannah in 1812, accompanied by Nathaniel Bosworth of this
+town, and young Mason went with them, journeying the entire distance
+with horse and wagon. Another near neighbor was Amos Albee, a
+schoolmaster and musician of some note in those days, author of "Norfolk
+Collection of Church Music." He assisted Mason in his musical studies,
+as reliable accounts inform us. Libbeus Smith, a relative of the Mason
+family, was also a singing-master here during the early years of this
+century. James Clark, a fine player on the violin, lived in Medfield in
+those days. From these facts it is easy to determine that, though the
+musical advantages of the times would not perhaps satisfy the demands of
+modern culture, yet the place was by no means devoid of influences
+calculated to encourage the special development of a young man musically
+inclined.
+
+Lowell Mason commenced teaching singing-schools when only a boy. He led
+the parish choir when about sixteen years of age, and conducted the
+music at the ordination of Dr. Ranger of Dover in 1812, writing an
+anthem for the occasion, aided, it is said, by his neighbor Amos Albee.
+The Medfield Choir assisted at these ceremonies, Mr. Ellis Allen and his
+wife, from whom this account is obtained, being among them on that day.
+Lowell's two brothers, Johnson and Timothy, were also good musicians,
+and remained prominent in the church choir, both socially and
+instrumentally, for many years after he left Savannah. They became
+musical leaders in Cincinnati and Louisville. The old choir in those
+days was large, and it was made up from the most influential people in
+the town, which is an excellent thing for a church choir. The following
+are some of those who were members of it while young Mason took charge
+of the music: his father and mother, with his two brothers above named;
+Major Fiske, father of the late Captain Isaac Fiske; Captain William
+Peters, grandfather of Mr. William P. Hewins; Captain Wales Plimpton,
+father of Deacon G. L. Plimpton; Oliver Wheelock, a merchant of the
+town; Amos Mason, father of A. E. Mason; Ellis Allen, father of the
+Allen brothers, from whose reminiscences we gather many of these facts.
+The old choir, it will be seen, was highly favored, in a military point
+of view, having a colonel, a major, and two captains. Mr. Mason often
+said, in after years, that there was more musical talent in Medfield
+than in any other town of its size in the State. This we can with
+confidence believe.
+
+It is not, therefore, strange, with his inherited tastes and capacities,
+and surrounded as he was by musical people, that he should devote much
+of his time to music. It was his common practice, tradition tells us, to
+play from the meeting-house steps, summer evenings, upon the flute or
+clarinet, to the young people who would congregate around the
+locality--in this way, doubtless, doing much to contribute to the growth
+of a musical taste among the companions of his youth. The atmosphere of
+liberal culture which characterized his neighborhood aided him in taking
+a more intelligent view of musical matters, without which natural
+abilities, and even special training, produce comparatively meager
+results; and the young person who knows nothing but music cannot expect
+a very high place in public estimation.
+
+That he had much ability as a practical musician is shown by the fact
+that when he went to the South he was able to give entertainments with
+his voice and violoncello alone, which brought him at once to the front
+with the musical public in Savannah; and his tact, executive ability,
+and intelligence gave him a position as teller in a bank. About this
+time the conscious purposes of his life were changed, and the mode of
+life characteristic of his early years gave place to one of deep-seated
+religious convictions. He became a member of the Presbyterian Church in
+Savannah, where he held the position as director of music for many
+years. He was also superintendent of the first Sunday-school ever formed
+in that city.
+
+As an instance of his natural tact and shrewdness, it is related of him
+that while a resident of Savannah he undertook the instruction of a new
+band that was being formed somewhere in that region. On the first
+evening a considerable number of instruments were brought in with which
+he was unacquainted, and some of them, even, he had never heard of. He
+got over this difficulty by telling the owners of them that it would be
+necessary for him to take them all home, that they might be "fixed and
+toned up." When he brought them back, at the next meeting, he had
+mastered them all, and proceeded to give his instructions accordingly.
