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Text extracted from opening pages of book: HAROLD BAUER W W NORTON
& COMPANY INC New York Qslluslraiions Facing Page Harold Bauer
at the age of ten 30 Concert announcement of Nikita's Russian tour
with Harold Bauer as pianist . 31 The Paderewski picture 31 Harold
Bauer, Fritz Kreisler, and Pablo Casals 62 Harold Bauer and Ossip
Gabrilowitsch 62 Paris, 1912 63 Medal of the society La Trompette
63 Harold Bauer 158 Musicians at Moszkowski Benefit, 1922 159
Harold Bauer, from the bust by Brenda Putnam 190 Harold Bauer 191
re j f ace I NEVER INTENDED TO WRITE THE STORY OF MY LIFE, AND I
neither know nor care whether I shall be believed when I say that
this writing has been the most abominable and tedious chore that I
ever undertook What happened is this: my very dear and
distinguished friend, the late Carl Engel, president of G.
Schirmer, Inc., wished to pay me a compliment on the occasion of my
sev entieth birthday. Since he had always been amused by my
relation of little incidents in my long career, he got me to write
some of them down, then put them together with inimitable skill and
charm, and published the result in the Musical Quarterly. This
created a great deal of comment, and the next thing was that Warder
Norton asked me to write a whole book about myself. I rejected his
suggestion with horror, but I went to tea with him and his wife,
and, as a consequence of their skillful and delicate flattery, I
was undone. Even so, the book would never have been completed
without the gentle and incessant nagging of my wife. The time has
come for me to express my acknowledg ments to everyone concerned in
this perpetration, and I hereby do so, peevishly, with the fervent
hope that they will allleave me alone in future. It remains only
for me to add, now that I notice the curi ously abrupt fashion in
which this book starts, that I was born near London on April 28,
1873. H. B. ne MY EARLIEST REACTION TO MUSIC, AS FAR AS I CAN
RECALL, was one of fascinated terror. Even at this far-distant
time, it almost makes my flesh creep when I think of the huge faces
of adults bending over me, or over one of my sisters, and emitting
the strange sound which, I was later to learn, is called singing.
The music was not confined to noises coming from human faces,
however, for there was also the unfor gettable sound solemn and yet
piercing of the shiny brass instruments played in the street by a
group of shabby men called the German Band. In addition, there was
the Italian barrel-organ grinder, accompanied sometimes oh, bliss!
by a monkey; an occasional violinist; a man who played a bright
yellow clarinet; two men in Highland cos tume, one of whom danced
to the playing of the bagpipes ( the most exciting sound in the
world, I think) by his com panion. Then the music of the street
cries ( Chinaware cheap and Jubilee Coal Blocks provided the
themes, later on, [ 9] for a juvenile sonata), and finally, the god
of musicians, a glorious individual who went about with a dozen
different instruments distributed over his person, playing them all
at the same time. That, to me, was real magic; and I longed
unspeakably to grow up and conquer my fear of the sounds, so that I
could wield the power he possessed some day! I suppose it was this
mingled feeling of fear and ambition that made me try to find the
notes of a tune which had alarmed me to the extent of wanting to
hide under the table. After I had pickedout the notes, I did not
mind it so much. It was the opening of Brahms' piano quintet, and I
am still a little afraid of it. On my fourth birthday, I decided
that the time had come for me to do something important, so I
composed a polka which contained exactly eight measures quite
enough, I considered, for a beginning, a middle, and an end. How it
was that this babyish little thing stuck in my mind I am un able to
say, but it came back to me about half a century later, when Ossip
and Clara Gabrilowitsch told me almost tear fully that their
daughter Nina showed not
(Piano Large Works). Contents: Almost Too Serious * At the Fireside
* Blindman's Bluff * A Child Falling Asleep * Curious Story *
Frightening * Important Event * The Knight of the Rocking-Horse *
Of Strange Lands and People * Perfectly Contented * Pleading Child
* The Poet Speaks * Reverie.
GrUnewalds Isenheimer Altar wurde zum Ausgangspunkt dieser
Untersuchung. Auf der Tafel begegnet dem Betrachter eine Gestalt
mit aufgetriebenem Leib, verriirbtem Gesicht, verdorrten Armen und
flossenartigen FUBen. Nach einer langen Diskussion kam die kunst-
und medizinhistorische Forschung zu dem SchluB, daB diese Gestalt
als ein Opfer der Mutterkorn-Vergiftung aufzufassen sei. Damit
schlieBt sich ein Kreis: Das Altarwerk war ein Auftrag der
Antoniter in Isenheim. Das Hauptanliegen dieses Ordens bestand in
der Pflege und Versorgung der Opfer der Mutterkorn-Vergiftung,
damals Antonius-Feuer genannt. Der kunsthistorischen Methode
folgend, galt die Suche nach einer ahnlichen Gestalt auf einem Werk
der spatmittelalterlichen Tafelmalerei. Von keinem anderen Maler
jener Zeit wurde die so oft bearbeitet wie von Hieronymus Bosch
(1450-1516). Dem ersten Anlauf war kein Erfolg beschieden. Es galt
daher, der komplexen Natur der Mutterkorn-Vergiftung nachzugehen.
