sensation throughout musical Germany. I remember how utterly that Liszt circle in
Weimar were astounded. This letter was at first, doubtless, an obstacle in the way of
Brahms, but as it resulted in stirring up great rivalry between two opposing parties it
eventually contributed much to his final success.
Over a quarter of a century elapsed after my first meeting with Brahms before I saw him
again, and then the meeting occurred at Bonn on the Rhine, on May 3, 1880. He was
there, in company with Joachim and other artists, to take part in the ceremonies attendant
on the unveiling of the Schumann Denkmal.
On going home to dinner, and learning that Brahms was stopping at the hotel, I gave my
card to the porter, with instrucrtions to deliver it to Brahms as soon as he came in. When
about half-way through the table d’hôte the porter entered and said that Brahms was in
the outer hall, waiting to see me. He was very cordial. At the moment I had quite
forgortten that I had met him at David’s house in Leipsic, so I said: ‘The last time I met
you was in Weimar on that very hot day in June, 1853; do you remember it?’ ‘Very well
indeed, and I am glad to see you again.’
Source: ‘Memoirs of a Musical Life’ by William Mason: New York, The Century Co,
1901: Reprinted by Da Capo Press, New York, 1971.
MEMORY
Playing from memory, also described as playing without the music or playing by heart,
involves learning the music from the score and then performing it without the score.
Memory consists of intellectual memory, visual memory of the printed page, and motoric
memory.
For many years pianists have performed public solo recitals and concertos from memory
but this was not always the case. Liszt is credited with having been one of the first to do
this. Pianists accompanying singers, and pianists playing with chamber music groups,
usually play with the score.
Once a piano work has been memorised it is necessary to preserve concentration to
perform successfully from memory in public. Playing from memory is a very useful skill
to develop and is essential if one wants to become a concert pianist. In AMEB music
examinations usually at least one piano work is required to be played from memory.
The greatly increased amount of work necessary to memorise a piece is said by some to
be a waste of time, in addition to the extra stress that a performance from memory entails.
On the other hand a performance from memory may be freer and allows the performer to
concentrate on the music rather than the printed page.
MENDELSSOHN