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Updated: May 25, 2025
"How do I regard technic now? I think of it in the terms of the music itself. Music should dictate the technical means to be used. The composition and its phrases should determine bowing and the tone quality employed. One should not think of down-bows or up-bows. In the Brahms concerto you can find many long phrases: they cannot be played with one bow; yet there must be no apparent change of bow.
When Thoreau, Carlyle and Brahms went into their respective wildernesses, they maintained themselves, as they thought merely proper. In this respect Wagner's views did not coincide with theirs. He exclaims scornfully, "How few men care more for themselves than for their stomachs!" What he meant was that he should care for himself while his friends cared for his stomach.
Nevertheless, he sat at the piano keyboard and played tremendously difficult compositions by Liszt and Brahms compositions which compelled his hands to leap from one part of the keyboard to the other as in the case of the Liszt Campanella. He never missed a note until he lost his balance upon the piano stool and fell to the floor.
There is also a Concerto by Neitzel, which is a most interesting work; I do not recall that it has been played in America. I have played it on the other side, and I may bring it out here during my present tour. This Concerto is a fine work, into which the author has put his best thought, feeling and power." As I listened to the eloquent reading of the Brahms second Concerto, which Mr.
Naturally one likes best what one understands best, I prefer to play the classics like Brahms, Beethoven, Mozart, Bach, Mendelssohn, etc.
In 1894 I saw in manuscript some remarkable versions of the Chopin Studies by Leopold Godowsky. The study in G sharp minor was the first one published and played in public by this young pianist Unlike the Brahms derangements, they are musical but immensely difficult.
So it happened the two played together frequently for a time, until the violinist disappeared from Germany, for several years. He reappeared in Hamburg at the close of the year 1852. He was then twenty-two, while Brahms was nineteen. It was suggested that the two musicians should do a little concert work together.
No doubt, Reger loved the mathematical solidity and balance of the older music, and therefore sought to assimilate it. But he did more than just learn of it, as Brahms had done. He sought to rival the great men of the past on their own ground, to do what they did better than they had done it, to be able to say, "See, I can do the trick, too!"
Haydn, however, almost as unpromising, was a great slayer of women. But Schubert either did not care, or did not dare. He reminds one of Brahms, a genial giant, who was deeply devoted in a filial way to Clara Schumann after the death of Schumann, but who never married, and of whom I find no recorded romance. "I am not satisfied with any man who despises music. For music is a gift of God.
Perhaps this is because he is the most sincere. Next I should class Beethoven, that great mountain peak to whose heights so few ever soar. Then would come in order Liszt, Brahms, Schumann, Chopin, Weber, and Mendelssohn. Schumann more original than Chopin? Yes, at least so it seems to me.
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