However, we adopted Rubinstein's way without comment.
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."