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In January, 1890, she “heard young Cram 1 explain ‘Tristram and Iseult,’ and young Prescott execute some of the music. It seemed to me like broken china, no complete chord; no perfect result; no architectonic.” She never learned to like what was in those days “the new music.” Wagner and Brahms were anathema to her, as to many another music-lover of her time,
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