+
+He had a remarkable degree of personal magnetism, which gave him that
+wonderful control which he possessed over classes and conventions. When
+he taught or lectured, all eyes were upon him, all ears were attentive,
+all wills were moved by his. This, with his natural aptitude for
+teaching, gave him the prominence which he so readily won in the chief
+cities where his mature life was spent. Soon after his return to
+Boston, about 1827, after fifteen years' sojourn in Savannah, he
+attained great popularity as a singing-teacher. He organized a class for
+the well-to-do ladies and gentlemen of Boston who wished to perfect
+themselves in music, the instruction to be by the new method, and
+gratuitous. Five hundred singers attended, and at the close voted him a
+bonus of five dollars each, or twenty-five hundred dollars for the term.
+He was in constant demand as a teacher and director, and it would be
+strange if those who had occupied the field before him, and who were now
+compelled to take a back seat or migrate to "fresh fields and pastures
+new," should not manifest some feeling of opposition. This he had to
+meet, in one form or another, during his twenty-five years' residence in
+Boston. The writers on musical matters during that period show very
+plainly that such was the case, often giving expression to personal
+feeling.
+
+But as a teacher he had no superior, and but few equals, in this
+country; and this not only musically speaking, but pedagogically as
+well. Horace Mann said he would walk fifty miles to see him teach if he
+could not otherwise have that privilege. Secretary Dickinson, of our
+State Board of Education, says: "My first notions of what good teaching
+is were derived from seeing Lowell Mason give a singing-lesson"; and
+this although our honored secretary has no knowledge of musical tones.
+George J. Webb, one of the best musicians in Boston, and himself
+associated with Mr. Mason for many years as a teacher in the Boston
+Academy of Music, said that he had seen him teach hundreds of times, but
+never without astonishment at his wonderful power before a class. Dr.
+George F. Root says that he always became intensely interested in
+listening to Mr. Mason teaching even so simple a thing as the property
+of long and short musical sounds. The writer of this sketch was himself
+a member of the Boston Academy of Music at its latest session in 1851;
+and it is not too much to say that he has never seen any one, from that
+day to this, manifest such ability to hold a large class of teachers
+and musicians to the consideration of the topic under discussion.
+
+He was employed by the State Board of Education to teach music in the
+normal schools and in the teachers' institutes for many years. Through
+his influence singing was introduced into the Boston public schools as a
+regular branch of study, which occurred in 1838. He introduced into this
+country the inductive method of teaching singing, formulating a system
+from the study of Pestalozzi and other eminent European teachers. His
+system to this day molds the instruction, to a great extent, throughout
+the United States. Modifications have been made, but the principles
+which underlie all good elementary instruction in music were undeniably
+first inculcated and placed before the people by him. He had, and still
+has, a wide reputation; but it is not greater than his genius.
+
+While we acknowledge with pride the honor bestowed upon the town of his
+nativity, on the other hand, we think that this "obscure New England
+village" is entitled to some credit for the formative influences which
+sent forth such a son. Some one has said: "The first great requisite to
+a man's amounting to anything is to be well born." He was born of the
+sturdy yeomanry of Medfield. We cannot but think that the influence
+emanating from the men, his neighbors and early counselors, who made the
+old town what it was a hundred years ago, and what it is even down to
+the present, contributes no little to the successful career of him whose
+centennial we celebrate to-day.
+
+
+
+
+PART II
+
+LISZT'S LETTERS
+
+
+     MY DEAR SIR: It will certainly give me great pleasure to see and
+     hear you again at Weimar, but I trust that you will excuse me if I
+     do not accept the proposition you make, that of giving you regular
+     lessons, from which, moreover, I fancy you would have little to
+     gain.
+
+     As for your idea of settling for some time at Weimar, it would be
+     well for me to discuss it a little with you before you carry it
+     out. The distance from Leipsic being so short, it would cause you
+     but little inconvenience to pay me a short visit here, in the
+     course of which it will be easy for me to say exactly what I
+     believe will be best for you.
+
+     Accept, my dear sir, the expression of my feelings of esteem and
+     consideration for you.
+
+     F. LISZT.
+
+     WEIMAR, August 3, 1851.
+
+
+     DEAR MR. MASON: Your welcome letter gives me very hearty pleasure,
+     and I beg you to rest assured of the continuance of my most
+     affectionate feelings for you.
