Memories of a Musical Life Part 7

LISZT AND PIXIS

In his concertizing days Liszt always played without the music before him, although this was not the usual custom of his time; and in this connection I remember an anecdote told to me by Theimer, one of Dreyschock's a.s.sistant teachers. Pixis was an old-fashioned player of considerable reputation in his day, and was the composer of chamber-music, besides pianoforte pieces. Among other works of his was a duo for two pianofortes. While this composition was yet in ma.n.u.script it was played in one of the concerts of Pixis with the a.s.sistance of Liszt.

Pixis, knowing Liszt's habit of playing from memory, requested him on this occasion at least to have the music open before him on the piano-desk, as he himself did not like to risk playing his part without notes, and he felt it would produce an unfavorable impression on the public if Liszt should play from memory while he, the composer, had to rely on his copy. Liszt, as the story goes, made no promise one way or the other. So when the time came the pianists walked on the stage, each carrying his roll of music. Pixis carefully unrolled his and placed it on the piano-desk. Liszt, however, sat down at the piano, and, just before beginning to play, tossed his roll over behind the instrument and proceeded to play his part by heart. Liszt was young at that time, and--well--somewhat inconsiderate. Later on he very rarely played even his own compositions without having the music before him, and during most of the time I was there copies of his later publications were always lying on the piano, and among them a copy of the "Benediction de Dieu dans la Solitude," which Liszt had used so many times when playing to his guests that it became a.s.sociated with memories of Berlioz, Rubinstein, Vieuxtemps, Wieniawski, Joachim, and our immediate circle, Raff, Bulow, Cornelius, Klindworth, Pruckner, and others. When I left Weimar I took this copy with me as a souvenir, and still have it; and I treasure it all the more for the marks of usage which it bears. I also have a very old copy of the Handel "E Minor Fugue," which was given to me by Dreyschock and which I studied with him and afterward with Liszt.

Dreyschock had evidently used this same copy when he studied the fugue under Tomaschek. It has penciled figures indicating the fingering, made by both Dreyschock and Liszt. A few years ago I missed this valuable relic for a while, and was much grieved by my loss. Fortunately it was discovered in the ash-barrel at the back of the house. Shades of Tomaschek, Dreyschock, and Liszt!

LISZT CONDUCTING

In his conducting Liszt was not unerring. I do not know how far he may have progressed in later years, but when I was in Weimar he had very little practice as a conductor, and was not one of the highest cla.s.s. He conducted, however, and with good results on certain important occasions, such as, for instance, when "Lohengrin" was produced.

On account of his strong advocacy of Wagner and modern music generally, he had many enemies, as was to be expected of a man of his prominence.

If perchance a mishap occurred during his conducting there were always petty critics on hand to take advantage of the opportunity and to magnify the fault.

One of these occasions happened at the musical festival at Karlsruhe in October, 1853, while he was conducting Beethoven's "Ninth Symphony." In a pa.s.sage where the ba.s.soon enters on an off beat the player made a mistake and came in on the even beat. This error, not the conductor's fault, occasioned such confusion that Liszt was obliged to stop the orchestra and begin over again, and the little fellows made the most of this royal opportunity to pitch into him.

LISZT'S SYMPHONIC POEMS--REHEARSING "Ta.s.sO"

When Liszt first began his career as an orchestral composer two parties were formed, one of which predicted success, the other disaster. The latter a.s.serted that he was too much of a pianist and began too late in life for success in this direction. Even in Weimar, in his own household, so to speak, opinions were divided. I remember one of my fellow-pupils saying that he did not think it was his forte. Raff had pretty much the same opinion, and I inclined to agree with them. Liszt was in earnest, however, and availed himself of every means of preparation for the work. Frequently upon his request the best orchestral players came to the Altenburg, and he asked them about their instruments, their nature, and whether certain pa.s.sages were idiomatic to them. About the time I came to Weimar to study with him he had nearly finished "Ta.s.so," and before giving it the last touches he had a rehearsal of it, which we attended. We went to the theater, and he took the orchestra into a room which would just about hold it. Imagine the din in that room! The effect was far from musical, but to Liszt it was the key to the polyphonic effects which he wished to produce.

EXTRACTS FROM A DIARY

As an ill.u.s.tration of some of the advantages of a residence at Weimar almost _en famille_ with Liszt during "die goldene Zeit," a few extracts from my diary are presented, showing how closely events followed one upon another:

"Sunday, April 24, 1853. At the Altenburg this forenoon at eleven o'clock. Liszt played with Laub and Cossmann two trios by Cesar Franck."

