Franz Liszt Part 17

"It is not possible to compare any one with Chopin, because he resembled no one. Everything about him pertained only to himself. He had his own tone, his own touch. All the great artists have executed and still execute the works of Chopin with great ability, but in reality only Chopin has played Chopin. But he never appeared in public concerts nor in large halls. He liked only select audiences and limited gatherings, just as he would use no other piano than a Pleyel, nor have any other tuner than Frederic. We, fanatics that we were, were indignant at his reserve; we demanded that the public should hear him; and one day in one of those fine flights of enthusiasm that have caused me to make more than one blunder I wrote in Schlesinger's _Gazette Musicale_: 'Let Chopin plunge boldly into the stream, let him announce a grand soiree musicale and the next day when the eternal question shall arise, "Who is the greater pianist to-day, Liszt or Thalberg?" the public will answer with us, "It is Chopin."'

"To be frank, I had done better not to have written that article. I should have recalled my friendly relations with the two others. Liszt would have nothing to do with me for more than two months. But the day after the one on which my article appeared Thalberg was at my door at ten in the morning. He stretched out his hand as he entered, saying, 'Bravo! your article is only just.'

"At last their rivalry, which in reality had never been more than emulation, a.s.sumed a more accentuated, a more striking form. Until then no pianist had ventured to play in the hall of a large theatre with an auditorium of 1,200 or 1,500. Thalberg, impelled by his successes, announced a concert in the Theatre des Italiens, not in the foyer, but in the main auditorium. He played for the first time his Moses, and his success was a triumph.

"Liszt, somewhat piqued, saw in Thalberg's triumph a defiance, and he announced a concert at the Opera. For his battle horse he took Weber's Concertstuck. I was at the concert. He placed a box at my disposal, requesting that I should give an account of the evening in the _Gazette Musicale_. I arrived full of hope and joy. A first glance over the hall checked my ardour a trifle. There were many, very many, present, but here and there were empty s.p.a.ces that disquieted me. My fears were not without reason. It was a half success. Between numbers I encountered Berlioz, with whom I exchanged my painful impressions, and I returned home quite tormented over the article I was to write. The next day I had hardly seated myself at my table when I received a letter from Liszt. I am happy to reproduce here the princ.i.p.al part of that letter, for it discloses an unknown Liszt, a modest Liszt. Yes, modest! It only half astonished me, for a certain circ.u.mstance had revealed this Liszt to me once before. It was at Scheffer's, who was painting his portrait. When posing Liszt a.s.sumed an air of inspiration. Scheffer, with his surpa.s.sing brusqueness, said to him: 'The devil, Liszt! Don't put on the airs of a man of genius with me. You know well enough that I am not fooled by it.'

"What response did Liszt make to these rude words? He was silent a moment, then going up to Scheffer he said: 'You are right, my dear friend. But pardon me; you do not know how it spoils one to have been an infant prodigy.' This response seemed to me absolutely delicious in its sweet simplicity--I might say in its humility. The letter that I give below has the same character:

"'You have shown me of late an affection so comprehensive that I ask your permission to speak as a friend to a friend. Yes, my dear Legouve, it is as to a friend that I am about to confess to you a weakness. I am very glad that it is you who are to write of my concert yesterday, and I venture to ask you to remain silent for this time, and for this time only, concerning the defective side of my talent.'

"Is it possible, I ask, to make a more difficult avowal with more delicacy or greater frankness? Do we know many of the great artists capable of writing 'the defective side of my talent'?

