Memories of a Musical Life Part 1

Memories of a Musical Life.

by William Mason.

EARLY DAYS IN NEW ENGLAND

I am the third son of Lowell Mason of Medfield, Ma.s.sachusetts, and of Abigail Gregory of Westborough, Ma.s.sachusetts, his wife, and I was born in Boston on January 24, 1829. My father was in the seventh generation from Robert Mason, who was born in England about the year 1590. In 1630 Robert came to America, and was probably one of John Winthrop's company, landing at Salem on the twelfth day of June of that year. Thomas Mason, the elder son of Robert, went to Medfield to live in the second year of the settlement of the town. His marriage with Margery Partridge, on April 23, 1653, was the first marriage to be entered upon the town records; and the homestead lands, which he acquired by grant from the town, have ever since remained in possession of some member of the Mason family. Thomas and two of his sons were killed by the Indians under Monaco on February 21, 1676, when Medfield was burned. The line was continued through Ebenezer, a third son, born at Medfield, September 12, 1669; Thomas, a son of Ebenezer, born at Medfield, April 23, 1699; Barachias, son of Thomas, born at Medfield, June 10, 1723, who was musical and who taught singing; and Johnson, son of Barachias, born at Medfield, August 7, 1767. Johnson was the father of Lowell Mason, who was born at Medfield, January 8, 1792. On January 8, 1892, the one hundredth anniversary of my father's birth was celebrated at Medfield, under the auspices of the Historical Society of that place. In the address delivered by the president of the society, a period of his life was touched upon concerning which but little had heretofore been published. The address will be interesting to those who are interested in him and in the work which he accomplished, and is printed, by permission, in an appendix to these memories.

The difference between Boston and New York as musical centers is largely due to my father. He made Boston a self-developing musical city. New York has received its musical culture from abroad.

My father manifested a remarkable fondness for music at an early age.

His parents did not intend that he should take up music as a profession, but his talent was not neglected. In 1812, before he was twenty, he heard of an opening in a bank in Savannah, Georgia, and having secured the position, he went there. After business hours he continued his studies in music with an instructor named F. L. Abel, under whom he made rapid progress. He soon attempted composition, his first efforts being hymn-tunes and anthems. He arranged a collection consisting of a group of selections from William Gardiner's "Sacred Melodies," to which he added some of his own compositions. For this collection he vainly endeavored to find a publisher in Philadelphia and Boston, until chance brought to Savannah a Boston organ-builder, W. M. Goodrich, who had come to set up an organ. He induced my father to go to Boston in person, with the result that the work was submitted to Dr. G. K. Jackson, the organist of the Handel and Haydn Society, and received his approval. It was published in 1822, with the t.i.tle, "The Boston Handel and Haydn Society's Collection of Music," and was an instant success, finding its way into singing-schools and church choirs throughout New England. Some of my father's hymn-tunes have become famous. It has been said that his missionary hymn, "From Greenland's Icy Mountains," has been sung in more languages than any other sacred tune. Among the many popular tunes which he composed are "Boylston," "Hebron," "Olivet," and "Bethany"; and one of his collections of sacred melodies brought him in over a hundred thousand dollars in royalties.

LOWELL MASON'S CAREER

The success of my father's first venture led him to leave Savannah and settle in Boston. Then, as now, the Handel and Haydn Society was largely recruited from church choirs, but in those days its concerts were few, and these were almost entirely devoted to church music. Rarely was a "work" offered to the public. Outside the realm of church music, the society's repertory consisted of "The Messiah", "The Creation" (and more frequently fragments from these), the "Dettingen Te Deum" by Handel, and the "Intercession" by M. P. King, who has long since been forgotten. For five years my father was president of the society, and served as musical director, the special employment of a conductor not having been authorized until 1847.

Meanwhile he was constantly aiming at the introduction of popular education in music. It was through his efforts--and strenuous efforts they were--that music was introduced into the Boston public schools. To bring this about he first taught cla.s.ses of children free of charge, and gave concerts to ill.u.s.trate the practicability of his plans. When finally musical education was made a part of the Boston public-school system, the city council refused to make any appropriation for it, and he served as instructor for a year gratuitously, beginning work in 1837 in the Hawes Grammar School, South Boston. The experiment was a complete success. Music was generally introduced into the public schools, and my father was made superintendent of the department. The seeds he sowed then are still bearing fruit. This was part of his labor which created in Boston a self-developing musical activity. While Dr. Samuel G. Howe was engaged in organizing the Perkins Inst.i.tution for the Blind in 1832, at his request my father devised a system of musical instruction for the blind.

