Memories of a Musical Life Part 3

In Leipsic I made the acquaintance of a man named Albert Wagner, meeting him quite frequently at the restaurant where I took my meals. While I was planning the tour, I chanced to mention it to him, and when he heard that I was going to Zurich, he said: "My brother, Richard Wagner, lives there. I will give you a letter of introduction to him." This was the first intimation I had that Albert was a brother of the composer. I suppose he had not thought it worth while to tell me. Richard was still under a political cloud in Saxony, and was compelled to live in exile on account of the part he had taken in the revolution of 1848; nor was his reputation as a composer then so general that Albert would have thought his kins.h.i.+p much to boast of.

[Ill.u.s.tration: Autograph of Moritz Hauptmann]

We reached Zurich on June 5, 1852, and, the next morning, armed with the letter, I made my way to Wagner's chalet, which was situated on a hill in the suburbs. It was then about ten o'clock in the morning.

When I asked the maid who opened the door if Herr Wagner was at home and to be seen, she answered, as I had feared she would, that he was busily at work in his study, and could not be disturbed. I handed her my letter of introduction, and asked her to give it to Herr Wagner, and to say to him that I was expecting to remain in Zurich three or four days, and would call again, hoping to be fortunate enough to find him disengaged.

Just as I was turning to leave, I heard a voice at the head of the stairs call out, "Wer ist da?" I told the maid to deliver my letter immediately. As soon as Wagner had glanced through it, he exclaimed, "Kommen Sie herauf! Kommen Sie herauf!"

At that time Wagner was known, and that not widely, only as the composer of "Rienzi," "The Flying Dutchman," "Tannhauser," and "Lohengrin." I had heard only "The Flying Dutchman," but considered it a most beautiful work, and was eager to meet the composer.

Wagner's first words, as I met him on the landing at the head of the stairs, were: "You've come just at the right time. I've been working away at something, and I'm stuck. I'm in a state of nervous irritation, and it is absolutely impossible for me to go on. So I'm glad you've come."

I remember perfectly my first impression of him. He looked to me much more like an American than a German. After asking about his brother, he began questioning me in a lively way about his friends in Leipsic, about the concerts and opera there, and the works that had been given. He also asked most kindly after my own affairs--what I was doing, with whom I had studied, how long I intended to remain, what my plans were for the future, and most particularly about musical matters in America. In some way Beethoven was mentioned. After that the conversation became a monologue with me as a listener, for Wagner began to talk so fluently and enthusiastically about Beethoven that I was quite content to keep silent and to avoid interrupting his eloquent oration.

WAGNER ON MENDELSSOHN AND BEETHOVEN

As he warmed up to the subject, he began to draw comparisons between Beethoven and Mendelssohn. "Mendelssohn," he said, "was a gentleman of refinement and high degree; a man of culture and polished manner; a courtier who was always at home in evening dress. As was the man, so is his music, full of elegance, grace, finish, and refinement, but carried without variance to such a degree that at times one longs for brawn and muscle. Yet it is music that is always exquisite, fairy-like, and fine in character. In Beethoven we get the man of brawn and muscle. He was too inspired to pay much attention to conventionalities. He went right to the pith of what he had to say, and said it in a robust, decisive, manly, yet tender way, brus.h.i.+ng aside the methods and amenities of conventionalism, and striking at once at the substance of what he wished to express. Notwithstanding its robustness, his music is at times inexpressibly tender; but it is a manly tenderness, and carries with it an idea of underlying and sustaining strength. Some years ago, when I was kapellmeister in Dresden, I had a remarkable experience, which ill.u.s.trates the invigorating and refres.h.i.+ng power of Beethoven's music.

It was at one of the series of afternoon concerts of cla.s.sic music given at the theater. The day was hot and muggy, and everybody seemed to be in a state of la.s.situde and incapacity for mental or physical effort. On glancing at the program, I noticed that by some chance all of the pieces I had selected were in the minor mode--first, Mendelssohn's exquisite 'A Minor Symphony,' music in dress-suit and white kid gloves, spotless and _comme il faut_; then an overture by Cherubini; and finally Beethoven's 'Symphony No. 5, in C Minor.'" At this point Wagner rose from his chair, and began walking about the room. "Everybody," he continued, "was listless and languid, and the atmosphere seemed damp and spiritless. The orchestra labored wearily through the symphony and overture, while the audience became more and more apathetic. It seemed impossible to arouse either players or listeners, and I thought seriously of dismissing both after the overture. I was very reluctant to subject Beethoven's wonderfully beautiful music to such a crucial test, but after a moment's reflection I appreciated the fact that here was an opportunity for proving the strength and virility of it, and I said to myself, 'I will have courage, and stick to my program.'"