+
+     I often hear of your triumphs in America, and I rejoice to know
+     that your talent is rightly appreciated and praised. Your
+     compositions have not reached me yet, but I am all ready to make
+     them very welcome.
+
+     In a fortnight I start for Weimar. The Tonkuenstler Versammlung is
+     to take place this year at Meiningen, from the 22d to the 25th of
+     August. I shall attend it, as also the Wartburg Jubilee Festival,
+     at which my oratorio "Sainte Elisabeth" will be given on the 28th
+     of August. Perhaps I may meet there Mr. Theodore Thomas and Mr. S.
+     B. Mills, of whom you have spoken to me. The ability of Mr. Thomas
+     I have heard highly praised; I have to thank him particularly for
+     the interest which he takes in my "Poemes Symphoniques." Those
+     artists who desire to give themselves the trouble of understanding
+     and interpreting my works are separated, by that alone, from the
+     ranks of the commonplace. I, more than any one, owe them gratitude,
+     and I shall not fail to show it to Messrs. Thomas and Mills when I
+     have the pleasure of making their acquaintance.
+
+     The news which reaches me from time to time of musical things in
+     America is usually favorable to the cause of the progress of
+     contemporary art which I am proud to serve and uphold.
+
+     It seems that with you chicanery, blunders, and stupidity of a
+     criticism perverted by ignorance, envy, and venality, exercise less
+     influence than in the Old World. I congratulate you on it. May you
+     successfully follow the noble career of an artist with industry,
+     perseverance, resignation, modesty, and an unshaken faith in the
+     Ideal--such as you showed in Weimar, dear Mr. Mason.
+
+     Your truly affectionate and devoted
+
+    FR. LISZT.
+
+    ROME, July 8, 1867.
+
+
+     DEAR MR. MASON: Mr. Seward has brought me your welcome letter and
+     several of your compositions. These give me double pleasure, for
+     they show that your time at Weimar has not been lost and that you
+     continue to make good use of it elsewhere.
+
+     "L'Etude de Concert, Op. 9," and "Valse Caprice, Op. 17," are
+     distinguished in style and of good effect. I can also sincerely
+     praise the three preludes (Op. 8) and the two ballades, but with
+     some reservation. The first ballade appears to me a trifle
+     curtailed.
+
+     There is a certain something lacking at the beginning and toward
+     the middle (page 7) which is necessary to make the _motif_ stand
+     out again, and the pastorale of the second ballade (page 7) figures
+     there rather as padding--_embarras de richesse!_
+
+     And, since I am criticizing, let me ask why you entitle your "Ah,
+     vous dirai-je Maman," "Caprice Grotesque"? Beyond the fact that the
+     grotesque style should not intrude in music, this title does
+     injustice to the ingenious imitations and harmonies of the piece
+     which is otherwise so charming; it would be more fitting to call it
+     "Divertissement" or "Variazione Scherzose."
+
+     As to the "Method," you do not, of course, expect me to make an
+     exhaustive study of it. I am much too old for that, and it is only
+     in self-defense that I occasionally try the piano--considering the
+     incessant fatigue caused me by the indiscretion of a crowd of
+     people who imagine that nothing can be more flattering to me than
+     to amuse them!
+
+     Nevertheless, in going through your "Method," I find highly
+     commendable exercises, notably the _interlocking passages_ (pages
+     136-142) _and all the accentuated treatment_ > > > > _of
+     exercises_. May your pupils and editors derive thence all the
+     benefit they should.
+
+     A thousand thanks, dear Mr. Mason, and rely on my very affectionate
+     and devoted feelings as of old.
+
+     F. LISZT.
+
+     ROME, May 26, 1869.
+
+
+     It will give me genuine pleasure to see you again, dear Mr. Mason.
+     Next week I return to Weimar and shall remain there as usual till
+     the middle of July.
+
+     Therefore, suit the time of your visit to your own convenience. I
+     beg you to stay for several days at least.
+
+     A thousand affectionate and cordial greetings.
+
+     F. LISZT.
+
+     VIENNA, May 23, 1880.
