BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIET OF Henrs W, Sage 1891 AJSxm iJs//j/mi USIC IWUBlill&l1».Bi.»' »fe / Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022432433 MEMOEIES OF A MUSICAL LIFE ■WILLIAM MASON IN 1899 'J>«im^rrected ... . 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 . . . .163 Henriette Sontag 154 Johanna Wagner 156 Mme. de la Grange 157 "Der Verelnder Murls" 158 The Wagner Cause in Weimar 159 CONTENTS ix PAGE Baff in Weimar 161 Dr. Adolf Bemhard Marx 165 Berlioz in Weimar 168 Entertaining Inszt's " Young Beethoven " . .171 Bubinstein's Opposition to Wagner . . . .174 At Wobk m Amebica i83 Touring the Conntry 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 Oottschalk 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 Kubinstein and the Autograph-hunter . . . 221 Evolution in Musical Ideas — Beethoven Pianoforte Becitals 226 Bubinstein's Favorite Seat at a Pianoforte Becital . 227 Bach's " Triple Concerto " and *' Les Agr€ments " . 229 A Significant Autograph from Bubinstein . . 234 Bubinstein, Paderewski, and " Yankee Doodle " . 286 Meetings with Von Billow 238 Edvard Grieg 241 Bates of Tempo — The Present Time Compared with Fifty Years Ago 243 Electrocuting Chopin 244 Tempo Bubato 246 Unusual Pupils — Transposing — Positive and Bela- tive Pitch 247 Appledore, Isles of Shoals 2S1 Music in Amebica To-day .... 259 Appendix 273 Index 297 The anthoT acknowledges the efficient coUaborar tion of Mr. Gustay Kobb€ in preparing these Memories for publication, and also the valu- able assistance of his son-in-law, Mi. Howard van Sinderen, LIST OF ILLTJ8TEATI0NS ■William Mason in 1899 . . Frontispiece From a photograph by Gtessford & Van Brunt. FACIirO PAGE William Mason as a Boy . . . .12 I^om a daguerreotype. WiUiam 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, Liszf s House at Weimar 96 Autograph of Vieuxtemps ... 144 xii LIST OF ILLUSTEATIONS FAOINO PAGE Autograph of Ole Bull .... 150 Autograph of Henriette Sontag . . . 154 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 Alitograph 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 daguerieotjpe. MEMOEIES OF A MUSICAL LIFE MEMOEIES OF A MUSICAL LIFE EAELY DAYS IN NEW ENGLAND I AM tlie 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 Eobert Mason, who was born in England about the year 1590. In 1630 Eobert 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 Eobert, went to Medfield to live in the second year of the settle- ment of the town. His marriage with Margery Partridge, on April 23, 1653, was the first marriage to be entered upon 3 4 MEMORIES OP the town records ; and tlie 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 Medfleld was burned. The line was continued through Ebenezer, a third son, born at Medfleld, September 12, 1669 ; Thomas, a son of Ebenezer, born at Medfleld, April 23, 1699 ; Barachias, son of Thomas, born at Medfleld, June 10, 1723, who was musical and who taught singing ; and Johnson, son of Barachias, born at Medfleld, August 7, 1767. Johnson was the father of Lowell Mason, who was born at Medfleld, January 8, 1792. On January 8, 1892, the one hundredth anniversary of my father's birth was celebrated at Medfleld, 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 pub- lished. The address will be interesting to A MUSICAL LIFE 5 those wlio are interested in Mm 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-de- veloping 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, be- fore he was twenty, he heard of an open- ing 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 com- position, 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 com- 6 MEMORIES OF positions. For this collection he vainly endeavored to find a publisher in Phila- delphia 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 Col- lection of Music," and was an instant suc- cess, finding its way into singing-schools and church choirs throughout ITew Eng- land. Some of my father's hymn-tunes have become famous. It has been said that his missionary hymn, "From Green- land'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 MUSICAL LIFE 7 LOWELL mason's CAEEBE The success of my father's first venture led Mni 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 con- certs were few, and these were almost en- tirely devoted to church music. Earely was a "work " offered to the public. Out- side the realm of church music, the so- ciety'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 so- ciety, 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 8 MEMORIES OF schools. To bring tMs about he first taught classes of children free of charge, and gave concerts to illustrate the prac- ticability of his plans. When finally mu- sical 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 musi- cal 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. FIEST BEETHOVEN SYMPHONY IN AMERICA About 1830 an English musician, Mr. George James Webb, settled in Boston. A MUSICAL LIFE 9 He was a gentleman of Mgh 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 gentle- men 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 %ad voice- culture. Instrumental concerts were also given at