"I sent him immediately the following response:

"'No, my dear friend, I will not do what you ask! No, I will not maintain silence concerning the defective side of your talent, for the very simple reason that you never displayed greater talent than yesterday. Heaven defend me from denying the coldness of the public, or from proclaiming your triumph when you have not triumphed! That would be unworthy of you, and, permit me to add, of me. But what was it that happened? and why this half failure? Ah! blunderer that you were, what a strategic error you committed! Instead of placing the orchestra back of you, as at the Conservatory, so as to bring you directly in contact with your audience, and to establish between you and them an electric current, you cut the wire; you left this terrible orchestra in its usual place. You played across I know not how many violins, violoncellos, horns, and trombones, and the voice of your instrument, to reach us, had to pa.s.s through all that warring orchestra! And you are astonished at the result! But, my dear friend, how was it two months ago at the Conservatory that with the same piece you produced such a wonderful effect? It was because that, in front alone, with the orchestra behind you, you appeared like a cavalry colonel at the head of his regiment, his horse in full gallop, his sabre in hand, leading on his soldiers, whose enthusiasm was only the accompaniment of his own. At the Opera the colonel abandoned his place at the head of his regiment, and placed himself at its rear. Fine cause for surprise that your tones did not reach us resounding and vibrant! This is what happened, my dear friend, and this is what I shall say, and I shall add that there was no one but Liszt in the world who could have produced under such conditions the effect that you produced. For in reality your failure would have been a great success for any other than you.

"'With this, wretched strategist, I send you a cordial pressure of the hand, and begin my article.'

"The following Sunday my article appeared, and I had the great pleasure to have satisfied him."

ROBERT SCHUMANN ON LISZT'S PLAYING

"Liszt is now [1840] probably about thirty years old. Every one knows well that he was a child phenomenon; how he was early transplanted to foreign lands; that his name afterward appeared here and there among the most distinguished; that then the rumour of it occasionally died away, until Paganini appeared, inciting the youth to new endeavours; and that he suddenly appeared in Vienna two years ago, rousing the imperial city to enthusiasm. Thus he appeared among us of late, already honoured, with the highest honours that can be bestowed on an artist, and his fame already established.

"The first concert, on the 17th, was a remarkable one. The mult.i.tudinous audience was so crowded together that even the hall looked altered. The orchestra was also filled with listeners, and among them--Liszt.

"He began with the Scherzo and Finale of Beethoven's Pastoral Symphony.

The selection was capricious enough, and on many accounts not happy. At home, in a _tete-a-tete_, a highly careful transcription may lead one almost to forget the orchestra; but in a large hall, in the same place where we have been accustomed to hear the symphony played frequently and perfectly by the orchestra, the weakness of the pianoforte is striking, and the more so the more an attempt is made to represent ma.s.ses in their strength. Let it be understood, with all this, we had heard the master of the instrument; people were satisfied; they at least, had seen him shake his mane. To hold to the same ill.u.s.tration, the lion presently began to show himself more powerful. This was in a fantasia on themes by Pacini, which he played in a most remarkable manner. But I would sacrifice all the astonishing, the audacious bravura that he displayed here for the sake of the magical tenderness that he expressed in the following etude. With the sole exception of Chopin, as I have already said, I know not one who equals him in this quality. He closed with the well-known Chromatic Gallop; and as the applause this elicited was endless, he also played his equally well-known bravura waltz.

"Fatigue and indisposition prevented the artist from giving the concert promised for the next day. In the meantime a musical festival was prepared for him, that will never be forgotten by Liszt himself or the others present. The giver of the festival (Felix Mendelssohn) had selected for performance some compositions unknown to his guest: Franz Schubert's symphony (in C); his own psalm, As the Hart Pants; the overture, A Calm Sea and a Prosperous Voyage; three choruses from St.

Paul; and, to close with, the D-minor concerto for three pianos by Sebastian Bach. This was played by Liszt, Mendelssohn, and Hiller. It seemed as though nothing had been prepared, but all improvised instantaneously. Those were three such happy musical hours as years do not always bring. At the end Liszt played alone, and wonderfully.

"Liszt's most genial performance was yet to come--Weber's Concertstuck, which he played at his second concert. Virtuoso and public seemed to be in the freshest mood possible on that evening, and the enthusiasm before and after his playing exceeded anything hitherto known here. Although Liszt grasped the piece, from the beginning, with such force and grandeur of expression that an attack on a battle-field would seem to be in question, yet he carried this on with continually increasing power, until the pa.s.sage where the player seemed to stand at the summit of the orchestra, leading it forward in triumph. Here, indeed, he resembled that great commander to whom he has been compared, and the tempestuous applause that greeted him was not unlike an adoring "Vive l'Empereur!"

