MRS. ELLET

This lady, in an account of an autumn holiday on the Rhine, relates:

"Liszt, with his wonted kindness, had offered to give a concert in Cologne, the proceeds of which were to be appropriated to the completion of the Cathedral; the Rhenish Liedertafel resolved to bring him with due pomp from the island of Nonnenwerth, near Bonn, where he had been for some days. A steamboat was hired expressly for this purpose, and conveyed a numerous company to Nonnenwerth at 11 in the morning. The Liedertafel then greeted the artist, who stood on the sh.o.r.e, by singing a morning salute, accompanied by the firing of cannons and loud hurrahs.

They then marched with wind-instruments in advance to the now empty chapel of the cloister of Nonnenwerth, where they sang, and thence to Rolandseck, where an elegant dinner was prepared for the company. All eyes were fixed on Liszt; all hearts were turned to him. He proposed a toast in honour of his entertainers; and at the conclusion of his speech observed with justice that nowhere in the world could any club be found like the Liedertafel in Germany. When the banquet was over they returned to Nonnenwerth, where a crowd of people from the surrounding country was a.s.sembled. The universal wish to hear Liszt was so evident that he was induced to send for a piano to be brought into the chapel, and to gratify the a.s.sembly--listening and rapt with delight--by a display of his transcendent powers. The desolate halls of the chapel once more resounded with the stir and voices of life. Not even the nuns, we will venture to say, who in former times used here to offer up prayers to heaven, were impressed with a deeper sense of the heavenly than was this somewhat worldly a.s.sembly by the magnificent music of Liszt, that seemed indeed to disclose things beyond this earth. At 7 o'clock the Liedertafel, with Liszt at their head, marched on their return, and went on board the steamboat, which was decorated with coloured flags, amid peals of cannon. It was 9, and quite dark, when they approached their landing. Rockets were sent up from the boat, and a continued stream of coloured fireworks, so that as the city rose before them from the bosom of the Rhine the boat seemed enveloped in a circle of brilliant flame which threw its reflection far over the waters. Music and hurrahs greeted our artist on sh.o.r.e; all Cologne was a.s.sembled to give him the splendid welcome which in other times only monarchs received. Slowly the procession of the Liedertafel moved through the mult.i.tude to the hotel, where again and again shouts and cheers testified the joy of the people at the arrival of their distinguished guest."

MINASI

Minasi, the once popular painter, who sketched a portrait of Thalberg during his first sojourn in London, also wrote an account of an interesting conversation about Liszt:

"The purpose of my requesting an introduction to M. Thalberg was, first, to be acquainted with a man of his genius; and next, to request the favour of his sitting for his portrait, executed in a new style with pen and ink. His total freedom from all ceremony and affectation perfectly charmed me. He appointed the next morning at 9 for his first sitting; and in my eagerness to commence my task, and make one of my best studies, I was in his breakfast room a quarter of an hour before my time. While he was taking his breakfast I addressed him in my own language; and when he answered me with a most beautiful accent I was delighted beyond measure. I felt doubly at home with him. Since then I find that he is a perfect scholar, possessing, with his finished p.r.o.nunciation, a great propriety of conception.

"While I was putting on paper the outlines of his profile (a striking feature of his face), I inquired whether he was acquainted with my friend Liszt in Paris. He remarked that Liszt had disgraced himself with all impartial persons by writing against him with violent acrimony in the public prints; and which act he himself acknowledged was the result of professional jealousy. I was the more grieved to hear this, because I had entertained the highest respect for Liszt, who, as I told Thalberg, would never have demeaned himself had his father been living; whose last words to his son were: 'My son, you have always conducted yourself well; but I fear, after my death, some designing knave will lay hold of and make a dupe of you. Take care, my dear son, with whom you a.s.sociate.' In one instance, Liszt met Thalberg, and proposed that they should play a duet in public, and that he (Liszt) should appoint the time. Thalberg's answer was: 'Je n'aime pas d'etre accompagne,' which greatly amused the Parisians. Upon another occasion, Liszt made free to tell Thalberg that he did not admire his compositions. Thalberg replied: 'Since you do not like my compositions, Liszt, I do not like yours.'