+
+
+
+
+
+INDEX
+
+
+Allen, Thomas, 95
+
+Altenburg, the, Liszt's studio in, 93;
+  Furstin Sayn-Wittgenstein at, 94;
+  picture of, 94;
+  Liszt pupils at, 98, 122
+
+Appledore, Isles of Shoals, Mason at, 251-258
+
+
+Bach, "Triple Concerto," 107;
+  "les agrements" in, 229;
+  Rubinstein and, 290;
+  Essipoff and, 232
+
+Bauer, 270
+
+Beethoven, first symphonic performance in America, 8, 13, 31;
+  Remenyi and "Kreutzer Sonata," 93;
+  Op. 106, 103, and Liszt plays, 104, 105;
+  "Eroica Symphony," Liszt's contretemps in, 120;
+  Liszt's "Young Beethoven" (Rubinstein), 171
+
+Bellman, 137
+
+Benedict, Sir Julius, 84
+
+"Benediction de Dieu dans la Solitude" by Liszt, Mason's copy of, 118
+
+Bergmann, Carl, 193
+
+Berlioz, autograph, 168, 169
+
+Blessner, Mr., violinist, 19
+
+Bloomfield-Zeisler, 270
+
+Boston Academy of Music, 9
+
+Bowman, E. M., 261
+
+Brahms, 127-142;
+  in 1853, 127;
+  first meeting with Liszt, 127-131;
+  MSS. illegible, 127;
+  won't play for Liszt, 128;
+  Liszt plays Op. 4 and part of Op. 1 at sight, 128;
+  Raff on Op. 4 and B.'s reply, 129;
+  dozing while Liszt plays, 129;
+  Liszt annoyed, 130;
+  wrong accounts of first meeting with Liszt, 130 and 141;
+  feat in transposing, 131;
+  and Schumann, 132;
+  Mason's meeting with in Bonn in 1880, 136;
+  pianoforte-playing, Mason's opinion of, 137, and of compositions, 139;
+  Liszt's coolness toward, 142, 194, 267, 268, 270
+
+Brockway, Howard, 261
+
+Brodsky, 151
+
+Buck, Dudley, 261
+
+Bull, Ole, 148, 149;
+  autograph, 150
+
+Buellow, Hans von, 91
+
+Bulow, Von, 182, 238-241;
+  letter to Mason, 239;
+  statement about Cosima and Wagner, 240;
+  autograph, 240
+
+Burmeister, Richard, 270
+
+
+Carreno, Teresa, 270
+
+Chadwick, George W., 261
+
+Chamber-music concerts, Mason's, 193-197
+
+Chickering, Jonas, 19
+
+Chopin, style of playing, 75, 171, 244
+
+Clauss, Wilhelmine, 64
+
+Cornelius, Peter, 145-147
+
+Cossmann, Bernhard, 63, 92, 150
+
+
+David, Ferdinand, 134
+
+Devitalized muscular action, its importance in piano-playing discussed, 20
+
+Diary, Mason's, at Weimar, 122-126
+
+Dodworth's Hall, 194
+
+Dohnanyi, Ernst von, 263;
+  new symphony, 264
+
+Dreyschock, 65-79;
+  octave-playing, 66;
+  on Chopin's pianoforte-playing, 75, and Henselt, 77
+
+Dyer, Oliver, 184
+
+
+Eichberg, Isidor, 252
+
+Eichberg, Julius, 253
+
+Erard pianoforte, Liszt's, 88, 92
+
+Ernst, 149
+
+
+Fontaine, Mortier de, Beethoven-player, 31
+
+Foote, Arthur, 261
+
+Franck, Cesar, 122
+
+Friedheim, Arthur, 270
+
+
+Gabrilowitsch, 269
+
+Geilfuss, Louis, 182
+
+Godowsky, 265
+
+"Goldene Zeit" at Weimar, 97, 122
+
+Gottschalk, 183, 205-209;
+  "The Latest Hops," 208;
+  Characteristic letter and autograph, 208
+
+Grange, De la, 154, 157
+
+Grieg, 241;
+  autograph, 244
+
+Groenvelt, Mr., violoncellist, 19
+
+
+Handel and Haydn Society, Boston, early repertoire of, 7
+
+Handel's "E Minor Fugue," Mason's copy of, 119, 123
+
+Harvard Musical Association, repertoire of, 1846, 19
+
+Hauptmann, Moritz, 44;
+  passion for baked apples, 45;
+  _Spiegel-Canon_ autograph, 45 and 48;
+  opinion of Lowell Mason's work, 46
+