Wagner stopped walking a moment, and looked about the room as if searching for something. Then he rushed to a corner, and seizing a walking-stick, raised it as if it were a baton.

"Here is Beethoven," he exclaimed, "the working-man in his s.h.i.+rt-sleeves, with his great herculean breast bared to the elements."

He straightened himself up, and, giving the stick a swing, brought it down with an abrupt "Ta-ta-ta-tum!"--the opening measure of Beethoven's "C Minor Symphony":

[Ill.u.s.tration: Musical notation]

The whole scene was graphically portrayed. Then throwing himself into a chair, he said: "The effect was electrical on orchestra and audience.

There was no more apathy. The air was cleared as by a pa.s.sing thunder-shower. There was the test."

"When Wagner spoke of Mendelssohn, his tone of voice indicated the gentle refinement of the courtier and his music. When he mentioned Beethoven, his manner was animated and full of enthusiasm.

Wagner's enthusiasm, his openness in taking me at once into his musical confidence, fascinated me, and gave me an insight into the wonderful vitality and energy of the man. He was planning a tramp through the Tyrol, about a week later, with a professor from the Zurich University.

"Come along with us," he said. "Alle guten Dinge sind drei" ("All good things are three"). However, I did not feel at liberty to leave my parents to continue their trip alone, as I was acting as interpreter for them. Of course Wagner was not then what he afterward became in the eyes of the world. I now know what I missed.

A WAGNER AUTOGRAPH

But I did not leave Wagner's house without what many musicians, to whom I have shown it, consider one of the most interesting musical autographs ever penned. It is autographic from beginning to end, even to the lines of the staff; for when I asked Wagner for his autograph, he drew them himself on a sheet of blank paper, and then wrote what is evidently the germ of the dragon motive in "The Ring of the Nibelung." It is dated June 5, 1852, and it is particularly interesting that he should have written this motive at that time. From his correspondence with Liszt, it is clear that he had not yet finished the poem of the "Walkure," and had not yet begun the score of the cycle. He wrote the books of the "Ring"

backward, but in the composition of the cycle he began with the "Rheingold," in the autumn of the year in which I met him. The dragon motive occurs in the "Rheingold," but in quite a different form. He began the "Walkure" in June, 1854, two years later, completing it in 1856. In the meantime, in the autumn of 1854, he also began the music of "Siegfried," and it is in the first act of this music drama, written more than two years after I had met him, that we find the dragon motive exactly as it is written in my autograph, except that it is transposed a tone lower, and that the length of the notes is changed, though their relative value is the same, dotted halves being subst.i.tuted for quarters.

[Ill.u.s.tration: Autograph of Richard Wagner]

The pa.s.sage will be found on page 7 of Klindworth's piano-score of "Siegfried." This, I believe, is the only place in the four divisions of the "Ring" where the motive appears in this form.

Added significance and value are given to the autograph by the lines which Wagner wrote under it, and which are signed and dated: "Wenn Sie so etwas ahnliches einmal von mir h.o.r.en sollten, so denken Sie an mich!"

("If you ever hear anything of mine like this, then think of me.") Even this was characteristic of the man. "Siegfried" was not heard until nearly a quarter of a century after he had written a pa.s.sage from it in my autograph-book--_but it was heard_.

MOSCHELES

The playing of Moscheles was in a direct line of descent from Clementi and Hummel, and just preceded the Thalberg school. Moscheles was fond of quoting these authorities and of holding them up as excellent examples for his pupils. He advocated a very quiet hand position, confining, as far as possible, whatever motion was necessary to finger and hand muscles; and by way of ill.u.s.tration he said that Clementi's hands were so level in position and quiet in motion that he could easily keep a crown-piece on the back of his hand while playing the most rapid scale pa.s.sages.

I was not much surprised at this, for I knew it had been said of Henry C. Timm of New York, an admirable pianist of the Hummel school, that he could play a scale with a gla.s.s of wine on the back of his hand without spilling a drop. I, boy-like, could not resist the temptation to repeat what I had heard. There was a curious expression upon the face of our good teacher, which gave the impression that he thought it a pretty tall story, and my fellow-pupils put it down as a yarn prompted by desire on my part to get ahead of Moscheles. Among these was Charles Wehle of Prague, of whom I saw a good deal. Some years later, after I had left Weimar for America, Wehle happened to visit Liszt. My name was mentioned, and Wehle asked, "Did you ever hear his wonderful tale about Timm, the New York player?" Then he repeated the anecdote, but changed the gla.s.s of wine to a gla.s.s of water. Liszt shook his head incredulously, and said, "Mason never said anything about a gla.s.s of water all the time he was in Weimar."

