"Not that I would do anything to impair your carefulness and accuracy,
but you must take a risk, and from the beginning, too. I am reminded of
the young man who has been very carefully brought up. When the time
comes for him to strike out and take his chance in life, he holds back
and is afraid, while another with more courage, steps in and takes away
his opportunity."
We discussed the slow movement at great length. "Note in this movement
the slow, dreamy effect that can be made at the ending of the second
solo, and the artistic use of the pedal in the following chords. The
third movement must have great swing and 'go'; the octave passage
cadenza should be practised in rhythmical groups, and the final Andante
must be fast."
The third time we played the concerto I had it well in hand. Dr. Mason
accompanied as only he could do, and at the close praised me on the way
I had worked it up, and the poetry and fire I was able to put into it.
Who could help playing with fire and enthusiasm when led by such a
master!
Dr. Mason was a most inspiring teacher, quick to note and praise what
was good, and equally vigilant in correcting what was blameworthy. His
criticisms were of the utmost value, for he had such wide experience,
and such a large acquaintance with music and musicians.
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