+Heckmann, 137
+
+"Heinrich, Father," anecdote of, 22
+
+Henselt, 75, and Dreyschock, 77
+
+_Herrmann_, steamer, 27
+
+Hill, Frank, 27
+
+Hoffman, Carl, 95
+
+Hoffman, Richard, 207
+
+Hofmann, Josef, 271
+
+Hummel, 172
+
+Huss, Henry Holden, 271
+
+
+Joachim, 62;
+  autograph, 64, 109, 124, 126, 137;
+  coolness between Liszt and, 142, 147
+
+
+Kelley, Edgar Stillman, 261
+
+Klauser, Karl, 202
+
+Klindworth, Karl, 89, 91, 97, 100, 107, 109, 114, 127, 141
+
+Kneisel Quartet, autograph, 262
+
+Kobbe, Gustav, X
+
+
+Laub, Ferdinand, 63, 92, 126, 150;
+  autograph, 180
+
+Leschetitsky, 70
+
+Liszt, feat of memory, 31-34, 59;
+  Mason a pupil, and reminiscences of, 86-182;
+  in middle life, portrait, 88;
+  method of teaching, 90, 97-101, 114;
+  quartet at the Altenburg, 91, and Remenyi, 93, 152;
+  Liszt pupils, 89, 96;
+  personal appearance, 101;
+  and Beethoven's Op. 106, 103;
+  and the eye-glasses, 106;
+  carefulness in dress, 107;
+  pianoforte-playing, 110-114;
+  touch and own opinion of, 114;
+  warns pupils against, _id._;
+  on technic, 116;
+  and Pixis, 117;
+  as a conductor, 119;
+  rehearsing "Tasso," 121;
+  and Brahms's first meeting, 127-132, 141;
+  and Wagner, 132, 158, 164;
+  Joachim and, 142;
+  sight-reading, 142;
+  contrition, 144;
+  musical intuition, 167;
+  opinion of Tausig, 175;
+  letters to Mason, 179, 181, and 291-296;
+  last message to Mason, 182, 184, 198, 224, 229, 243, 270;
+  "Sainte Elisabeth," 292;
+  "Poemes Symphoniques," 293;
+  opinion of Mason's compositions, 294
+
+Liszt, Cosima, 240
+
+Lohengrin, 133, 134, 139, 146
+
+
+MacDowell, 255;
+  "Sonata Tragica," 255;
+  "Sonata Eroica," 256, 261
+
+
+Marx, Dr., 165
+
+Mason Brothers, 184
+
+Mason, Lowell, 4;
+  career of, 5-10 and 275 _et seq._;
+  Handel and Haydn Society, 7;
+  introduces music in Boston public schools, 8, 289;
+  musical instruction for the blind, 8;
+  Boston Academy of Music, 9;
+  originates musical conventions, 9;
+  fife and drum serenade to, 25;
+  work praised by Moritz Hauptmann, 46;
+  address on, by William S. Tilden, 275;
+  ancestry of, 276;
+  at Medfield, Mass., 277;
+  portrait, 277;
+  nearly drowned, 279;
+  commences teaching, 282;
+  religious views, 285;
+  tact and shrewdness, 285;
+  magnetism as a teacher, 286
+
+Mason, William, portrait, 1899, frontispiece;
+  ancestry of, 3;
+  born at Boston, 3;
+  early musical training, 10;
+  meets Webster and Clay, 11, 12;
+  portrait as a boy, 12;
+  debut as pianist, 13;
+  piano lesson, 14, 15;
+  hints on touch, 16-18;
+  plays with Harvard Musical Association, 18;
+  hears Leopold de Meyer, 19;
+  portrait at eighteen, 20;
+  and "Father Heinrich," 22;
+  meets Miss Webb, 26;
+  sails for Bremen, 27;
+  in Paris, 27;
+  meets Meyerbeer, 28;
+  in Hamburg, 31;
+  goes to Leipsic, 31;
+  first meeting with Liszt, 33;
+  arrives at Leipsic, 34;
+  concert of the Euterpe Society changes his
+    high opinion of German musical taste, 34, 35;
+  begins studies with Moscheles, 36;
+  contrasts Schumann and Mendelssohn, 43;
+  calls on Schumann and secures his autograph, 43, 44;
