Memories of a Musical Life Part 11

Rubinstein's well-known dislike of Wagner, it seems to me, was temperamental in a large degree, and it was quite natural that he was not in agreement with him. Doubtless Chopin would not have approved of Wagner's music, whatever he might have thought of his method. The melodies of Chopin and Rubinstein are full of sentiment and well defined, and their compositions run in entirely opposite channels from those of Wagner, whose music is a vast sensuous upheaval, which proceeds uninterruptedly from the beginning of an act to the end.

All musicians have a good deal of self-esteem. Rubinstein had his own way of composing, which corresponded to his musical temperament. He had to write everything just as it suited his musical ear, and he could not conceive of any one else having as fine a musical ear as he. At all events, he never stopped long enough to find out if any one else had.

Few musicians do. Liszt was fond of Rubinstein, and used to call him the "young Beethoven," on account of a certain fancied resemblance he bore to the great composer. He also recognized Rubinstein's great ability as a pianist, although I think that as a player he rated Tausig much higher. Many years after I left Weimar a relative of mine met Liszt in Rome. She had a short time previous to this heard Rubinstein in concert, and was in a state of great enthusiasm about his playing, and so expressed herself to Liszt. His sole comment was, "Have you ever heard Tausig?" The inference was that those who had heard Rubinstein and not Tausig had missed hearing the greater of the two. I think Liszt regarded Tausig as the best of all his pupils.

As I have said once before in these pages, I never saw Liszt after leaving Weimar in July, 1854. I occasionally received letters from him--several of them quite long and exceedingly entertaining. One of these (the original in French) is reproduced here because it is characteristic of his pleasantry and good humor:

MY DEAR MASON: Although I do not know at what stage of your brilliant artistic peregrinations these lines will reach you, I feel a.s.sured that you are not ignorant that I am very, very sincerely and affectionately obliged to you for keeping me in kind remembrance, a fact to which the musical journals which you have sent me bear good witness. The "Musical Gazette" of New York has in particular given me genuine satisfaction, not alone on account of the agreeable and flattering things concerning me personally which it contains, but furthermore because this journal seems to me to inculcate an excellent and superior direction of opinion in your country. As you know, my dear Mason, I have no other self-interest than to serve the good cause of art so far as is possible, and wherever I find men who are making conscientious efforts in the same direction, I rejoice and am strengthened by the good example which they give me. Be so good as to present to your brother, the head editor of the "Musical Review", as I suppose, my very sincere thanks and compliments. If he would like to receive some communication from Weimar upon matters of interest which occur in the musical world of Germany, I will willingly have them sent to him through the medium of Mr. Pohl, who, by the way, does not live any longer at Dresden, where the numbers of the "Musical Gazette"

were addressed by mistake, but at Weimar in the Kaufstra.s.se. His wife, one of the best harpists that I know, stands among the virtuosos of our "Chapelle", and is an important factor in the representation of the opera, as also in concerts.

Apropos of concerts, in a few days I will send you the program of a series of symphonic performances, which ought to have been established here several years ago, and to which I consider it an honor and a duty to give definite encouragement from the year 1855.

I expect Berlioz toward the end of January. We shall then hear his trilogy "L'Enfance du Christ", of which you already know "La Fuite en Egypte". To this he has added two other short oratorios, "Le Songe d'Herode" and "L'Arrivee a Sas".

The dramatic symphony "Faust" (in four parts, with solos and choruses) will also be given in full during his stay here.

In regard to visits from artists who have been personally agreeable to me during the last month, I would name Clara Schumann and Litolff.

In Brendel's journal, "Neue Zeitschrift", you will find an article signed with my name, on Mme. Schumann, whom I have again heard with that sympathy and absolute admiration which her talent compels.

As for Litolff, I confess that he has made a very vivid impression on me. His fourth concerto symphony (ma.n.u.script) is a very remarkable composition, and he played it in so masterly a manner, with such verve, with such boldness and certainty, that I derived intense pleasure from it.

If there was a little of the quadruped in the amazing execution of Dreyschock (and this comparison should not vex him; is not the lion cla.s.sed among quadrupeds as well as the poodle?), in that of Litolff, there is certainly something _winged_; moreover, he has all the superiority over Dreyschock that a biped having ideas, imagination, and sensibility has over another biped which imagines itself possessed of all this wealth--often very embarra.s.sing!

Do you continue your familiar intercourse with the Old Cognac in the New World, my dear Mason? Let me again commend _measure_ to you, an essential quality for musicians. In truth, I am not too well qualified to extol the _quant.i.ty_ of this _quality_, for, if I remember rightly, I have often employed tempo rubato when I was giving my concerts (work which I would not begin again for anything in the world), and even quite recently I have written a long symphony in three parts, called "Faust" (without text or vocal parts), in which the _horrible_ measures 7/8, 7/4, 5/4 alternate with common time and 3/4. By virtue of which I conclude that you should be satisfied with 7/8 of a little bottle of old cognac in the evening, and never exceed five quarts!

Raff, in his first volume of "Wagner Frage", has thoroughly realized something like _five quarts_ of doctrinal sufficiency, but that is an unadvisable example to copy in a critical matter, and above all in the matter of cognac and other spirits!

My dear Mason, excuse these bad jokes, justified only by my good intentions; that you may bear yourself valiantly, physically and morally, is the most cordial wish of

Your very friendly affectionate F. LISZT.

WEIMAR, December 14, 1854.

You did not know Rubinstein in Weimar?[2] He spent some time here, and was conspicuously different from the opaque ma.s.s of self-styled _composer-pianists_ who do not even know what it is to play the piano, still less with what fuel it is necessary to heat one's self in order to compose, so that with what they lack in talent for composition they fancy themselves pianists, and vice versa.