"To the honour of Liszt, however, it should be stated that, having called upon Thalberg, he acknowledged his errors, making him a solemn promise never to offend in the same manner, adding that the cause of his attack upon him arose from jealousy of his rival's high talents, which made him the idol of the Parisians, and by whom he was received with the greatest enthusiasm. Thalberg dismissed the subject with me, by doing justice to himself as a public performer; at the same time declaring that Liszt is one of the greatest pianists in Europe, and he concluded with the following generous admission: 'Nevertheless, after all that has pa.s.sed between us, I think Liszt would do anything to oblige me.'"

MACREADY

The once popular novelist, the Countess of Blessington, on May 31, 1840, invited many distinguished personages to her London house to meet Liszt, and among those who came were Lord Normanby, Lord Canterbury, Lord Houghton (then Mr. Monckton Milnes), Chorley, Rubini, Stuart Wortley, Palgrave Simpson, and Macready, the famous tragedian. Liszt played several times during the evening, and created an impression on all those present, especially on Macready, who notes in his diary:

"Liszt, the most marvellous pianist I ever heard; I do not know when I have been so excited."

AN ANONYMOUS GERMAN ADMIRER

The following recollections of Liszt's first visit to Stuttgart were published in a periodical many years ago. Though they appeared without any signature, the author seems to have been on intimate terms with the great musician:

"Liszt played several times at court, for which he received all possible distinctions which the King of Wurtemberg could confer upon an artist.

The list of honours was exhausted when the royal princesses wished to hear once more this magician of the piano keys quite privately in their own apartments. Liszt, our truly chivalric artist, accepted with delight such an invitation, expecting less to show himself as an artist than to express his thanks for the many honours received. It must have been rare enjoyment for a royal family which recognised in art only a graceful pastime and a delightful intoxication of the sense, with an agreeable excitement of the sentiments; for no artist in the world understands better than Liszt how to survey at a glance the character and the most hidden recesses in the hearts of his audience. This very fact is the cause of his wonderful effects, and will secure them to him always. He played on that occasion Weber's Invitation a la Valse, with his own effectual, free, final cadenza, his Chromatic Galop (which causes all nerves to vibrate), and a few of his transcriptions of Schubert's songs--those genuine pearls, the richness and colouring of which none can show so well as himself, being a unique and most perfect master of the art of touch. And, finally, in order to show something at least of his immense bravura, he played a little concert piece. The most gracious words of acknowledgment were showered upon him. Liszt, enraptured by the truly heavenly eyes of one of the princesses, which, rendered still more beautiful by a singular moisture, were fixed upon him, declared his happiness in thus being able to express his thanks for the many honours conferred upon him.

"Among all the princes of Europe, however, there is none so little inclined to accept of services without remuneration as the King of Wurtemberg. This is one of the many chivalric traits in the character of that monarch; no other rewards artists in such royal style. On the next morning I was with Liszt, each of us smoking a real Havana comfortably on one end of the sofa. Liszt was telling me of his last visit to court, when one of its servants entered. He placed a roll of 150 ducats in gold upon the table, and presenting Liszt with an open receipt, asked him to sign it. Liszt read: 'Received for playing,' etc. Aloud, and in a tone of astonishment, Liszt repeated the words, 'Received for my playing?'

and, rising with that peculiar aristocratic grace, he says in a mild, condescending tone: 'For my playing--am I to sign this doc.u.ment? My friend, I imagine some clerk of the court treasury has written this scrawl.' Upon which the servant, interrupting, said that it had been written by Herr Tagel, Counsellor of Court and Director of the Court Treasury. 'Well,' said Liszt, 'take back the receipt and money, and tell' (raising his voice) 'the counsellor from me, that neither king nor emperor can pay an artist for his playing--only, perchance, for his lost time, and' (with haughty indignation) 'that the counsellor is a blockhead if he does not comprehend that. For your trouble, my friend,'

(giving him 5 ducats) 'take this trifle.'"