+  contrasts personalities of Wagner and Schumann, 44;
+  pupil of Moritz Hauptmann, 44;
+  of Ernst Friedrich Richter, 48;
+  acquaintance with Albert Wagner, 48;
+  call on Richard Wagner in Zurich and interview, 48;
+  impressions of Wagner, 50;
+  Wagner writes the dragon motive for him as an autograph, 55;
+  compares Moscheles and Paderewski, 59;
+  first meeting with Joachim and opinion of, 62;
+  hears Schumann's "First Symphony," 63, and pianoforte concerto, 63, 64;
+  comment on, 64;
+  decides to study with Dreyschock in Prague, 65;
+  passport difficulties, 65;
+  opinion of Dreyschock, 66;
+  remarkable pianistic feat of Dreyschock, 67;
+  upper-arm muscles in pianoforte-playing, 69;
+  comment on Leschetitsky's method, 70;
+  acquaintance with Jules Schulhoff, 71;
+  amusing experiences at Prince de Rohan's dinner, 71;
+  goes to Frankfort, 79;
+  meets Beethoven's friend Schindler, 79;
+  London debut, 84;
+  Mendelssohn's influence in England, 84;
+  again calls on Liszt at Weimar, 86;
+  mistaken for wine agent, 87;
+  plays for Liszt, 88;
+  becomes a pupil of Liszt, 89;
+  dines with the Wittgensteins, 95;
+  acquaintance with Raff and Klindworth, 96;
+  first lesson with Liszt, 98;
+  fatigue after, 100;
+  breakfast to Joachim and Wieniawski, 109;
+  opinion of Liszt's playing, 111;
+  M.'s copy of Liszt's "Benediction de Dieu dans la Solitude"
+    and Handel's "E Minor Fugue," 118, 119;
+  attends with Liszt rehearsal of "Tasso," 121;
+  extracts from Weimar diary, 122-125;
+  present at Brahms's first meeting with Liszt and description of, 127;
+  attends Leipsic premiere of "Lohengrin," 133;
+  supper at Ferdinand David's, 134;
+  "Kapellmeister of New York," 135;
+  meets Brahms at Bonn, 136;
+  opinion of Brahms as pianist and composer, 137-141;
+  acquaintance with Cornelius, 145;
+  reminiscences and opinion of Joachim, Vieuxtemps, Ole Bull, Sivori,
+    Ernst, Wilhelmj, Henri Wieniawski, Laub, Cossmann, and Brodsky, 147-151;
+  acquaintance with Remenyi, 93, 151;
+  reminiscences and opinion of Tedesco, Perelli, Sontag,
+    Johanna Wagner, and De la Grange, 153-158;
+  becomes a "Murl";
+  opinion of Wagner, 159;
+  reminiscences of Raff, 161-164;
+  sees Berlioz conduct, 168;
+  opinion of, 169;
+  opinion of Beethoven, Chopin, and Schumann, 170, 171;
+  entertains Rubinstein at Weimar, 171;
+  compares him with Hambourg, 174;
+  letters from Liszt to, 176, also Appendix, Part II, p. 291 _et seq._;
+  messages from Liszt to, 181, 182;
+  return to America, 183;
+  marriage, 183;
+  concert tour, 183-190;
+  combines "Yankee Doodle" and "Old Hundred," 187;
+  teaching in New York, 191;
+  inaugurates chamber-music concerts, 193;
+  first program, 194;
+  "Mason and Thomas Quartet," 196;
+  concert at Farmington, Conn., 202;
+  reminiscences of Gottschalk, 205, and Schumann's music, 209;
+  describes Thalberg's playing, 210;
+  reminiscences of Rubinstein and opinion of, 221-236;
+  and Von Bulow, 238;
+  letter from Von Bulow to, 239;
+  meeting with Grieg, 241;
+  discusses piano technic, tempo, pitch, etc., 243-251;
+  studio, 248;
+  at Isles of Shoals, 251-258;