the academy, and there, on Feb- ruary 10, 1841, occurred the first perform- ance in America of a Beethoven sym- phony, the Fifth, which was played by an orchestra of twenty-three, under the di- rection of Henry Schmidt. MUSICAL COTTVBNTIONS My father originated the idea of assem- bling 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 10 MEMORIES OP 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 musi- cal convention lasting for several days, drilling the singers in church music, but also, where he found sufficient advance- ment, in music of a higher order. The Worcestej" festivals may be traced to these conventions. EAELY MUSICAL TEAHTING 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 MUSICAL LIFE 11 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 compas- sion for any one who had to listen to me. I became useful to my father as an ac- companist, and when he went to musical conventions he took me along with him, and I would play the piano accompani- ments while he conducted. WEBSTEE 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 impres- sive-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 12 MEMOEIES OF obeyed, and marcMng 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 Mays- viUe, Kentucky, to stay with the family of my uncle, Mr. E. P. 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 busi- ness 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. ^';^f'^ WILLIAM MASON AS A BOY FROM A DAGUERREOTYPE A MUSICAL LIFE 13 FIRST PUBLIC APPEARANCE Eettjrning to Boston after a year, I was sent to Newport, Ehode Island, to study under tlie Eev. 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 Sym- phony" on the occasion of the first per- 14 MEMOEIES OF formance of this work in Boston. Mr. Sclimidt's instrument was the violin, but lie was also an excellent pianoforte teacher, and to his careful and skilful instruction I owe very much. I remem- ber 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 at- tention 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 appre- hensive 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 MUSICAL LIFE 15 saying that he believed I had not prac- tised 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 com- mended my work, and attributed it to the fact that I had now practised indus- triously and carefully. I had enough sense to know that the successful result was owing to the practice I had previ- ously done, and which needed time to produce its results. This bit of experi- ence I commend to pianoforte students for careftd consideration, to show that acts are not always immediately followed by desirable results. Mr. Schmidt taught me much concern- ing the production of tone in pianoforte playing, and in particular led me to ac- quire a certain habit of touch which I have never lost, and which has been the 16 MEMOEIES OF means of greatly lessening the fatigue which woidd otherwise have been atten- dant 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 rela- tion 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 in- strument. 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 accom- plished by the merely "up-and-down" finger-touch. It is difficult to describe in detail without an instrument at hand A MUSICAL LIFE 17 for illustration. If correctly performed, however, the tones produced are very clear and well defined, and of a beauti- fully musical quality. The simile of "a string of pearls " of precisely similar size and shape has often been used in describ- ing 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 desir- able 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 securej ust 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 separa- tion or staccato effect, but in just the right degree to avoid impairing the legato or binding effect. For the sake of con- venience in description I have named this touch the "elastic finger-touch," and through its influence a clear and crisp 18 MEMOEIES OP effect is attained. It is interesting to observe in this connection, a fact which I learned only many years later, that Se- bastian Bach's touch, described in detail by J. N. Forkel in his work entitled "tJber Johann Sebastian Bachs Leben, Kunst Tind 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 "puUing- in " motion of the finger-tips. While it has relation solely to finger-action as dis- tinguished from the action of the wrist and arm, it cannot be accomplished properly without bringing into action the fiexor 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 A MUSICAL LIFE 19 six concerts of chamber-music given by the Harvard Musical Association. I re- member 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 stiU have the programs. Strang quartets by Haydn, Mozart, and Beethoven were played, also piano trios by Beethoven, Eeissiger, and Mayseder. LEOPOLD DE MEYEK The knowledge I gained from Mr. Schmidt was largely advanced and sup- plemented 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 man- ner of his playing that I first acquired the habit of fully devitalized upper-arm mus- cles in pianoforte-playing. The loveli- 20 MEMORIES OF ness and charming musical beauty of Ms tones, the product