The writer goes on to say:

"The servant, in utter astonishment, knew not what to answer, and looked at me. But Liszt's slight figure was erect, his finely cut lips were compressed, his head was boldly thrown back, so that his thick hair fell far down on his shoulders; his nostrils were expanding, the lightning of his keen and brilliant eye was gleaming, his arms were folded, and he showed all his usual indications of inward commotion. Knowing, therefore, that Liszt had by that doc.u.ment been touched in his most sensitive point, and that this was nothing more nor less than a small battle in his great contest for the social position and rights of artists--a contest which, when a boy of fifteen years, he had already taken up--I was well aware of the impossibility of changing his mind for the present, and therefore remained silent, while the discomfited lackey retired with many low bows, taking money and scroll with him. Whether he really delivered the message I know not; but I was still with Liszt when he reappeared and, laying the money upon the table, gave Liszt a large sealed letter, which read as follows: 'The undersigned officer of the Treasury of Court, commanded by His Majesty the King, begs Dr. Liszt to accept, as a small compensation for his lost time with the princesses, the sum of 150 ducats.' Liszt handed me the paper, and with a silent glance I interrogated him in return. It is an old fact that the soul is always most clearly reflected in homely features, and I distinctly read in his face reconciliation and the kindest feeling again. He sat down and wrote on a sc.r.a.p of paper with pencil: 'Received from the Royal Treasury 150 ducats--Franz Liszt,' and gave it to the servant very politely, accompanied by another rich gift. There was never afterward any further allusion to the affair.

"The price of admission to Liszt's concerts was unusually high, so that they could only be frequented by the wealthier cla.s.ses. At a party the conversation fell upon the subject, and it was regretted that for such a reason many teachers and scholars, in spite of their great anxiety to hear the great master, were prevented from doing so. I told Liszt this, and he answered: 'Well, arrange a concert for them, only charge as much or as little as you think proper, and let me know when and what I shall play. Immediately a committee was formed, and a concert for teachers and scholars only arranged, to which the price of admission amounted to only 18 kreutzers (about sixpence). Quant.i.ties of tickets were sold, and immense galleries had to be erected in the large hall. Liszt viewed with delight the juvenile mult.i.tude, whose enthusiasm knew no bounds, and I never heard him play more beautifully. With a delighted heart he stood amid a shower of flowers which thousands of little hands were strewing for him, and when at last six veritable little angels approached in order to thank him, he embraced them with tears in his eyes--not heeding the fact that the grown-up people were appropriating his gloves, handkerchief, and all they could get hold of, tearing them up into a thousand bits to keep in remembrance of him. On the next morning we brought him the proceeds of the concert (nearly 1,000 florins). He declared that he had felt happier at that concert than ever before, and that nothing could induce him to accept the money, with which the committee might do as they pleased, and if, after so much delight, they did not wish really to hurt his feelings he would beg of them never to mention that money to him again. It was appropriated to a Liszt Fund, which will continue to exist forever, and a poor teacher's son, on going to college, is destined to receive the first interest.

"Liszt was once at my house, when a woman was announced to whom I was in the habit of giving quarterly a certain sum for her support. It being a few days before the usual time, she gave as an excuse (it was November) the hard times. While providing for her I told Liszt in an under-tone that she was an honest but very indigent widow of a painter, deceased in his prime, to whom an number of brother artists were giving regular contributions in order to enable her to get along with her two small children. I confess, while telling him this, I hoped that Liszt, whose liberality and willingness to do good had almost become proverbial, would ask me to add something in his name, and was, therefore, surprised to see him apparently indifferent, for he answered nothing and continued looking down in silence. After a few days, however, the widow reappeared, her heart overflowing with thankfulness and her eyes filled with tears of joy, for she and her children had at the expense of a man whose name she was not permitted to know, received beautiful and new winter clothing, while kitchen and cellar had been stored with every necessary for the coming winter. Now all this had been arranged by the landlady of a certain hotel, at which Liszt was then stopping. A piano maker, who had not the means to erect a factory, needed but to convince Liszt of his rare ability, and immediately he had at his command over 80,000 frs. This man is now dead, and Liszt never had received a farthing of that money back."