He then played a fantasia on themes from the Huguenots, the Ave Maria and Serenade, and, at the request of the public, the Erl-King of Schubert. But the Concertstuck was the crown of his performances on this evening."

LISZT IN RUSSIA

"Liszt visited Russia for the first time in 1842," writes Rose Newmarch.

"I do not know whether this journey was part of the original scheme of his great two years' tour on the continent (1840-1842), or if he only yielded to the pressing invitations of several influential Russian friends. Early in 1839, among the many concerts which he gave in Rome, none was more brilliant than the recital organised by the famous Russian amateur, Count Bielgorsky, at the house of Prince Galitsin, Governor-General of Moscow, who was wintering in the Italian capital.

During the following year, Liszt spent three days at Ems, where he was presented to the Empress Alexandra Feodorovna, to whom he played every evening during his brief visit. The Empress was fascinated by his genius, and enjoined him to visit Russia without delay.

"The phenomenal success of the twenty-two concerts which Liszt gave in Berlin during the winter of 1841-1842, soon became a subject of gossip in Petersburg, and his arrival was awaited with unprecedented excitement. He reached the capital early in April, and was almost immediately presented to Nicholas I. On entering the audience chamber, the Emperor, ignoring the presence of numerous generals and high officials who were awaiting an audience, went straight to Liszt saying, "Monsieur Liszt, I am delighted to see you in Petersburg," and immediately engaged him in conversation. A day or two later, on the 8th of April, Liszt gave his first concert in the Salle de la n.o.blesse, before an audience of three thousand people. This concert was both a novel and an important event in Russia. Not only was it the first recital ever heard there--for before Liszt's day, no single artist had attempted to hold the public attention by the spell of his own unaided gifts--but it was also the first tie in a close and lasting bond between the great virtuoso and the Russian people. In after years, no one was quicker to discern the attractive qualities of Russian music, nor more a.s.siduous in its propagation than Franz Liszt.

"In the memoirs of contemporary Russian writers there are many interesting references to Liszt's first appearance in Petersburg. Not only do these reminiscences show the extraordinary glamour and interest which invested the personality of the master; they throw some light upon social life in Russia during the first half of the century.

"The brilliant audience which flocked to the Salle de la n.o.blesse to hear Liszt, numbered no greater enthusiasts than the two young students of the School of Jurisprudence, Sta.s.sov and Serov. Both were destined to attain celebrity in after-life; the former as a great critic, and the chief upholder of national art; the latter, as the composer of at least one popular opera, and the leading exponent of the Wagnerian doctrines in Russia. Sta.s.sov's reminiscences are highly picturesque. We seem actually to see the familiar figure of the pianist as he entered the magnificent Hall of the n.o.bility, leaning on the arm of Count Bielgorsky, an "elderly Adonis" and typical dandy of the forties.

Bielgorsky was somewhat inclined to obesity, moved slowly, and stared at the elegant a.s.semblage with prominent, short-sighted eyes. His hair was brushed back and curled, after the model of the Apollo Belvedere, while he wore an enormous white cravat. Liszt also wore a white cravat, and over it the Order of the Golden Spur, bestowed upon him a short time previously by the Pope. He was further adorned with various other orders suspended by chains from the lapels of his dress coat. But that which struck the Russians most was the great mane of fair hair reaching almost to his shoulders. Outside the priesthood, no Russian would have ventured on such a style of hair-dressing. Such dishevelment had been sternly discountenanced since the time of Peter the Great. Sta.s.sov, afterward one of the warmest admirers of Liszt, both as man and musician, was not altogether favourably impressed by this first sight of the virtuoso. "He was very thin, stooped a great deal, and though I had read much about his famous 'Florentine profile' and his likeness to Dante, I did not find his face beautiful. I was not pleased with his mania for decking himself with orders, and afterwards I was as little prepossessed by his somewhat affected demeanour to those who came in contact with him."

