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 a.s.sist 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 cla.s.sic 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 G.o.d-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 cla.s.sical 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 navete.
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 a.s.sertion 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 t.i.tle-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 t.i.tle-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."
[Ill.u.s.tration: 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 gla.s.s 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 princ.i.p.al 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 bas.e.m.e.nt. 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 pa.s.sages 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 pa.s.sages 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 pa.s.sages 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.
[Ill.u.s.tration: 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 ent.i.tled "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: "Gewohnlich 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").