Part 2 — INDEX

Allen, Thomas, 95 Altenburg, the, Liszt's studio in, 93; Fürstin Sayn-Wittgenstein at, 94; picture of, 94; Liszt pupils at, 98, 122 Appledore, Isles of Shoals, Mason at, 251-258 Bach, "Triple Concerto," 107; "les agréments" in, 229; Rubinstein and, 290; Essipoff and, 232 Bauer, 270 Beethoven, first symphonic performance in America, 8, 13, 31; Remenyi and "Kreutzer Sonata," 93; Op. 106, 103, and Liszt plays, 104, 105; "Eroica Symphony," Liszt's contretemps in, 120; Liszt's "Young Beethoven" (Rubinstein), 171 Bellman, 137 Benedict, Sir Julius, 84 "Bénédiction de Dieu dans la Solitude" by Liszt, Mason's copy of, 118 Bergmann, Carl, 193 Berlioz, autograph, 168, 169 Blessner, Mr., violinist, 19 Bloomfield-Zeisler, 270 Boston Academy of Music, 9 Bowman, E. M., 261 Brahms, 127-142; in 1853, 127; first meeting with Liszt, 127-131; MSS. illegible, 127; won't play for Liszt, 128; Liszt plays Op. 4 and part of Op. 1 at sight, 128; Raff on Op. 4 and B.'s reply, 129; dozing while Liszt plays, 129; Liszt annoyed, 130; wrong accounts of first meeting with Liszt, 130 and 141; feat in transposing, 131; and Schumann, 132; Mason's meeting with in Bonn in 1880, 136; pianoforte-playing, Mason's opinion of, 137, and of compositions, 139; Liszt's coolness toward, 142, 194, 267, 268, 270 Brockway, Howard, 261 Brodsky, 151 Buck, Dudley, 261 Bull, Ole, 148, 149; autograph, 150 Büllow, Hans von, 91 Bülow, Von, 182, 238-241; letter to Mason, 239; statement about Cosima and Wagner, 240; autograph, 240 Burmeister, Richard, 270 Carreño, Teresa, 270 Chadwick, George W., 261 Chamber-music concerts, Mason's, 193-197 Chickering, Jonas, 19 Chopin, style of playing, 75, 171, 244 Clauss, Wilhelmine, 64 Cornelius, Peter, 145-147 Cossmann, Bernhard, 63, 92, 150 David, Ferdinand, 134 Devitalized muscular action, its importance in piano-playing discussed, 20 Diary, Mason's, at Weimar, 122-126 Dodworth's Hall, 194 Dohnányi, Ernst von, 263; new symphony, 264 Dreyschock, 65-79; octave-playing, 66; on Chopin's pianoforte-playing, 75, and Henselt, 77 Dyer, Oliver, 184 Eichberg, Isidor, 252 Eichberg, Julius, 253 Erard pianoforte, Liszt's, 88, 92 Ernst, 149 Fontaine, Mortier de, Beethoven-player, 31 Foote, Arthur, 261 Franck, César, 122 Friedheim, Arthur, 270 Gabrilowitsch, 269 Geilfuss, Louis, 182 Godowsky, 265 "Goldene Zeit" at Weimar, 97, 122 Gottschalk, 183, 205-209; "The Latest Hops," 208; Characteristic letter and autograph, 208 Grange, De la, 154, 157 Grieg, 241; autograph, 244 Groenvelt, Mr., violoncellist, 19 Handel and Haydn Society, Boston, early repertoire of, 7 Handel's "E Minor Fugue," Mason's copy of, 119, 123 Harvard Musical Association, repertoire of, 1846, 19 Hauptmann, Moritz, 44; passion for baked apples, 45; Spiegel-Canon autograph, 45 and 48; opinion of Lowell Mason's work, 46 Heckmann, 137 "Heinrich, Father," anecdote of, 22 Henselt, 75, and Dreyschock, 77 Herrmann, steamer, 27 Hill, Frank, 27 Hoffman, Carl, 95 Hoffman, Richard, 207 Hofmann, Josef, 271 Hummel, 172 Huss, Henry Holden, 271 Joachim, 62; autograph, 64, 109, 124, 126, 137; coolness between Liszt and, 142, 147 Kelley, Edgar Stillman, 261 Klauser, Karl, 202 Klindworth, Karl, 89, 91, 97, 100, 107, 109, 114, 127, 141 Kneisel Quartet, autograph, 262 Kobbé, Gustav, X Laub, Ferdinand, 63, 92, 126, 150; autograph, 180 Leschetitsky, 70 Liszt, feat of memory, 31-34, 59; 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; "Poèmes 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; début 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 Zürich 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 début, 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 "Bénédiction 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 première 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 Bülow, 238; letter from Von Bülow 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 Dohnányi, 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 Prophète", 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, Fürstin, 94; Princess Marie, 95 Schindler, Anton, 79; "Ami de Beethoven," 80; autograph, 80; and "Fifth Symphony," 81; persuaded to meet Von Wartensee, 82, and dénouement, 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 Störr, 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 Walbrühl, 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