+  opinion of Von Dohnanyi, 263;
+  Godowsky, 265;
+  Gabrilowitsch, 269;
+  Bauer, 270;
+  Friedheim, 270
+
+Mason-Thomas Quartet, portrait group, 196
+
+Matthews, W. S. B., 261
+
+Matzka, George, 194
+
+Mayer, Carl, 31, 65
+
+Mendelssohn, exaggerated worship of, 37;
+  friendship with Moscheles, 37;
+  thought greater than Beethoven, 37;
+  influence in England, 85
+
+Meyer, Leopold de, Mason's recollections of, 19;
+  beauty of tone, 20;
+  New York concerts and anecdote, 21, 69, 211-215
+
+Meyerbeer, meeting of with William Mason, 28;
+  rehearsing "Le Prophete", 30
+
+Mills, S. B., 292
+
+Moscheles, 27;
+  autograph, 32;
+  practises Beethoven in secret, 36;
+  opposes his daughter's playing Chopin, 37;
+  intimacy with Mendelssohn, 37;
+  entertains Schumann, anecdote, 42;
+  pianoforte-playing, 57;
+  silver wedding, 61
+
+Mosenthal, Joseph, 194
+
+Mozart, 250
+
+"Murls," the, 158
+
+Musical conventions, origin of, 9
+
+Musical pedigree, 180
+
+Music in America to-day, 259-272
+
+
+Ohe, Adele aus der, 270
+
+
+Paderewski, 60;
+  fantasy on "Yankee Doodle," 236;
+  autograph, 236
+
+Paine, John K., 252, 261
+
+Parker, Horatio W., 261
+
+Parker, J. C. D., 135
+
+"Parsifal," Liszt's tribute to, 133
+
+Pedal, hints on use of, 215-221;
+  study, 219
+
+Perelli, 154
+
+Perkins, Charles C., 135
+
+Philharmonic Society, New York, 262
+
+Pitch, positive, 247;
+  Thomas's ear for, 251
+
+Pixis, 117
+
+Pruckner, Dionys, 89, 91, 100, 107, 114, 125, 135
+
+Pupils, unusual, 246
+
+
+Raff, 89, 91, 96;
+  friendship for Mason, 97, 124, 129, 133;
+  in Weimar, 161-164;
+  Mason's first impression of, 161;
+  poverty, 162;
+  arrested for debt, 162;
+  prison
+  comforts, 162;
+  pianoforte-playing, 162;
+  as a composer, 163;
+  and Wagner propaganda, 134, 142, 144, 164
+
+Remenyi and the "Kreutzer Sonata," 93;
+  Liszt rebukes, 94;
+  on Liszt's playing, 112;
+  visits Liszt with Brahms, 127, 130, 151-153
+
+Rhythmus exercises, 191
+  Moscheles on, 193
+
+Richter, Ernst Friedrich, 48
+
+Rohan, Prince de, 71-75
+
+Rubinstein and Princess Marie Sayn-Wittgenstein, 95;
+  on Liszt's playing, 111;
+  Liszt's contrition, 144;
+  Mason entertains at Weimar in 1854, 171;
+  plays, 173;
+  opposition to Wagner, 174;
+  Liszt's opinion of, 175, 180, 221-236;
+  and the autograph-hunter, 221;
+  opinion of Americans, 222;
+  style of playing, 224;
+  favorite seat, 227;
+  Bach's "Triple Concerto," 230;
+  significant autograph, 232, 234;
+  "Yankee Doodle" variations, 236, 268
+
+
+Sanford, S. S., 261
+
+Sayn-Wittgenstein, Furstin, 94;
+  Princess Marie, 95
+
+Schindler, Anton, 79;
+  "Ami de Beethoven," 80;
+  autograph, 80;
+  and "Fifth Symphony," 81;
+  persuaded to meet Von Wartensee, 82, and denouement, 83
+
+Schlesinger, 33;
+  daughter plays Chopin, 33
+
+Schmidt, Henry, conducts first Beethoven symphony in America, 9, 13-15, 19
+
+Schubert, 125, 169
+
+Schuberth, Julius, 27, 31, 32
+
+Schulhoff, 112
+
+Schumann, his life at Leipsic, 38;
+  autograph, 38;
+  not appreciated, 39;
+  Mason's enthusiasm on hearing S.'s "First Symphony," 40;
+  Mason sends score to Boston, 40;