Neben den medizinischen Fakten muBten auch die zahlreichen kultur
geschichtlichen VerknUpfungen bedacht werden, wie zum Beispiel die
Geschichte des Antoniter-Ordens. Dieser breit gefacherte Ansatz
zeitigte Ergebnisse. Die Vielfalt der Beziehungen dieser Krankheit
zu Kunst und Medizin sowie zu zahl reichen anderen Gebieten
erforderten eine grenzUberschreitende Darstellung, wobei sich der
Verfasser nur zu bewuBt ist, wie mangelhaft dieser Versuch bleiben
muB, da hierbei so viele Bereiche menschlichen Wissens berUhrt
werden; reicht doch die Spann weite yom theologischen Problem der
Krankheitsauffassung im Mittelalter bis hin zur rein
naturwissenschaftlichen Frage der Pathogenese des Ergotismus
convulsivus."
Text extracted from opening pages of book: HAROLD BAUER W W NORTON
& COMPANY INC New York Qslluslraiions Facing Page Harold Bauer
at the age of ten 30 Concert announcement of Nikita's Russian tour
with Harold Bauer as pianist . 31 The Paderewski picture 31 Harold
Bauer, Fritz Kreisler, and Pablo Casals 62 Harold Bauer and Ossip
Gabrilowitsch 62 Paris, 1912 63 Medal of the society La Trompette
63 Harold Bauer 158 Musicians at Moszkowski Benefit, 1922 159
Harold Bauer, from the bust by Brenda Putnam 190 Harold Bauer 191
re j f ace I NEVER INTENDED TO WRITE THE STORY OF MY LIFE, AND I
neither know nor care whether I shall be believed when I say that
this writing has been the most abominable and tedious chore that I
ever undertook What happened is this: my very dear and
distinguished friend, the late Carl Engel, president of G.
Schirmer, Inc., wished to pay me a compliment on the occasion of my
sev entieth birthday. Since he had always been amused by my
relation of little incidents in my long career, he got me to write
some of them down, then put them together with inimitable skill and
charm, and published the result in the Musical Quarterly. This
created a great deal of comment, and the next thing was that Warder
Norton asked me to write a whole book about myself. I rejected his
suggestion with horror, but I went to tea with him and his wife,
and, as a consequence of their skillful and delicate flattery, I
was undone. Even so, the book would never have been completed
without the gentle and incessant nagging of my wife. The time has
come for me to express my acknowledg ments to everyone concerned in
this perpetration, and I hereby do so, peevishly, with the fervent
hope that they will allleave me alone in future. It remains only
for me to add, now that I notice the curi ously abrupt fashion in
which this book starts, that I was born near London on April 28,
1873. H. B. ne MY EARLIEST REACTION TO MUSIC, AS FAR AS I CAN
RECALL, was one of fascinated terror. Even at this far-distant
time, it almost makes my flesh creep when I think of the huge faces
of adults bending over me, or over one of my sisters, and emitting
the strange sound which, I was later to learn, is called singing.
The music was not confined to noises coming from human faces,
however, for there was also the unfor gettable sound solemn and yet
piercing of the shiny brass instruments played in the street by a
group of shabby men called the German Band. In addition, there was
the Italian barrel-organ grinder, accompanied sometimes oh, bliss!
by a monkey; an occasional violinist; a man who played a bright
yellow clarinet; two men in Highland cos tume, one of whom danced
to the playing of the bagpipes ( the most exciting sound in the
world, I think) by his com panion. Then the music of the street
cries ( Chinaware cheap and Jubilee Coal Blocks provided the
themes, later on, [ 9] for a juvenile sonata), and finally, the god
of musicians, a glorious individual who went about with a dozen
different instruments distributed over his person, playing them all
at the same time. That, to me, was real magic; and I longed
unspeakably to grow up and conquer my fear of the sounds, so that I
could wield the power he possessed some day! I suppose it was this
mingled feeling of fear and ambition that made me try to find the
notes of a tune which had alarmed me to the extent of wanting to
hide under the table. After I had pickedout the notes, I did not
mind it so much. It was the opening of Brahms' piano quintet, and I
am still a little afraid of it. On my fourth birthday, I decided
that the time had come for me to do something important, so I
composed a polka which contained exactly eight measures quite
enough, I considered, for a beginning, a middle, and an end. How it
was that this babyish little thing stuck in my mind I am un able to
say, but it came back to me about half a century later, when Ossip
and Clara Gabrilowitsch told me almost tear fully that their
daughter Nina showed not
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