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Updated: May 25, 2025
Cedarquist's drawing-rooms dressed in a white velvet cassock; now a widow of some Mohammedan of Bengal or Rajputana, who had a blue spot in the middle of her forehead and who solicited contributions for her sisters in affliction; now a certain bearded poet, recently back from the Klondike; now a decayed musician who had been ejected from a young ladies' musical conservatory of Europe because of certain surprising pamphlets on free love, and who had come to San Francisco to introduce the community to the music of Brahms; now a Japanese youth who wore spectacles and a grey flannel shirt and who, at intervals, delivered himself of the most astonishing poems, vague, unrhymed, unmetrical lucubrations, incoherent, bizarre; now a Christian Scientist, a lean, grey woman, whose creed was neither Christian nor scientific; now a university professor, with the bristling beard of an anarchist chief-of-section, and a roaring, guttural voice, whose intenseness left him gasping and apoplectic; now a civilised Cherokee with a mission; now a female elocutionist, whose forte was Byron's Songs of Greece; now a high caste Chinaman; now a miniature painter; now a tenor, a pianiste, a mandolin player, a missionary, a drawing master, a virtuoso, a collector, an Armenian, a botanist with a new flower, a critic with a new theory, a doctor with a new treatment.
Later, he found Brahms, as all the world soon found out, and revised his early notions of the greater musician. But at first he was all enthusiasm and gush, and wrote articles "explaining" Tannhäuser. However, his views are of no importance to-day. Liszt, generous soul, had the opera played at Weimar at the earliest possible moment.
I sometimes use it myself, just to see the difference between the mechanical rhythm and the musical rhythm for they are not always the same by any means. "Do you know these Technical Exercises of Brahms? I think a great deal of them, and, as you see, carry them around with me; they are excellent. "You ask me about octaves.
It may be dramatic, narrative, reminiscent, introspective, contemplative, florid, sentimental. The following are examples: Dramatic, The Erl King, Schubert. Narrative, The Two Grenadiers, Schumann. Reminiscent, Der Doppelgänger, Schubert. Florid, Indian Bell Song, from Lakme, Delibes. Introspective, In der Frühe, Hugo Wolf. Contemplative, Feldeinsamkeit, Brahms. Songs of sentiment.
Brahms and Beethoven were played in Denver and in San Francisco to audiences who were fully equal to the enjoyment of the highest class of music, and everywhere the quartet was greeted with enthusiasm. The success of the Kneisel Quartet is due to the long and arduous practice which the members have enjoyed together, for perfection in quartet playing is only possible through long association.
It has the kind of energy which is required to render Beethoven's multitudinous energy, or the energy which can be heavy and cloudy in Brahms, or like overpowering light in Bach, or, in Wagner himself, an energy which works within known limits, as in the overture to the "Meistersinger."
Thank goodness in this country we don't fly into violent passions about Wagner and Brahms and things of that sort. There is only one thorny subject that I haven't been able to make sure about, the only stone that I have left unturned. Are they unanimously anti-vivisectionist or do they both uphold the necessity for scientific experiment?
Some famous conductors have added the B of Barnum to the three immortal B's of music Bach, Beethoven and Brahms. Those wielders of the stick are great showmen as well as great musicians. Not so Mr. Toscanini. In his platform manner there is nothing calculated for theatrical effect. He doesn't care in the least what he looks like "from out front."
In Madrid or Vienna the works may be even more brilliant. It is Berlin that demands heavy, solid meat. I play Bach there, Beethoven and Brahms. It is a severe test to play in Berlin and win success. "I have made several tours in America. This is a wonderful country.
One would have said that this little barbarian was put there for a wager. His articles from 1884 to 1887 are full of life and humour. He upholds the great classic masters in them: Gluck, Mozart, Beethoven, and Wagner; he defends Berlioz; he scourges the modern Italians, whose success at Vienna was simply scandalous; he breaks lances for Bruckner, and begins a bold campaign against Brahms.
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