+  attempts there to play it, 40;
+  Webb's opinion of it, 41;
+  S. laughed at by his publisher's clerks, 41;
+  as a conductor, 41;
+  absent-mindedness, 42;
+  compared with Mendelssohn by Mason, 43;
+  Mason calls on him, 43;
+  second call and autograph, 44;
+  Mason contrasts the personalities of S. and Wagner, 44;
+  a minor concerto, 63; 132, 136, 137, 171, 209
+
+Schumann, Clara, 43;
+  autograph, 44
+
+Shelley, H. R., 261
+
+Sherwood, William H., 261
+
+Sontag, Henriette, and autograph, 154
+
+Stange, Adolph, Weimar reminiscences of, 165-168
+
+Stavenhagen, 112
+
+Stoerr, 92
+
+
+"Tasso," Liszt at rehearsal of, 121
+
+Tausig, 175, 176
+
+Tedesco, 154
+
+Tempo, hints on, 243-247;
+  Chopin, electrocuting, 244;
+  rubato, 246
+
+Thalberg, 75;
+  and Chopin, 76, 210;
+  autograph, 212
+
+Thaxter, Celia, 252-258
+
+Theimer, 117
+
+Thomas, Theodore, 111, 194;
+  at twenty, 195;
+  genius of conductorship, 196;
+  Mason and Thomas Quartet, 196;
+  as a violinist, 197;
+  a great conductor, 198;
+  confidence in himself, 200;
+  portrait at twenty-four, 200;
+  contribution to Mason calendar, 202;
+  ear for positive pitch, 251, 292
+
+Timm, Henry C., 58
+
+Tomaschek, 66-70
+
+Tracy, James M., 95
+
+
+Vieuxtemps, autograph, 144, 148
+
+
+Wagner, Albert, 48, 49
+
+Wagner, Johanna, 154, 156
+
+Wagner, Richard, 48;
+  "Wer ist da?" 49;
+  receives William Mason, 49;
+  appearance in 1852, 50;
+  compares Beethoven and Mendelssohn, 51;
+  tribute to Beethoven, 52;
+  lively manner, 54;
+  gives Mason his autograph, 55, 56, 132, 133;
+  Wagner cause in Weimar, 159;
+  Mason on, 159, 179
+
+Walbruehl, 92
+
+Webb, George James, 8;
+  and Boston Academy of Music, 9;
+  opinion of Schumann, 41
+
+Webb, Miss, 26;
+  engaged and married to William Mason, 183
+
+Weber, Dionysius, 36
+
+Weimar, 86;
+  Mason's reminiscences of Liszt at 86-182
+
+Whiting, Arthur, 261, 271
+
+Wieniawski, Henri, 109, 123, 124;
+  at Weimar, 126, 150, 223
+
+Wilhelmj, 150
+
+
+"Yankee Doodle" and "Old Hundred," Mason asked to combine, 187, 189
+
+       *       *       *       *       *
+
+
+FOOTNOTES:
+
+[1] In a letter written twenty-four years later, in 1878, Liszt says of
+"Parsifal": "The composition of the first act is finished; in it are
+revealed the most wondrous depths and the most celestial heights of
+art."
+
+[2] As I have elsewhere stated, I was the first to meet Rubinstein in
+Weimar, while Liszt was away.
+
+[3] He was at Moscow, being first professor of pianoforte-playing at the
+Conservatory there.
+
+
+
+
+
+
+End of Project Gutenberg's Memories of a Musical Life, by William Mason
+
+*** END OF THIS PROJECT GUTENBERG EBOOK MEMORIES OF A MUSICAL LIFE ***
+
+***** This file should be named 35520.txt or 35520.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/5/5/0/35520/
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/35520.zip b/35520.zip
new file mode 100644
index 0000000..3f802db
--- /dev/null
+++ b/35520.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..7a2b0d6
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #35520 (https://www.gutenberg.org/ebooks/35520)