Rubinstein will publish forthwith about fifty compositions--concertos, trios, symphonies, songs, light pieces, etc., which deserve notice.

Laub has left Weimar. Ed. Singer takes his place in our orchestra.

The latter gives much pleasure here, and is pleased himself also.

Cornelius, Pohl, Raff, Pruckner, Schreiber, and all the new school of the new Weimar send you their friendliest greetings, to which I add a hearty _shake-hand_.

F. L.

Other letters received from Liszt are perhaps not very important, but with one exception never having been published before, they are printed in the Appendix.

[Ill.u.s.tration: Autograph of Ferdinand Laub]

Pupils of Liszt and Thalberg and their pupils in search of an entertaining diversion may amuse themselves by tracing their musical pedigree back to Bach, Mozart, and Beethoven, and thus lay claim to very distinguished ancestry, as shown in the following table:

Liszt, Franz, born Oct. 22, 1811.

Czerny, Carl, born Feb. 21, 1791.

Beethoven, Ludwig van, born Dec. 16, 1770.

Neefe, Christian G., born Feb. 5, 1748.

Hiller, Johann A., born Dec. 25, 1728.

Homilius, G. A., born Feb. 2, 1714.

Bach, Johann Sebastian, born March 21, 1685.

Thalberg, Sigismond, born Jan. 7, 1812.

Hummel, J. N., born Nov. 14, 1778.

Mozart, Wolfgang A., born Jan. 27, 1756.

If there be any whose pride is not sufficiently nourished by this display, they may go still further and show, by authentic records, a descent through Bach from Josquin Desprez, the most eminent contrapuntist of the Netherlands school, who lived about 1450-1521.

During the winter of 1879-80, which I spent at Wiesbaden on account of ill health, I received a very cordial invitation to visit Liszt at Weimar some time in July, and made plans to do so, which were frustrated, however, through unforeseen circ.u.mstances. Bulow, when on his first visit here, in 1875, told me that the old charm had entirely pa.s.sed away. The "Golden Time" was among the things that were.

The last message I had from Liszt was brought to me by Mr. Louis Geilfuss of Steinway & Sons, who met Liszt in one of the streets of Bayreuth only a few days before his death, which occurred somewhat unexpectedly on July 31, 1886.

AT WORK IN AMERICA

When I returned from Europe in 1854 my parents had moved from Boston, and were living at Orange, New Jersey.

On landing in New York, I hurried to Boston, and went immediately to the house of Mr. Webb. This had been my constant purpose ever since the time I left America in 1849. In due course Miss Webb and I became engaged, and were married on March 12, 1857.

My first enterprise after returning from Germany was a concert tour.

This I believe to have been the first exclusively pianoforte recital tour ever undertaken in this country. Gottschalk, who was here at that time, had traveled about giving concerts, but he was never without a singer or a.s.sociate of some kind.

In 1863 I had attended a recital given in Frankfort, Germany, by Ferdinand Hiller, the program of which consisted exclusively of his own compositions, concluding with a free improvisation on themes suggested by the audience. My recitals were fashioned after this, only I played very few of my own pieces. The programs were somewhat similar to those of the present time, ranging from Beethoven and Chopin to Liszt. At that time Bach's name, according to my recollection, was never seen on a pianoforte-recital program. A large number of these compositions, such as Liszt's "Twelfth Rhapsody" and Chopin's "Fantasie Impromptu," were played for the first time in this country at these concerts.

TOURING THE COUNTRY

My friend Oliver Dyer managed the tour. My brothers Daniel and Lowell were at this time booksellers and publishers in New York, under the firm-name of Mason Brothers, and Mr. Dyer was connected with them in business. He was a man of action, and possessed good literary ability.

He had lived for a time in Washington as reporter of speeches made in Congress, and later on he was connected with Robert Bonner on the "Ledger".

He arranged a pamphlet in which he set forth and doubtless embellished the facts connected with my sojourn in Germany and the favor with which my playing had been received. When, in the course of our tour, we arrived at a town where a lecture was to be given,--not an uncommon occurrence,--he would take down the lecture stenographically and write notices of it for the local papers. The editors appreciated this favor, and were so kindly disposed toward us that they would print any advance notices he chose to write about me. In what he wrote of me, however, I was not willing to have him go to extremes, though he would frequently slip something into the paper without my knowledge, leaving me to find fault with him the next day.

All along the route it was difficult to persuade people that an entertainment of pianoforte-playing exclusively could be made interesting. They had never heard of such a thing, and insisted that there ought to be some singing for the sake of variety. We stopped in Albany, Troy, Utica, and many other places on the way to Chicago, where I gave two concerts, one of which took place on New Year's eve. After the concert I attended a large reception given in a private residence. I remember being struck by the fact, as it seemed to me, that there were so many young ladies at this reception, and I asked the hostess if there were no married ladies in Chicago. "Why, Mr. Mason," she replied, "there are only two or three unmarried ladies in the room." At that period Chicago was full of young men who had come from the Eastern States, princ.i.p.ally New England. After staying in Chicago for two or three years and getting well started in business they would get married, many of them going to their native places for their brides. This accounted for the youthful appearance of the a.s.semblage, and ill.u.s.trates in part the very rapid growth of Chicago.

Up to the time we arrived in Chicago we had rainy weather constantly, and partly on this account we were out of pocket. Dyer was for going back to New York by the quickest route. I said: "No; I am going back through the same towns, and shall give concerts in every one of them. If the people liked my playing well enough they will come again and bring their neighbors. If they did not like it, I shall soon find it out." As it turned out, I had much larger audiences all the way home.