FIRST BEETHOVEN SYMPHONY IN AMERICA

About 1830 an English musician, Mr. George James Webb, settled in Boston. He was a gentleman of high culture, thoroughly educated in music, played the organ well, and was a good vocal teacher. His talents and his personal charm were promptly recognized. My father became intimate with him, and in 1833, with the cooperation of certain influential gentlemen of Boston, they founded the Boston Academy of Music, my father taking charge of the special department of church music, while Mr. Webb devoted himself chiefly to secular music and voice-culture. Instrumental concerts were also given at the academy, and there, on February 10, 1841, occurred the first performance in America of a Beethoven symphony, the Fifth, which was played by an orchestra of twenty-three, under the direction of Henry Schmidt.

MUSICAL CONVENTIONS

My father originated the idea of a.s.sembling music-teachers in cla.s.ses.

In 1838, when the experiment was not more than three years old, one hundred and thirty-four teachers, representing ten States, a.s.sembled at the academy. From these a.s.semblages grew the musical conventions which my father held throughout New England and in some of the other States.

Choir-singers and other musically inclined people from the towns lying within the surrounding district would gather at a central point, and he would hold a musical convention lasting for several days, drilling the singers in church music, but also, where he found sufficient advancement, in music of a higher order. The Worcester festivals may be traced to these conventions.

EARLY MUSICAL TRAINING

I had shown my fondness for music at a very early age. When I was a child, my father was the organist of the Bowdoin Street Congregational Church in Boston, of which Lyman Beecher had been the pastor. When I was seven years old, he placed me unexpectedly on the organ-bench at a public service, and while the choir sang the tune of "Boylston", I played the accompaniment. Up to this time I had had but little instruction in pianoforte-playing. My mother used to sit by me and guide me in the way of careful practising, and thus I had acquired considerable facility for those days, though now I have a feeling of compa.s.sion for any one who had to listen to me.

I became useful to my father as an accompanist, and when he went to musical conventions he took me along with him, and I would play the piano accompaniments while he conducted.

WEBSTER AND CLAY

It was at about this time that my father took me with him on a trip to Providence. In those days the entrance to the cars was from the side, and we took seats nearly opposite the door. My father called my attention to a very dignified and impressive-looking man in the front corner of the car, saying: "William, the gentleman in the corner is Daniel Webster. Go over and wish him good morning." I promptly obeyed, and marching over to him, said, "Good morning, Daniel Webster." He asked my name, and I replied, saying my father was "over there," and then he exchanged greetings with my father. I was somewhat awed by his great dignity, and remember very well his piercing eyes.

About the year 1842 I went to Maysville, Kentucky, to stay with the family of my uncle, Mr. E. F. Tucker. My health had not been good, and the change of residence was thought to be judicious. My uncle was at the head of some factory in Maysville, and one day, after I had been there for some time, a gentleman called at the house to see him about business connected with the factory. My aunt called me, and, presenting me to the gentleman, requested me to show him the way to the factory. This gentleman was Henry Clay. I remember his urbanity, and his friendly conversation attracted me. This time it was not the eye which was noticeable, but the mouth, which was unusually large.

[Ill.u.s.tration: WILLIAM MASON AS A BOY

FROM A DAGUERREOTYPE ]

FIRST PUBLIC APPEARANCE

Returning to Boston after a year, I was sent to Newport, Rhode Island, to study under the Rev. T. T. Thayer, who was a Congregational clergyman in that place. In a short time after my arrival I began playing the organ at the services in his church, and continued this with regularity until my return to Boston a few years later. At Boston I became the organist at the Congregational church in Winter street, at which my father was music-conductor.

I played in public about the year 1846, in one of the concerts of the Boston Academy of Music, given in the Odeon, which was then the princ.i.p.al concert-hall in Boston. On this occasion I had the accompaniment of a string quartet. This was my first regular appearance in public. About this time, too, I began taking pianoforte lessons of Mr. Henry Schmidt, to whom reference has been made as the conductor of Beethoven's "Fifth Symphony" on the occasion of the first performance of this work in Boston. Mr. Schmidt's instrument was the violin, but he was also an excellent pianoforte teacher, and to his careful and skilful instruction I owe very much. I remember that in those days I was more fond of playing--if my habit of improvising in a loose or inaccurate way can be so called--than of careful practising and close attention to detail. When my lesson-hour arrived I used to trust much to luck, and thus occasioned poor Mr. Schmidt a deal of trouble and vexation. He begged and entreated me to be careful, and after a while a spirit of contrition overcame me, and so, on a certain occasion, I really did practise carefully and to my best ability during the interval between my lessons. When Mr. Schmidt made his appearance, however, I became so nervous and apprehensive lest my work should not show to advantage that the very thing I dreaded took place, and I stumbled through my piece in a distressing manner. I do not wonder that my teacher's patience was tried, and he rebuked me with severity, saying that he believed I had not practised at all since the previous lesson. I received this all very meekly, but when he took his departure I pitched the music into a corner, and did not practise until he made his appearance for the following lesson. At this lesson, however, I played with great accuracy and spirit, much to my gratification and somewhat to my surprise. Mr.

Schmidt warmly commended my work, and attributed it to the fact that I had _now_ practised industriously and carefully. I had enough sense to know that the successful result was owing to the practice I had previously done, and which needed time to produce its results. This bit of experience I commend to pianoforte students for careful consideration, to show that acts are not always immediately followed by desirable results.

Mr. Schmidt taught me much concerning the production of tone in pianoforte playing, and in particular led me to acquire a certain habit of touch which I have never lost, and which has been the means of greatly lessening the fatigue which would otherwise have been attendant on the performance of pieces which require much strength and long-continued endurance. I write somewhat at length concerning this matter, feeling that a knowledge of my experience may be of substantial use to pianoforte students.

The habit referred to has especial relation to the playing of the various rapid scale and arpeggio pa.s.sages, involving closed or open hand position which are so common in pianoforte compositions and which grow out of the nature of the instrument. The touch is accomplished by quickly but quietly drawing the finger-tips inward toward the palm of the hand, or, in other words, slightly and partly closing the finger-points as they touch the keys while playing. This action of the fingers secures the cooperation of many more muscles of the finger, wrist, hand, and forearm than could be accomplished by the merely "up-and-down" finger-touch. It is difficult to describe in detail without an instrument at hand for ill.u.s.tration. If correctly performed, however, the tones produced are very clear and well defined, and of a beautifully musical quality. The simile of "a string of pearls" of precisely similar size and shape has often been used in describing their fluency and clearness of outline. A too rapid withdrawal of the finger-tips would result in a short and crisp staccato. While this extreme staccato is also desirable and frequently used, it is not the kind of effect here desired, namely, a clear, clean delivery of the tones which in no wise disturb the legato effect.

Of course it requires cultivation and skill to secure just the right degree of finger-motion to preserve the legato and at the same time the slight separation of each tone. Therefore the fingers must not be drawn so quickly as to produce a separation or staccato effect, but in just the right degree to avoid impairing the legato or binding effect. For the sake of convenience in description I have named this touch the "elastic finger-touch," and through its influence a clear and crisp effect is attained. It is interesting to observe in this connection, a fact which I learned only many years later, that Sebastian Bach's touch, described in detail by J. N. Forkel in his work ent.i.tled "uber Johann Sebastian Bachs Leben, Kunst und Kunstwerke," both as used by Bach himself and as he taught it to his pupils, seems to be identical with the touch I am here attempting to describe. Forkel expressly emphasizes the "pulling-in" motion of the finger-tips. While it has relation solely to finger-action as distinguished from the action of the wrist and arm, it cannot be accomplished properly without bringing into action the flexor and extensor muscles, princ.i.p.ally of the forearm from wrist to elbow.

Through the medium of this touch pianissimo effects are possible which no other mechanism can reach, for pa.s.sages of the most extreme delicacy and softness still retain the quality of vitality and clearness of outline.

During the season of 1846 I played the pianoforte part throughout the series of six concerts of chamber-music given by the Harvard Musical a.s.sociation. I remember that Mr. Blessner played the violin and Mr.

Groenvelt the violoncello, but cannot recall the names of the players of the second violin and viola. These concerts were given at the pianoforte warerooms of Mr. Jonas Chickering, 334 Was.h.i.+ngton street, Boston. I still have the programs. String quartets by Haydn, Mozart, and Beethoven were played, also piano trios by Beethoven, Reissiger, and Mayseder.

LEOPOLD DE MEYER

The knowledge I gained from Mr. Schmidt was largely advanced and supplemented by what I learned a year or two later, in 1847-48, from the playing of the pianoforte virtuoso Leopold de Meyer, who came to the United States about that time.

It was from a careful study of the manner of his playing that I first acquired the habit of fully devitalized upper-arm muscles in pianoforte-playing. The loveliness and charming musical beauty of his tones, the product of these conditions, greatly excited my admiration and fascinated me. I never missed an opportunity of hearing him play, and closely watched his movements, and particularly the motions of hand, arm, and shoulder. I was incessantly at the pianoforte trying to produce the same delightful tone quality by imitating his manner and style.