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What had really happened I could not remember; and the effort to recall whether I had played Mendelssohn or Stojowski nearly brought disaster to that last page. "As soon as my season closes here I shall go to London and bring out my second piano concerto with the London Symphony Orchestra, under Nikisch. I shall also play various recitals."
In manuscript are a number of works which I have not had the privilege of seeing: two masses for chorus, orchestra, and organ, a concert overture, a concerto, a sonata, a fantasy and fugue, a fantasy and three études, a suite for 'cello and piano, and a setting of Longfellow's "Golden Legend," which won two votes out of five in the thousand dollar musical festival of 1897, the prize being awarded to Dudley Buck.
Loomis evidently won Doctor Dvôrák's confidence, for among the tasks imposed on him was a piano concerto to be built on the lines of so elaborate a model as Rubinstein's in D minor. When Loomis' first sketches showed an elaboration even beyond the complex pattern, Dvôrák still advised him to go on. To any one that knows the ways of harmony teachers this will mean much.
I never saw him take up the fiddle while I studied with him. While I was his pupil he paid me the compliment of selecting me to play Sinigaglia's engaging violin concerto, at short notice, for the first time in Prague. Sinigaglia had asked Sevčik to play it, who said: 'I no longer play violin, but I have a pupil who can play it for you, and introduced me to him.
He wrote: "The Concerto will please some day, when I have made some improvements, and a second shall sound quite different." It has taken more than half a century to establish the favor of the Concerto, which still continues on upward wing. The writer heard the composer play this Concerto in Berlin, toward the end of his life.
We are all in the quest and our captains are those who lead us to the highest peaks of revelation Bach fashioning that immortal Concerto for Two Violins that takes us out like unsullied children into fields of asphodel; Wordsworth looking out over Tintern Abbey and capturing for us that
Eugen D'Albert, who was present, was asked to accompany the orchestral part of the concerto on a second piano. Liszt commended the work in warm terms: "You must bestir yourself," he warned D'Albert, "if you do not wish to be outdone by our young American." Liszt praised his piano playing too, and MacDowell returned to Frankfort in a happy frame of mind.
This evening was the second quartet concert. It stirred me much more than the first; the music chosen was loftier and stronger. It was the quartet in D minor of Mozart, and the quartet in C major of Beethoven, separated by a Spohr concerto.
Burns, seeming to watch nobody, noted with affectionate and somewhat concerned interest the apparent trend of the whole situation. She could not help thinking, rather dubiously, of Mrs. Alexander King, Jordan's mother. And, as things happen, it was just as Franz laid down his bow, after a brilliant rendering of a great concerto, that Mrs. Alexander King came in.
Henrietta Sontag, the celebrated singer, heard him play Spohr's ninth concerto and "The Carnival of Venice," and was so charmed that she said he would become the German Paganini.
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