"After the first hush of intense curiosity, the entire a.s.sembly began to discuss Liszt in a subdued murmur. Sta.s.sov, who sat close to Glinka and a well-known pianist--Madame Palibin--caught the following conversation.

Madame Palibin inquired if Glinka had already heard Liszt. He replied that he had met him the night before at Count Bielgorsky's reception.

'Well, what did you think of him?' Glinka answered, without a moment's hesitation, that sometimes Liszt played divinely--like no one else in the world; at other times atrociously, with exaggerated emphasis, dragging the 'tempi,' and adding--even to the music of Chopin, Beethoven, and Bach--tasteless embellishments of his own. 'I was horribly scandalised,' says Sta.s.sov. 'What! Did our "mediocre" Russian musician' (this was Sta.s.sov's first sight of Glinka, and a short time before the appearance of Russlane and Lioudmilla) 'venture thus to criticise the great genius Liszt, who had turned the heads of all Europe!' Madame Palibin, too, seemed to disapprove of Glinka's criticism, and said laughingly, 'Allons donc, tout cela, ce n'est que rivalite de metier!' Glinka smiled urbanely, shrugged his shoulders, and replied, 'As you please.'

"At this moment Liszt mounted the platform, and, pulling his dog-skin gloves from his shapely white hands, tossed them carelessly on the floor. Then, after acknowledging the thunderous applause--such as had not been heard in Russia for over a century--he seated himself at the piano. There was a silence as though the whole audience had been turned to stone, and Liszt, without any prelude, began the opening bars of the overture to William Tell. Criticism, curiosity, speculation, all were forgotten in the wonderful enchantment of the performance. Among other things, he played his fantasia on Don Juan, his arrangements of Adelade, and The Erl King, and wound up the recital with his showy Galop Chromatique.

"'After the concert,' says Sta.s.sov, 'Serov and I were like madmen. We scarcely exchanged a word, but hurried home, each to write down his impressions, dreams, and raptures. But we both vowed to keep the anniversary of this day sacred for ever, and never, while life lasted, to forget a single incident of it. We were like men in love, or bewitched. What wonder? Never before had we come face to face with such a gifted, impa.s.sioned, almost demoniacal personality as that of Liszt, who seemed alternately to let loose the forces of the whirlwind, or to carry us away on a flood of tenderness, grace, and beauty.'

"Serov felt even more strongly the fascination of Liszt's genius. The same evening he sent to Sta.s.sov the following record of his impressions: 'First, let me congratulate you on your initiation into the great mysteries of art, and then--let me think a little. It is two hours since I left the Hall, and I am still beside myself. Where am I? Am I dreaming, or under a spell? Have I indeed heard Liszt? I expected great things from all the accounts I had heard, and still more from a kind of inward conviction--but how far the reality surpa.s.sed my expectations!

Happy, indeed, are we to be living in 1842, at the same time as such an artist! Fortunate, indeed, that we have been privileged to hear him! I am gushing a great deal--too much for me, but I cannot contain myself.

Bear with me in this lyrical crisis until I can express myself calmly.... What a festival it has been! How different everything looks in G.o.d's world to-day! And all this is the work of one man and his playing! What a power is music! I cannot collect my thoughts--my whole being seems in a state of abnormal tension, of confused rapture!'

"Do we experience this exaltation nowadays? I think not. Rarely do we partake of the insane root. Are there no more enchanters like Liszt? Or has the capacity of such enthusiasm and expansion pa.s.sed away for ever with the white stocks, the 'coiffure a l'Apollon Belvedere' and the frank emotionalism of the early Victorian period?"

LISZT IN ENGLAND

"The visits of great musicians to our sh.o.r.es have furnished much interesting material to the musical historian," wrote the _Musical Times_. "Those of Mozart and Haydn, for instance, have been fully and ably treated by the late Carl Ferdinand Pohl, in two volumes which have never been translated, as they deserve to be, into the English language.

No less interesting are the sojournings in London and the provinces of Spohr, Weber, Mendelssohn, Chopin, Berlioz, Verdi, and Wagner. 'The King of Pianists' has not hitherto received the attention due to him in this respect, and the following chit-chat upon his English experiences is offered as a small contribution to the existing biographical information concerning a great man.

