Stange, Adolph, Weimar reminiscences of, 165-168
Tempo, hints on, 243-247; Chopin, electrocuting, 244; rubato, 246
Thalberg, 75; and Chopin, 76, 210; autograph, 212
Thomas, Theodore, 111, 194; at twenty, 195; genius of conductorship, 196; Mason and Thomas Quartet, 196; as a violinist, 197; a great conductor, 198; confidence in himself, 200; portrait at twenty-four, 200; contribution to Mason calendar, 202; ear for positive pitch, 251, 292
Wagner, Richard, 48; "Wer ist da?" 49; receives William Mason, 49; appearance in 1852, 50; compares Beethoven and Mendelssohn, 51; tribute to Beethoven, 52; lively manner, 54; gives Mason his autograph, 55, 56, 132, 133; Wagner cause in Weimar, 159; Mason on, 159, 179
Webb, George James, 8; and Boston Academy of Music, 9; opinion of Schumann, 41
Webb, Miss, 26; engaged and married to William Mason, 183
Weimar, 86; Mason's reminiscences of Liszt at 86-182
Wieniawski, Henri, 109, 123, 124; at Weimar, 126, 150, 223
"Yankee Doodle" and "Old Hundred," Mason asked to combine, 187, 189
[1] In a letter written twenty-four years later, in 1878, Liszt says of "Parsifal": "The composition of the first act is finished; in it are revealed the most wondrous depths and the most celestial heights of art."
[2] As I have elsewhere stated, I was the first to meet Rubinstein in Weimar, while Liszt was away.
[3] He was at Moscow, being first professor of pianoforte-playing at the Conservatory there.
End of Project Gutenberg's Memories of a Musical Life, by William Mason