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In any event I may tell you that before you received the septet from me I had sent it to Mr. But to give you a further proof of my integrity, "I herewith give you the faithful assurance that I have neither sold the septet, the symphony, the concerto, nor the sonata to any one but to Messrs. Hofmeister and Kühnel, and that they may consider them to be their own exclusive property.
MacDowell achieved one of the conspicuous triumphs of his career on December 14, 1894, when he played his second concerto with the Philharmonic Society of New York, under the direction of Anton Seidl. He won on this occasion, recorded Mr. Finck in the Evening Post, "a success, both as pianist and composer, such as no American musician has ever won before a metropolitan concert audience.
Liszt, who knew Chopin, tells us that the composer evinced a decided preference for the Adagio of the second concerto and liked to repeat it frequently.
The mere imagining of it set him throbbing, and the excitement in his blood was heightened by the sensuous melancholy of the violin, which, just beyond the pale of his consciousness, throbbed and languished with him under the masterful bow. Shortly before the end of the concerto, she turned and made her way out. Maurice let a few seconds elapse, then followed.
He was captivated by their performance of "Much Ado About Nothing," and made a sketch for a symphonic poem which was to be called "Beatrice and Benedick" a plan which he finally abandoned. Most of the material which was to form the symphonic poem went ultimately to the making of the scherzo of the second piano concerto, composed during the following year.
Before long Wolfgang was composing pieces which his father wrote down for him. It was only a year or two later that Leopold Mozart, coming home with a friend one day, found the boy very busy with pen and ink. "What are you doing there, Woferl?" asked the father. "Writing a concerto for the clavier," answered the small boy. "The first part is just finished." His father smiled.
Well, Eddy Brown is going to play my Second violin concerto, Op. 36 in B flat, which I wrote for the London Philharmonic Society, next season; Elman the Nardini concerto in A, which was published only shortly before the outbreak of the war. Thirty years ago I found, by chance, three old Nardini concertos for violin and bass in the composer's original ms., in Bologna.
She felt her throat contract and a burning mist of tears blurred her vision. For a moment she fought desperately against her weakness. Then, with a little strangled cry, she buried her face against her arm and broke into a passion of tears. The concerto was finished!
And I feel sure I got more out of it musically and spiritually, than I would have if instead of concentrating on its meaning, its musical message, I had prepared the concerto as a problem in violin mechanics whose key was contained in a number of dry technical exercises arbitrarily laid down.
She, too, was a pupil of the Leipsic Conservatory, finishing with Leschetizky, and making a successful début with the Leipsic Gewandhaus orchestra in 1878. She has shown ability in the larger forms, her own concerto being produced in a Henschel concert at Edinburgh. She has several orchestral works still in manuscript, as well as a violin sonata.
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