of these conditions, greatly excited my admiration and fas- cinated me. I never missed an oppor- tunity 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 qual- ity by imitating his manner and style. My continued perseverance was re- warded with success, for the result was a habit of devitalized muscular action in such degree that I could practically play all daiy without a feeling of fatigue. The constant alternation between devitaliza- tion 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. Further- more 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 bring- ::'■:' :^\::^'^i&,':::^m£il^mMm^ ■\VILLIAJI MASON AT THE AGE OF EIGHTEEX FROJt A DAGUEKREOTiTE A MUSICAL LIFE 21 ing 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 vigorously with the utmost possible looseness and devitali- zation. This device was in after years recommended to my pupils, and those who persistently followed it up and per- severed for a while gained great advan- tage 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 mus- cles which are here referred to, but for the practical instruction of pianoforte pupils this seemed to be of little conse- quence. 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 ITew York concerts were given in the old Broadway Taber- nacle, some distance below Canal street, as I now remember. The piano-lovers 22 MEMOEIES OF 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 ad- vance in turn, so that passers-by might receive the impression of activity on the part of the concert-goers. "father heineich" 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 head- quarters were at Chickering's pianoforte warerooms, and on one occasion I was presented to him as a youth of some musi- cal promise. He immediately showed me A MUSICAL LIFE 23 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 im- portance of a proper observance of dynam- ics 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 re- mark put me at once on my guard, and while he was talking I was closely scruti- nizing 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 24 MEMOEIES OF 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 amus- ing. "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 coidd 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 declama- tion. A MUSICAL LIFE 25 AN EMBAEEASSING -EXPEEIBNCE It is difl&cult to realize the crudity of musical taste in the early days. I re- member 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 26 A MUSICAL LIFE to start to let him know about the ar- rangements. 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 four- teen. 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 Au- gusta, 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 teU later. STUDENT LIFE ABEOAD IT having been decided that I should continue my musical studies in Europe, I sailed from 'Nev York for Bremen on the side -wheel steamer Herrmann in May, 1849, accompanied by Mr. Prank 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-pas- sengers was Julius Schuberth, the music- publisher of Hamburg, who had been in America on business. Arriving at Bre- men, 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. 27 28 MEMORIES OF MEETING WITH MEYEEBEEE I AEEiVED in Paris shortly after six o'clock in the morning, and went to the Hotel de Paris, in the Eue de Eichelieu. In those days, at that early hour, Paris was as quiet as an American town at mid- night. There were three of us in the party. "We secured two rooms, and my friends remained up-stairs, while I re- turned to the porter's lodge below to have my passport sent to the Bureau of Police to be vis66.. The porter went out to at- tend 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 A MUSICAL LIFE 29 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 visds 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 travel- ing 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 Eichter. 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." 30 MEMOEIES OP The porter then took me into the court- yard 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 Eoger, 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 rehears- ing, 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 MUSICAL LIFE 31 way, if only for a few moments, a young man who was too careless to improve the chance acquaintance. From Paris I returned to Sehuberth's in Hamburg. He was an active, enter- prising, 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 OP MEMOET Feom Hamburg I went to Leipsic, but Schuberth did not lose sight of me. Whenever he came there he looked me 32 MEMORIES OF 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 Eosee," 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." 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 let- ter 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 re- ('■n'l'ii^f, [\M , a ,n Li Jj>ll^^ 4 Jg 1'^ 4 V-i L^-'rf ' / I r •^ ^ ' QL&'^r>t<^»-j' /V^ u^ MM r m ^ // /O ^ / .