[Ill.u.s.tration: 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 t.i.tle-page, and they are now in the hands of the publisher." He said further, and in a seemingly apologetic tone: "They are good, I a.s.sure 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."

[Ill.u.s.tration: 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 'G.o.d Save the Queen' to England, 'Gott erhalte Franz den Kaiser' to Austria, or the 'Ma.r.s.eillaise' 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 BuLOW

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 impa.s.sioned 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 quant.i.ty of errors during his performance, and n.o.body 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 const.i.tution.

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 BuLOW.

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.

[Ill.u.s.tration: 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 att.i.tude 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