This is peculiarly interesting in view of the fact that the composer, who died about ten years ago, is just beginning to receive due appreciation. In Paris at the present time there is almost a Cesar Franck cult, but it is quite natural that Liszt, with his quick and far-seeing appreciation, should have taken especial delight in playing his music forty-seven years ago. Liszt was very fond of it.

"May 1. Quartet at the Altenburg at eleven o'clock, after which Wieniawski played with Liszt the violin and pianoforte 'Sonata in A' by Beethoven."

"May 3. Liszt called at my rooms last evening in company with Laub and Wieniawski. Liszt played several pieces, among them my 'Amitie pour Amitie.'"

"May 6. The boys were all at the Hotel Erbprinz this evening. Liszt came in and added to the liveliness of the occasion."

"May 7. At Liszt's, this evening, Klindworth, Laub, and Cossmann played a piano trio by Spohr, after which Liszt played his recently composed sonata and one of his concertos. In the afternoon I had played during my lesson with Liszt the 'C Sharp Minor Sonata' of Beethoven and the 'E Minor Fugue' by Handel."

"May 17. Lesson from Liszt this evening. Played Scherzo and Finale from Beethoven's 'C Sharp Minor Sonata.'"

"May 20, Friday. Attended a court concert this evening which Liszt conducted. Joachim played a violin solo by Ernst."

"May 22. Went to the Altenburg at eleven o'clock this forenoon. There were about fifteen persons present--quite an unusual thing. Among other things, a string quartet of Beethoven was played, Joachim taking the first violin."

"May 23. Attended an orchestral rehearsal at which an overture and a violin concerto by Joachim were performed, the latter played by Joachim."

"May 27. Joachim Raff's birthday. Klindworth and I presented ourselves to him early in the day and stopped his composing, insisting on having a holiday. Our celebration of this event included a ride to Tiefurt and attendance at a garden concert."

"May 29, Sunday. At Liszt's this forenoon as usual. No quartet to-day.

Wieniawski played first a violin solo by Ernst, and afterward with Liszt the letter's duo on Hungarian airs."

"May 30. Attended a ball of the Erholung Gesellschaft this evening. At our supper-table were Liszt, Raff, Wieniawski, Pruckner, and Klindworth.

Got home at four o'clock in the morning."

"June 4. Dined with Liszt at the Erbprinz. Liszt called at my rooms later in the afternoon, bringing with him Dr. Marx and lady from Berlin, also Raff and Winterberger. Liszt played three Chopin nocturnes and a scherzo of his own. In the evening we were all invited to the Altenburg.

He played 'Harmonies du Soir, No. 2,' and his own sonata. He was at his best and played divinely."

"June 9. Had a lesson from Liszt this evening. I played Chopin's 'E Minor Concerto.'"

"June 10. Went to Liszt's this evening to a bock-beer soiree. The beer was a present to Liszt from Pruckner's father, who has a large brewery in Munich."

"Sunday, June 12. Usual quartet forenoon at the Altenburg. 'Quartet, Op.

161,' of Schubert's was played, also one of Beethoven's quartets."

The last entry may not seem to be particularly important, but it may be as well not to end the quotations from a musical diary with a reference to a bock-beer soiree.

OPPORTUNITIES

The period covered by these extracts was chosen at random, and they give a fair idea of the many musical opportunities which were constantly recurring throughout the entire year.

Ferdinand Laub, the leader of the quartet, was about twenty-one years of age, and already a violinist of the first rank.

Wieniawski and Joachim, young men of the age of twenty-two and nineteen years respectively, were among the most welcome visitors to Weimar.

Joachim, already celebrated as a quartet-player, was regarded by some as the greatest living violinist. The playing of Wieniawski appealed to me more than that of any other violinist of the time, and I remember it now with intense pleasure.

BRAHMS IN 1853

On one evening early in June, 1853, Liszt sent us word to come up to the Altenburg next morning, as he expected a visit from a young man who was said to have great talent as a pianist and composer, and whose name was Johannes Brahms. He was to come accompanied by Eduard Remenyi.

The next morning, on going to the Altenburg with Klindworth, we found Brahms and Remenyi already in the reception-room with Raff and Pruckner.

After greeting the newcomers, of whom Remenyi was known to us by reputation, I strolled over to a table on which were lying some ma.n.u.scripts of music. They were several of Brahms's yet unpublished compositions, and I began turning over the leaves of the uppermost in the pile. It was the piano solo "Op. 4, Scherzo, E Flat Minor," and, as I remember, the writing was so illegible that I thought to myself that if I had occasion to study it I should be obliged first to make a copy of it. Finally Liszt came down, and after some general conversation he turned to Brahms and said: "We are interested to hear some of your compositions whenever you are ready and feel inclined to play them."