"Franz was a boy of twelve years of age, when he made his first appearance in London in the year 1824. At that time Rossini shone as the bright particular star in the London musical firmament. The composer of Il Barbiere actually gave concerts. 'Persons desirous of obtaining tickets are requested to send their names to Signor Rossini, 90, Quadrant [Regent Street], 'so the advertis.e.m.e.nts stated. It was therefore thought desirable to postpone the appearance of the little Hungarian pianist until after Rossini had finished his music-makings.

"The first appearance of Liszt in England was of a semi-private nature.

On June 5, 1824, the Annual Festival of the Royal Society of Musicians took place. The account of the dinner given in the _Morning Post_ contains the following information:

"'Master Liszt (a youth from Hungary) performed on a Grand Pianoforte with an improved action, invented by Sebastian Erard, the celebrated Harp-maker, of very great power and brilliancy of tone.

"'To do justice to the performance of Master Liszt is totally out of our power; his execution, taste, expression, genius, and wonderful extemporary playing, defy any written description. He must be heard to be duly appreciated.'

"Among those who heard Master Liszt was a certain Master Wesley (Samuel Sebastian of that ilk), who, as a Chapel Royal Chorister, took part in the glees sung at that festive board. The _Quarterly Musical Magazine and Review_ of 1824 (p. 241) thus referred to the young pianist's performance:

"'We heard this youth first at the dinner of the Royal Society of Musicians, where he extemporised for about twenty minutes before that judgmatical audience of professors and their friends.'

"The announcement of Liszt's concert appeared in the _Morning Post_ in these terms:

"'NEW ARGYLL ROOMS

"'Master Liszt, aged twelve years, a native of Hungary ... respectfully informs the n.o.bility, Gentry, and the Public in general, that his Benefit Concert will take place this evening, June 21, 1824, to commence at half-past 8 precisely, when he will perform on Sebastian Erard's new patent Grand Pianoforte, a Concerto by Hummel, New variations by Winkhler, and play extempore on a written Thema, which Master Liszt will request any person of the company to give him....

"'Leader, Mr. Mori. Conductor, Sir George Smart. Tickets, half-a-guinea each, to be had of Master Liszt, 18, Great Marlborough Street.'

"In an account of the concert the _Morning Post_ said: 'Notwithstanding the _contrary motions_ which occurred on Monday night of Pasta's benefit and a Grand Rout given by Prince Leopold, there was a numerous attendance.' The musicians present included Clementi, J. B. Cramer, Ries, Neate, Kalkbrenner, and Cipriani Potter, all of whom 'rewarded Master Liszt with repeated _bravos_.' The programme included an air with variations by Czerny, played by Liszt, who also took part in Di Tanti Palpiti, performed 'as a concertante with Signor Vimercati on his little mandolin with uncommon spirit.' The remainder of the _Morning Post_ notice may be quoted in full:

"'Sir G. Smart (who conducted the Concert) invited any person in the company to oblige Master Liszt with a Thema, on which he would work (as the phrase is) extemporaneously. Here an interesting pause took place; at length a lady named Zitti, Zitti. The little fellow, though not very well acquainted with the air, sat down and roved about the instrument, occasionally touching a few bars of the melody, then taking it as a subject for a transient fugue; but the best part of this performance was that wherein he introduced the air with his right hand, while the left swept the keys chromatically; then he crossed over his right hand, played the subject with the left, while the right hand descended by semi-tones to the bottom of the instrument! It is needless to add, that his efforts were crowned with the most brilliant success.'

"Liszt took part in two grand miscellaneous concerts given at the Theatre Royal, Manchester, on the 2d and 4th of August, the other chief attraction being The Infant Lyra, a prodigy harpist '_not_ four years old,' and nine years younger than the juvenile Hungarian pianist. The programme included 'an extempore fantasia on Erard's new patent grand pianoforte of seven octaves by Master Liszt, who will respectfully request a written thema from any person present.' The advertis.e.m.e.nt of the second concert included the following: