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