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Updated: May 24, 2025
Since 1875 he had been writing music: Lieder, sonatas, symphonies, quartets, etc., and already his Lieder held the most important place. He also composed in 1883 a symphonic poem on the Penthesilea of his friend Kleist. In 1884 he succeeded in getting a post as musical critic. But on what a paper! It was the Salonblatt a mundane journal filled with articles on sport and fashion news.
Both these pieces are interspersed with songs, duets, quartets, after the manner of the old-fashioned Dibdin "Jolly Waterman" style of pieces, never seen on our stage now-a-days, nor on the French stage except at minor theatres.
The music commenced under Marcia's direction. There were piano solos that were not tedious, full of melody and feeling, and with few of the pyrotechnical displays which are too common in modern virtuoso-playing; vocal duets and quartets from the Italian operas, and from Orfeo and other German masterpieces; and solos, if not equal to the efforts of professional singers, highly creditable to amateurs, to say the least.
At the end of the Symphony season in Boston, in 1896, the Kneisel Quartet made a visit to London and gave several concerts. In London it was obliged to stand comparison with the finest quartets in existence.
Variations for piano and violin by Beethoven, and two quartets, not more. The quartets were perfectly clear and easy to understand. One was by Mozart and the other by Beethoven, so that I could compare the two masters.
They follow each other in contracting circles, in whirlwinds, in maelstroms of the atmosphere: they meet and cross each other, all at a moment. This New England is set apart: it is the exercise-ground of the weather. Storms bred elsewhere come here full-grown: they come in couples, in quartets, in choruses.
Not so with the piano sonatas, which can be heard and studied in the privacy of one's home. Even the quartets may be placed in the category since they do not require an elaborate equipment and preparation for their production.
The latter showed himself ungrateful for kindnesses received at Mozart's hands by publicly denouncing an harmonic progression in one of the famous six quartets dedicated to Haydn as a barbarism, but there was no ill-will in the use of the air from "I due Litiganti" as supper music for the delectation of the Don. Mozart liked the melody, and had written variations on it for the pianoforte.
I took every possible pains to conform to your taste in your two arias, and intend to do the same with the third, so I hope to be successful; but with regard to trios and quartets, they should be left to the composer's own discretion." On which he said that he was quite satisfied.
"Mozart showed what the 'cello was able to do in the quartets he dedicated to the ''cellist king, Frederick William of Prussia. And then, the 'cello has always the musical importance which attaches to it as the lower of the two 'outer voices' of the quartet ensemble.
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