File:Piano mastery, second series; talks with master pianists and teachers. (1917) (14597210297).jpg

Identifier: pianomasteryseco00brow (find matches)
Title: Piano mastery, second series; talks with master pianists and teachers.
Year: 1917 (1910s)
Authors: Brower, Harriette, 1869-1928
Subjects: Piano
Publisher: New York : Frederick A. Stokes
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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s asEcstasy, The Years at the Spring, June, andmany others may not know that the composerhas written in the larger forms. Her GaelicSymphony has been played a number of timesby the Boston Symphony Orchestra, and alsoby the symphony orchestras of many othercities. It has lately met with an enthusiasticreception in Philadelphia, under the baton ofStokowski. Her piano Quintet, Mass in Eflat, Sonata for piano and violin, and her choralworks attest the variety and scope of her cre-ative activities. Dr. Percy Goetschius says of Mrs. Beach,the composer: She writes both like a man and a woman.Her music manifests traits of a delicacy andtenderness scarcely attainable by a masculinenature, and masculine traits as genuine andvirile as any man could exhibit. If a recitalof her works could be given without her namebeing attached, those accustomed to proclaimthe superiority of the male composer wouldpossibly, without exception, fail to suspect theywere listening to the artistic creations of awoman.
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Mrs. H. H. A. Beach 181 It had long been my desire to come into per-sonal touch with this rare individuality. Mydesire was realized when I was privileged tovisit her apartments in the heart of old NewYork, which she has made her headquarters forthe past two months. Who could help feelingat home in the presence of this cheery littlelady, with her cordial handclasp, her genialmanner, her clear blue eyes and sunny smile?The moments flew all too quickly as she spokeof her work as pianist and composer. Really, I cannot remember when I did notplay the piano and compose. I know I wasdoing both at the age of four. I improvised lit-tle melodies then, but did not know how towrite them down. My first piano teacher was my mother,with whom I studied for a number of years,until she felt I might be benefited by a change,when I was placed under well-known masters.I played with the Boston Symphony Orchestra,under Theodore Thomas, when I was still inshort dresses, with my hair in a pigtail. I havekept

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