Moscheles was an excellent pianist and teacher, but he was already growing old, and his playing of sforzando and strongly accented tones was apt to be accompanied by an audible snort, which was far from musical. However, as a Bach-player he was especially great, and it was a delight to hear him. One evening, after my lesson, he began playing the preludes and fugues from the "Well-tempered Clavier," and I was enchanted with the finish, repose, and musicians.h.i.+p of his performance, which was without fuss or show. I have never heard any one surpa.s.s him in Bach.

Paderewski's Bach-playing is much like that of my old teacher. Several years ago, in company with Adolf Brodsky, the violinist, I attended one of Paderewski's recitals given in this city. After listening to compositions of Bach and Beethoven, Brodsky said: "He lays everything from A to Z before you in the most conscientious way, and through delicacy and sensitiveness of perception he attains a very close and artistic adjustment of values."

Thoroughly in accord with Brodsky, I vividly recall the similarity of Paderewski's interpretation to that of Moscheles, both being characterized by perfect repose in action, while at the same time not lacking in intensity of expression. The modern adaptations and alterations from Bach are not here referred to, but the music as originally written by the composer. In Paderewski's conception and performance, like that of Moscheles, each and all of the voices received careful and reverent attention, and were brought out with due regard to their relative, as well as to their individual, importance. Nuances were never neglected, neither were they in excess. Thus the musical requirements of polyphonic interpretation were artistically fulfilled.

Head and heart were united in skilful combination and loving response.

While I was in Leipsic, Moscheles celebrated his silver wedding, and one of the features of the occasion was odd and interesting. I forget whether I had the story direct from him or from one of my fellow-students. It is as follows: At the time Moscheles was paying attention to the lady who afterward became his wife he had a rival who was a farmer. What became of the farmer after Moscheles carried off the prize history does not make clear. A friend of Moscheles, an artist of ability, conceived the unique idea of commemorating the joyous anniversary, and, putting it into act, he painted two portraits of Mrs.

Moscheles, one representing her as she appeared on that interesting occasion, and the other giving his idea of how she would have looked after twenty-five years of wedded life had she married the farmer.

JOSEPH JOACHIM

"Leipsic, Wednesday, September 19, 1849." Under this date I find in my diary a note to the effect that Joachim the violinist made me a friendly call at half-past ten o'clock. I had previously called on him to present a letter of introduction which I had received in Hamburg from Mortier de Fontaine.

Joachim made a marked impression upon me as being genial and una.s.suming in manner. He very cordially invited me to come to his room, saying, "We will play sonatas for violin and pianoforte together." This afforded a fine opportunity to a young piano-student, and, coming as it did without solicitation or expectation, was all the more appreciated. Less than two weeks later, on September 30, I heard him play the Mendelssohn violin concerto at the first Gewandhaus concert of the season, and was enchanted with his musical interpretation of the beautiful composition.

A little further on in the diary it is written that the second Gewandhaus concert was given on October 7. The Schumann "Symphony in B Flat Major, No. 1," was played, and "I never before experienced such a thrill of enthusiasm." On Thursday, October 18, the third Gewandhaus concert took place, the symphony being by Spohr, "No. 3, C Minor." An item of special interest regarding this concert is that I heard here for the first time the fine violoncellist Bernhard Cossmann, with whom, in later years, I became intimately acquainted. He was then in the Weimar orchestra and the Ferdinand Laub String Quartet, and was one of our "Weimarische Dutzbruder."

SCHUMANN'S "CONCERTO IN A MINOR"

This concerto I heard for the first time in Leipsic, on Sat.u.r.day, January 19, 1850. It was in one of the Euterpe Society's concerts, exceedingly well played by Adolph Bla.s.sman of Dresden, and I vividly remember the stunning effect it produced upon some of the best pupils of the Conservatory who were present. I was nearly as much excited over the composition as I had previously been at the performance of the "Symphony in B Flat Major."

A few weeks later the same concerto was played in a Gewandhaus concert by Fraulein Wilhelmine Clauss, a pupil of Mme. Schumann, who had studied it under her supervision. The result was another good rendering, although at the previous rehearsal there had been trouble with the so-called syncopated pa.s.sage where the 3/2 and 3/4 rhythms alternate, and it was not until after many repeated attempts that success was attained.

On account of the long, uninterrupted continuance of this 3/2 rhythm its character as a syncopation is entirely lost and it becomes simply an augmentation of the preceding and following 3/4 rhythm, and all of the best orchestral conductors I have seen always give out the beat accordingly--that is, in a manner equivalent to simply doubling the rate of speed in the 3/4 from that of the 3/2 movement. I do not see how the performers, both in orchestra and piano, can be kept together in any other way.