^ lt'> t; -It? 1) , ,, ■ /^ ^ A MUSICAL LIFE 33 fusal ; but at the same time he gave me a cordial invitation to attend the festival about to take place in Weimar in com- memoration 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, in- stead of waiting until I learned my mis- take, as I did during a call which I made upon Liszt nearly four years later. PIEST MEETING "WITH LISZT However, I went to Weimar with Mr. Hill to attend the Goethe festival, arriv- ing 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 pub- lisher, was there with his little daughter, who was precocious as a pianist and played several Chopin waltzes. Liszt 34 MEMOEIES OF 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 re- fusal to receive me. So I returned to Leipsic to continue my studies there. AEEIVAL AT LEIPSIC I WELL remember the feeling of awe min- gled 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 MUSICAL LIFE 35 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 sec- ond only to those of the famous Gewand- haus, and their audiences were made up largely of those who attended the concerts of the latter. At this concert the pro- gram 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. There- fore, when, to my surprise, this turned out to be the most popular piece of the even- ing and received the most vociferous ap- plause 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 36 MEMOEIES OF in tlie classical atmosphere of a symphony concert. MOSOHELES, BEETHOVEN, AND CHOPIN MoscHBLES, with whom I studied in Leip- sic, had been a pnpil 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 ac- cepted by the younger men, Moscheles among them ; but Dionysius Weber re- .garded him as a monstrosity, and would never allow Moscheles to learn any of his music. Consequently, Moscheles prac- tised 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 A MUSICAL LIFE 37 been toward Beethoven. One of the daughters of Moscheles was very fond of plajdng Chopin, but her father forbade it. Afterward she married and went to Lon- don, 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 friend- ship. 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 38 MEMOEIES OF 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 rugged strength, while Men- delssohn's scrupulous adherence to them was evidence of weakness. Mendelssohn's death was a great shock to Moscheles. Mendelssohn had often visited htm, 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. SGSUMAJSN Foe some years prior to 1844 Schumann lived in Leipsic. It was his habit to *• T - ■ • ^E^z: s I !• 11; ^ SS^^ ^ r^.j^'**-. •r*. ^ I =PC: f-1^ 1- -^ ~ ■: • ^ ^ < -^ iv, r- ^ r r r # ^ jU. M-^ /«-■'—' •^•--'-- > J%:v^t:^ rc=e kC f ■ .■ r N-f>^ m. .J5i_ i: t r >■ ■- f: i.1j i/c^-il. /i^*--. «.- Y.2u^ AC. I-' ^ |?jlt«4(*-/- /' .^^ ^ A MUSICAL LIFE 39 compose intensely all day, and then to walk to a beer-cellar at the upper end of the Grlmmaische 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 Wen- zel. There were two or three other milsicians who frequented the place and were generally at the same table. Schu- mann 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 fre- quent visits to Leipsic. I knew little or nothing of Schumann's music, for Men- delssohn then dominated the musical 40 MEMOEIES OF world ; but the first orchestral composi- tion 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 excite- ment of it. The first thing I did in the morning was to go to Breitkopf &Hartel'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 sym- phony 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 MUSICAL LIFE 41 Before my return from Europe in 1854, 1 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 sym- phony of Schumann's is forgotten." Many years afterward I reminded Mr. "Webb of this remark, whereupon he said, "Wil- liam, 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 & Hartel 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 Eose." His conducting was awkward, as he was neither active nor of commanding presence. However, I liked his looks, as he seemed good-na- 42 MEMOEIES OF tured, though perhaps not like a man with whom one might easily become ac- quainted. 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, Mo- scheles and Schumann had not been inti- mate. 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 in- viting 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, Schu- mann 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 MUSICAL LIFE 43 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 Mm sitting in his corner, still deep in thought. When aroused, he said, "Oh, I had n'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 appeal- ing 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 44 MEMOEIES OF a lesson. This was on April 13, 1850. I called again later in the month, and Schu- mann gave me his musical autograph, a canon for male voices ; and the next day I received an autograph from Clara Schu- mann. 