ABSTRACT
From the time of Fanny Peabody Mason's death in 1948 until his own retirement in 1985, Paul Doguereau ran the Peabody-Mason Foundation and its concert series, continuing and developing a tradition of concerts begun in the late nineteenth century. The peculiarities of rhythmic treatment, the absence of sentimentality, the close attention to note values, the clarity of articulation, and the importance of forward momentum are evident in performances of both artists. Rhythm and rubato were controlled by an idiosyncratic sense of motion and stasis. Tempo and pacing emphasized a lack of sentimentality that kept performances moving with the clearest possible sense of large-scale architecture and dramatic conviction. In French repertoire Doguereau tempo choices were not far from those of an earlier generation, though they exceeded those of many modern performers. Slater has shared a brief biography, most likely dictated by Doguereau himself, that he discovered in 2010.
