Thoroughly interesting in every way is the remarkable series of duets for teacher and pupil. Here are eight little nursery melodies which at the time these variations were composed were among the best known in this field, and the pupil, supposed to be a small child, plays them generally with one hand alone, or with both hands in octaves, very rarely in parts. The teacher, meanwhile, adds the harmonies, and wonderfully interesting and highly diversified harmonies they are. And in the same line with these are two other pieces which were originally written for the Mason and Hoadley Method for beginners: a march in which the pupil plays under the five fingers entirely, while the teacher adds the most strange and diversified harmonies, and a waltz in which the pupil still has nothing more than five-finger positions to deal with. I consider these pieces superior to anything of this kind that I have ever seen in point of cleverness and harmonic wit.
It would be a mistake, however, to dismiss the work of Dr. Mason with these half-jocose illustrations of his genius. He has a very elegantly written "Berceuse" which if very well done produces a lovely effect. A trifle more flexibility in the melody would have been an advantage, but it is a beautifully made piece and well worthy attention. He has also a ballad of very considerable dramatic force, and I have always been fond of his "Reverie Poetique," which is very much in the style of Henselt. A melody without a great range, but running in two parts upon rather diversified harmonies, constitutes the first part of this piece, and it is afterward developed or varied in double notes, which are principally sixths, in a very lovely manner. The only drawback, aside from the difficulty of playing it well, is the length to which it is spun out. Undoubtedly it is a little monotonous, owing to the same motive coming over so many times. On the other hand, however, it pretends at the start to be nothing more than a poetic "reverie," and it has the character of a reverie—something which dwells and muses and perhaps never arrives. I mentioned, before, two reveries called "In the Morning" and "At Evening." The first of these is a very clever study, and both are well worth studying.
The works of both these composers have a distinct and pronounced pedagogic value, but in wholly different directions, and both appeal principally to American pianists. The Gottschalk pieces now are mainly used in the earlier stages of instruction for forming good melody habits. They appeal to the poetic sensibility of the players who as yet are hardly ready for Chopin or any of the more elaborate composers. Dr. Mason's works, especially those I have here mentioned, appeal upon the opposite side to the harmonic sense, and to the sense of working out a theme with good consistency and persistency. While the Gottschalk pieces improve the style of melody and the sparkle of the playing, the Mason pieces conduce to system and regularity in study and to a serious and careful treatment of the left-hand part as well as the right, and they have in them some of that quality which belongs to nearly all the works of Bach, when undertaken by students: they promote seriousness and musical feeling.
Hence I propose the following program as on the whole affording a good idea of the works of these composers:
PROGRAM.
Gottschalk-Weber:
Overture to "Oberon." Four hands.
Mason:
Amitie pour Amitie. (Available for four hands if preferred.)
Air and Variations Grotesques. "Ah Vous Dirais-je Maman."
Spring Dawn Mazurka.
Reverie Poetique.
Gottschalk:
Marche de Nuit.
The Banjo. (Negro Sketch.)
Song, "Slumber On."
Mason:
Eight Duets for Teacher and Pupil. (Ditson Co.) Four hands.
March and Waltz for Teacher and Pupil. Four hands.
Gottschalk:
Aeolian Murmurs.
The Last Hope.
Mason:
The Tocctina.
Reverie, "Au Matin."
"The Silver Spring."
Gottschalk-Rossini:
The Overture to "William Tell." Four hands.
CHAPTER VII.
MACDOWELL.
EDWARD ALEXANDER MACDOWELL.
By general consent of music lovers and connoisseurs, Mr. Edward Alexander MacDowell, or Prof. MacDowell as he should now be called, is the most finished and accomplished writer for the pianoforte that we have. Mr. MacDowell was born in New York on the 18th of December, 1861, and after having some instruction from his mother, who was a good musician, he received lessons for a while from Teresa Carreno. In 1877 he went to Paris and became a pupil of Marmontel and Savard. Later on he went to Frankfort-on-the-Main, where he studied composition with the late Joachim Raff and piano playing with Carl Heymann. In this manner five years of European student-life passed, and in 1888 he was made piano teacher at the Darmstadt Conservatory; he remained there only one year, in 1882 going to Weisbaden, where his position was a very distinguished one. In 1888 he returned to America and located in Boston, where he immediately succeeded to an extremely fine clientele. In Boston Mr. MacDowell naturally found very congenial surroundings. He lived on West Cedar Street, a few doors from Arthur Foote, well down on the slopes of Beacon Hill, a short distance from the Common and not very far from Charles Street. The aristocratic desirability of this particular location in Boston is measured by its remoteness from street cars and all means of public transit. This, however, is a mere detail. In 1896 Mr. MacDowell was appointed professor of music at Columbia University, after negotiations extending over several months.