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. MOEITZ HATJPTMANN Mt teacher in harmony and counterpoint was Moritz Hauptmann, a pupil of Spohr, ^ ^r^ -^==¥- -^ r.i ' M , 1 > f g C ' jL^^hn^ <2^^._^ A MUSICAL LIFE 45 and an excellent composer of church music, his motets being especially beau- tiful. He was the cantor and music di- rector of the Thomas-schule at Leipsic, a position which years before had been held by Sebastian Bach. He was alto- gether 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 con- stantly from dyspepsia, yet bore all of his ills with patience and equanimity. I re- member 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 pro- cess of slow baking. His autograph is one of the most curi- ous in my book, and is an excellent ex- ample of his technical knowledge. It is a Spiegel-Ganon ("looking-glass canon"). When held up to the mirror the reflec- tion shows the answer to the canon in the related key. 46 MEMORIES OF 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 congrega- tional 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 re- ceiving letters from my father upon the subject, and realized that I could not post- pone 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 MUSICAL LIFE 47 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 exer- cise of will I faced the situation. What was my surprise and relief when he greeted me with "Mr. Mason, I have ex- amined 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 sin- cere regards, and thank him for his at- tention in sending me the book." At the moment I could not understand how such a big contrapuntist could ex- press himself in such strong terms of ap- proval ; 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 recog- nition 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. 48 MEMOEIES OF I also took lessons in instrumentation from Ernst Friedrich Eichter, a pupil of Hauptmann. A VISIT TO WAGNEE. My parents joined me in Leipsic in Janu- ary, 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 sup- pose he had not thought it worth while to tell me. Eichard was still under a political cloud in Saxony, and was com- pelled to live in exile on account of the part he had taken in the revolution M/',i;n. A/~ . ///-'T r/. ^m t=* A MUSICAL LIFE 49 of 1848 ; nor was his reputation as a composer tlien so general that Albert would have thought his kinship much to boast of. 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 sub- urbs. 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 caU out, " Wer ist da ? " I told the maid to deliver my letter immediately. As soon as Wag- ner had glanced through it, he exclaimed, 50 MEMOEIES OF, "Kommen Sie heraxrf! Kommen Sie herauf ! " At that time Wagner was known, and that not widely, only as the composer of "Eienzi," "The Flying Dutchman," "Tannhauser," 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 impres- sion of him. He looked to me much more like an American than a German. After asking about his brother, he be- gan 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 A MUSICAL LIFE 51 I intended to remain, wliat my plans were for tlie 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 Bee- thoven that I was quite content to keep si- lent and to avoid interrupting his eloquent oration. WAGNEE 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 with- out 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 52 MEMORIES OF was too inspired to pay mucli attention to conventionalities. He went rigM 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 ex- press. 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 sustain- ing strength. Some years ago, when I was kapellmeister in Dresden, I had a remark- able 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 glan- cing at the program, I noticed that by some chance all of the pieces I had se- lected were in the minor mode— first, Mendelssohn's exquisite 'A Minor Sym- phony,' music in dress-suit and white kid A MUSICAL LIFE 53 gloves, spotless and comme ilfaut; tlien an overture by Cherubini ; and finally Bee- thoven's 'Symphony No. 5, in C Minor.' " At this point Wagner rose from bis cbair, and began walking about the room. "Everybody," he continued, "was listless and languid, and the atmosphere seemed damp and spiritless. The orchestra la- bored wearily through the symphony and overture, while the audience became more and more apathetic. It seemed impos- sible 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 beau- tiful 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. 64 MEMOEIES OF "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 Sym- phony " : # ^ ^^ The whole scene was graphically por- trayed. Then throwing himself into a chair, he said : "The effect was electrical on orchestra and aiudience. 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 man- ner was animated and full of enthusiasm. Wagner's enthusiasm, his openness in taking me at once into his musical confl- A MUSICAL LIFE 55 deuce, fascinated me, and gave me an insiglit into the wonderful vitellity and energy of tlie man. He was planning a tramp throngh the Tyrol, about a week later, with a professor from the Zurich University. "Come along with us," he said. " AUe 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 "Wag- ner was not then what he afterward be- came in the eyes of the world. I now know what I missed. A WAGNER AUTOGRAPH But I did not leave Wagner's house with- out what many musicians, to whom I have shown it, consider one of the most inter- esting 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 56 MEMOEIES OF of the