| PAGE | |
Early Days in New England | [3] |
| Lowell Mason's Career | [7] |
| First Beethoven Symphony in America | [8] |
| Musical Conventions | [9] |
| Early Musical Training | [10] |
| Webster and Clay | [11] |
| First Public Appearance | [18] |
| Leopold de Meyer | [19] |
| "Father Heinrich" | [22] |
| An Embarrassing Experience | [25] |
Student Life Abroad | [27] |
| Meeting with Meyerbeer | [28] |
| Liszt's Feat of Memory | [31] |
| First Meeting with Liszt | [33] |
| Arrival at Leipsic | [34] |
| Moscheles, Beethoven, and Chopin | [36] |
| The Intimacy of Moscheles and Mendelssohn | [37] |
| Schumann | [38] |
| Schumann's "Symphony No. 1, B Flat" | [39] |
| Schumann's Absent-mindedness | [42] |
| Moritz Hauptmann | [44] |
| A Visit to Wagner | [48] |
| Wagner on Mendelssohn and Beethoven | [51] |
| A Wagner Autograph | [55] |
| Moscheles | [57] |
| Joseph Joachim | [62] |
| Schumann's "Concerto in A Minor" | [63] |
| Carl Mayer | [65] |
| Dreyschock | [66] |
| Prince de Rohan's Dinner | [71] |
| Chopin, Henselt, and Thalberg | [75] |
| Anton Schindler, "Ami de Beethoven" | [79] |
| Schindler and Schnyder von Wartensee | [82] |
| First London Concert | [84] |
With Liszt in Weimar | [86] |
| Accepted by Liszt | [88] |
| The Altenburg | [93] |
| How Liszt Taught | [97] |
| "Play It Like This" | [99] |
| Liszt in 1854 | [101] |
| His Fascination | [102] |
| Liszt's Indignation | [103] |
| Objects to my Eye-glasses | [106] |
| A Musical Breakfast | [108] |
| Liszt's Playing | [110] |
| Liszt and Pixis | [117] |
| Liszt Conducting | [119] |
| Liszt's Symphonic Poems—Rehearsing "Tasso" | [121] |
| Extracts from a Diary | [122] |
| Opportunities | [126] |
| Brahms in 1853 | [127] |
| Nervous before Liszt | [128] |
| Dozing while Liszt Played | [129] |
| "Lohengrin" for the First Time in Leipsic | [132] |
| In Stuttgart—Hotel Marquand | [135] |
| The Schumann "Feier" in Bonn, 1880 | [136] |
| Brahms's Pianoforte-playing | [137] |
| A Historical Error Corrected | [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 | [153] |
| Henriette Sontag | [154] |
| Johanna Wagner | [156] |
| Mme. de la Grange | [157] |
| "Der Verein der Murls" | [158] |
| The Wagner Cause in Weimar | [159] |
| Raff in Weimar | [161] |
| Dr. Adolf Bernhard Marx | [165] |
| Berlioz in Weimar | [168] |
| Entertaining Liszt's "Young Beethoven" | [171] |
| Rubinstein's Opposition to Wagner | [174] |
At Work in America | [183] |
| Touring the Country | [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 Gottschalk | [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] |
| Rubinstein and the Autograph-hunter | [221] |
| Evolution in Musical Ideas—Beethoven Pianoforte Recitals | [226] |
| Rubinstein's Favorite Seat at a Pianoforte Recital | [227] |
| Bach's "Triple Concerto" and "Les Agréments" | [229] |
| A Significant Autograph from Rubinstein | [234] |
| Rubinstein, Paderewski, and "Yankee Doodle" | [236] |
| Meetings with Von Bülow | [238] |
| Edvard Grieg | [241] |
| Rates of Tempo—The Present Time Compared with Fifty Years Ago | [243] |
| Electrocuting Chopin | [244] |
| Tempo Rubato | [246] |
| Unusual Pupils—Transposing—Positive and Relative Pitch | [247] |
| Appledore, Isles of Shoals | [251] |
Music in America To-day | [259] |
Appendix | [273] |
Index | [297] |
The author acknowledges the efficient collaboration of Mr. Gustav Kobbé in preparing these Memories for publication, and also the valuable assistance of his son-in-law, Mr. Howard van Sinderen.
LIST OF ILLUSTRATIONS
| Some of the illustrations may be viewed enlarged by clicking directly on the image. (note of etext transcriber) |
| William Mason in 1899 | [Frontispiece] |
| From a photograph by Gessford & Van Brunt. | |
| FACING PAGE | |
| William Mason as a Boy | [12] |
| From a daguerreotype. | |
| William 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, Liszt's House at Weimar | [96] |
| Autograph of Vieuxtemps | [144] |
| Autograph of Ole Bull | [150] |
| Autograph of Henriette Sontag | [164] |
| 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] |
| Autograph of Anton Rubinstein | [232] |
| Autograph of I. J. Paderewski | [236] |
| Autograph of Hans von Bülow | [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 daguerreotype. | |