GEORGE ELIOT

The English novelist visited Liszt at Weimar in 1854 and records some pleasing recollections:

"About the middle of September the theatre opened. We went to hear Ernani. Liszt looked splendid as he conducted the opera. The grand outline of his face and floating hair was seen to advantage, as they were thrown into the dark relief by the stage lamps. Liszt's conversation is charming. I never met a person whose manner of telling a story was so piquant. The last evening but one that he called on us, wishing to express his pleasure in G----'s article about him, he very ingeniously conveyed that expression in a story about Spontini and Berlioz. Spontini visited Paris while Liszt was living there and haunted the opera--a stiff, self-important personage, with high shirt collars--the least attractive individual imaginable. Liszt turned up his own collars and swelled out his person, so as to give us a vivid idea of the man. Every one would have been glad to get out of Spontini's way; indeed, elsewhere 'on feignait de le croire mort'; but at Paris, as he was a member of the Inst.i.tute, it was necessary to recognise his existence.

"Liszt met him at Erard's more than once. On one of these occasions Liszt observed to him that Berlioz was a great admirer of his (Spontini), whereupon Spontini burst into a terrible invective against Berlioz as a man who, with the like of him, was ruining art, etc.

Shortly after the Vestale was performed and forthwith appeared an enthusiastic article by Berlioz on Spontini's music. The next time Liszt met him of the high collars he said: 'You see I was not wrong in what I said about Berlioz's admiration of you.' Spontini swelled in his collars and replied, 'Monsieur, Berlioz a du talent comme critique.' Liszt's replies were always felicitous and characteristic. Talking of Madame d'Agoult he told us that when her novel, Nelida, appeared in which Liszt himself is pilloried as a delinquent, he asked her, 'Mais pourquoi avez-vous tellement maltraite ce pauvre Lehmann?' The first time we were asked to breakfast at his house, the Altenburg, we were shown into the garden, where in a salon formed by the overarching trees dejeuner was sent out. We found Hoffmann von Fallersleben, the lyric poet, Dr. Schade, a Gelehrter, and Cornelius. Presently came a Herr or Doctor Raff, a musician, who had recently published a volume called Wagnerfrage. Soon after we were joined by Liszt and the Princess Marie, an elegant, gentle-looking girl of seventeen, and at last by the Princess Wittgenstein, with her nephew, Prince Eugene, and a young French artist, a pupil of Scheffer.

"The princess was tastefully dressed in a morning robe of some semi-transparent white material, lined with orange colour, which formed the bordering and ornament of the sleeves, a black lace jacket and a piquant cap on the summit of her comb, and trimmed with violet colour.

When the cigars came, Hoffmann was requested to read some of his poetry, and he gave us a baccha.n.a.lian poem with great spirit. I sat next to Liszt, and my great delight was in watching him and in observing the sweetness of his expression. Genius, benevolence, and tenderness beam from his whole countenance, and his manners are in perfect harmony with it. Then came the thing I had longed for--his playing. I sat near him so that I could see both his hands and face. For the first time in my life I beheld real inspiration--for the first time I heard the true tones of the piano. He played one of his own compositions, one of a series of religious fantasies. There was nothing strange or excessive about his manner. His manipulation of the instrument was quiet and easy, and his face was simply grand--the lips compressed and the head thrown a little backward. When the music expressed quiet rapture or devotion a smile flitted over his features; when it was triumphant the nostrils dilated.

There was nothing petty or egotistic to mar the picture. Why did not Scheffer paint him thus, instead of representing him as one of the three Magi? But it just occurs to me that Scheffer's idea was a sublime one.

There are the two aged men who have spent their lives in trying to unravel the destinies of the world, and who are looking for the Deliverer--for the light from on high. Their young fellow seeker, having the fresh inspiration of early life, is the first to discern the herald star, and his ecstasy reveals it to his companions. In this young Magi Scheffer has given a portrait of Liszt; but even here, where he might be expected to idealise unrestrainedly, he falls short of the original. It is curious that Liszt's face is the type that one sees in all Scheffer's pictures--at least in all I have seen.