dragon motive in "The Eing 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 " Walkiire," and had not yet begun the score of the cycle. He wrote the books of the "Eing " backward, but in the composition of the cycle he began with the "Eheingold," in the autumn of the year in which I met him. The dragon motive occurs in the "Eheingold," but in quite a different form. He began the " Walkiire " 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. ^^ S^my^^^ r '/^*?.J^ .v^ =; zr^ / . ^^ C/l^^'^^^-^H^o A MUSICAL LIFE 57 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 "Eing" where the motive appears in tl\is form. Added significance and value are given to the autograph by the lines which Wag- ner wrote under it, and which are signed and dated : " Wenn Sie so etwas ahnliches einmal von mir horen soUten, so denken Sie an mich ! " ("If you ever hear any- thing 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— 6wf it was heard, MOSOHELES The playing of Moscheles was in a direct line of descent from Clementi and Hum- mel, 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 58 MEMOEIES OF 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 dementi'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. Tinim of Ifew 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 tempfation 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 MUSICAL LIFE 59 happened to visit Liszt. My name was mentioned, and Wehle asked, "Did you ever hear Ms wonderful tale about Timm, the New York player?" Then he re- peated 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 les- son, he began playing the preludes and fugues from the "Well-tempered Cla- vier," and I was enchanted with the finish, repose, and musicianship of his perform- ance, which was without fuss or show. I have never heard any one surpass him in Bach. Paderewski's Bach-playing is much like 60 MEMOEIES OP 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 conscien- tious way, and through delicacy and sensi- tiveness of perception he attains a very close and artistic adjustment of values." Thoroughly in accord with Brodsky, I vividly recall the similarity of Paderew- ski's interpretation to that of Moscheles, both being characterized by perfect re- pose 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 com- poser. 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. Nu- ances were never neglected, neither were A MUSICAL LIFE 61 they in excess. Thus the musical require- ments of polyphonic interpretation were artistically fulfilled. Head and heart were united in skilful combination and loving response. While I was in Leipsic, Moscheles cele- brated his silver wedding, and one of the features of the occasion was odd and in- teresting. 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 car- ried off the prize history does not make clear. A friend of Moscheles, an artist of ability, conceived the unique idea of com- memorating the joyous anniversary, and, putting it into act, he painted two por- traits of Mrs. Moscheles, one representing her as she appeared on that fnteresting 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. 62 MEMORIES OF JOSEPH JOACHIM "Leipsio, 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 intro- duction which I had received in Ham- burg 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 to- gether." 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, 1 heard him play the Mendelssohn violin concerto at the first Gewandhaus concert of the season, and was enchanted with his musi- cal interpretation of the beautiful com- position. A little further on in the diary it is written that the second Gewandhaus A MUSICAL LIFE 63 concert was given on October 7. The Schumann "Symphony in B Plat Major, No. 1," was played, and "I never before experienced such a thrill of enthusiasm." On Thursday, October 18, the third Ge- wandhaus concert took place, the sym- phony 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 Coss- mann, 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 Dutzbruder." sohxtmann's "oonobeto est 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 con- certs, exceedingly well played by Adolph Blassman of Dresden, and I vividly re- member the stunning effect it produced upon some of the best pupils of the Con- servatory who were present. I was nearly 64 MEMORIES OF as much excited over tlie 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 Fraulein Wilhelmine CiausS; 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 f and I rhythms alternate, and it was not until after many repeated attempts that success was attained. On account of the long, uninterrupted continuance of this f rhythm its character as a syncopation is entirely lost and it be- comes simply an augmentation of the pre- ceding and following f rhythm, and all of the best orchestral conductors I have seen always give out thebeat accordingly— that is, in a manner equivalent to simply dou- bling the rate of speed in the f from that of the I movement. I do not see how the performers, both in orchestra and piano, can be kept together in any other way. ^N <£*«t ^':rj^ /0 /^ '^.^ i^ p m m ^m H»« UUiuJAM^iC^^^ "U. c>fe€7M*'T^-*<^«^^-**