So MacDowell, who was accompanied by his mother, a sage woman and deeply in sympathy with her son's aims, went to Frankfort, where he had the benefit of Karl Heymann's tuition. He was the only pianist I ever heard who could be compared to our Rafael Joseffy. But his influences, while marked in the development of his American pupil, did not weaken MacDowell's individuality. Studies in composition under Joachim Raff followed, and then he journeyed to Weimar for his baptism of fire at the hands of Liszt. That genial Prospero had broken his wand of virtuoso and devoted himself to the culture of youthful genius and his own compositions. He was pleased by the force, the surety, the brilliancy and the poetic qualities of MacDowell's playing, and he laughingly warned Eugen d'Albert to look to his laurels. But music was in the very bones of MacDowell, and a purely virtuoso career had no attraction for him. He married in 1884 Marian Nevins, of New York, herself a pianist and a devoted propagandist of his music. The pair settled in Wiesbaden, and it was the happiest period of MacDowell's career. He taught; he played as "guest" in various German cities; above all, he composed. His entire evolution is surveyed in Mr. Lawrence Gilman's sympathetic monograph. It was in Wiesbaden that he laid the foundation of his solid technique as a composer.
I once asked him during one of our meetings how he had summoned the courage to leave such congenial surroundings. In that half-smiling, half-shy way of his, so full of charm and naïveté, he told me his house had burned down and he had resolved to return home and make enough money to build another. He came to America in 1888 and found himself, if not famous, at least well known. To Frank van der Stucken belongs the glory of having launched the young composer, and so long ago as 1886 in the old Chickering Hall. Some would like to point to the fact that America was MacDowell's artistic undoing, but the truth is against them. As a matter of musical history he accomplished his best work in the United States, principally on his farm at Peterboro, N. H.--hardly, one would imagine, artistic soil for such a dreamer in tones. But life has a way of contradicting our theories. Teaching, I have learned, was not pursued to excess by MacDowell, who had settled in Boston. Yet I wish there were sumptuary legislation for such cases. Why should an artist like MacDowell have been forced into the shafts of dull routine? It is the larger selfishness, all this, but I cling to it. MacDowell belonged to the public. Joseffy belongs to the public. They doubtless did and do much good as teachers, but the public is the loser. Besides, if MacDowell, who was a virtuoso had confined himself to recitals he might not----