"In a little room which terminates the suite at the Altenburg there is a portrait of Liszt, also by Scheffer--the same of which the engraving is familiar to every one. This little room is filled with memorials of Liszt's triumphs and the worship his divine talent has won. It was arranged for him by the princess, in conjunction with the Arnims, in honour of his birthday. There is a medallion of him by Schwanthaler, a bust by an Italian artist, also a medallion by Rietschl--very fine--and cabinets full of jewels and precious things--the gifts of the great. In the music salon stand Beethoven's and Mozart's pianos. Beethoven's was a present from Broadwood, and has a Latin inscription intimating that it was presented as a tribute to his ill.u.s.trious genius. One evening Liszt came to dine with us at the Erbprinz, and introduced M. Rubinstein, a young Russian, who is about to have an opera of his performed at Weimar."

AN ANONYMOUS LADY ADMIRER

This lady relates a touching incident about Liszt and a young music mistress:

"Liszt was still at Weimar, and no one could venture to encroach upon his scant leisure by a letter of introduction. I saw him constantly at the mid-day table d'hote. His strange, impressive figure as he sat at the head of the table was a sight to remember; the brilliant eyes that flashed like diamonds, the long hair, in those days only iron gray, the sensitive mouth, the extraordinary play of expression, once seen, could never fade from memory. Everything, indeed, about him was phenomenal--physiognomy, appearance, mental gifts; last, but not least, amiability of character and an almost morbid terror of inflicting pain.

This characteristic, of course, led him into many embarra.s.sments, at the same time into the committal of thousands of kind actions; often at the sacrifice of time, peace of mind, and, without doubt, intellectual achievements.

"As I proposed to spend some months at Weimar, I engaged a music mistress, one of Liszt's former pupils, whom I will call Fraulein Marie.

'I will myself introduce you to the Herr Doctor,' she said. 'To his pupils he refuses nothing.' I must add that Fraulein Marie was in better circ.u.mstances than most German teachers of music. She had, I believe, some small means of her own, and belonged to a very well-to-do family.

The poor girl, who was, as I soon found out, desperately in love with her master, got up a charming little fete champetre in his honour and my own. A carriage was ordered, picnic baskets packed, and one brilliant summer afternoon hostess and guests started for Tieffurt. The party consisted of Liszt, Fraulein Marie, a violinist of the other s.e.x, a young lady pianist from a neighbouring town, and myself. Liszt's geniality and readiness to enter into the spirit of the occasion were delightful to witness. The places of honour were a.s.signed to the English stranger and the violinist, Liszt insisting on seating a pupil on each side, on the opposite seat of the carriage, not in the least disconcerted by such narrow accommodation. Thus, chatting and laughing, all of us in holiday mood, we reached the pretty park and chateau of Tieffurt.

"As the evening was cool, we supped inside the little restaurant, and here a grievous disappointment awaited our hostess. Tieffurt is celebrated for its trout; indeed this delicacy is as much an attraction to many visitors as its literary and artistic a.s.sociations. But although trout had been ordered by letter beforehand none was forthcoming wherewith to fete the Maestro. Fraulein Marie was in tears.

Liszt's gaiety and affection, however, put everything right. He cut brown bread and b.u.t.ter for the two girls, and made them little sandwiches with the excellent cold wurst. 'Ah, das schmeckt so gut,'

they cried, as they thanked him adoringly. He told stories; he made the rest do the same. 'Erzahlen von Erfurt' (tell us Erfurt news), he said to the young lady guest. The moments pa.s.sed all too rapidly. Then in the clear delicious twilight we drove back to Weimar, his pupils kissing his hands reverentially as he quitted us. So far all had been bright, joyous, transparent; but I soon discovered that this charming girl, who possessed the vivacity of a French woman, combined with the schwarmerei or sentimentality of a Teutonic maiden, was rendered deeply unhappy by her love for Liszt.

"He was at that time enmeshed in the toils of another and far less guileless pa.s.sion. Whilst to his gentle and innocent pupil he could accord only the affection of a loving and sympathetic friend and master, there were other women about him. Fraulein Marie's hapless sentiment could never discredit either herself or its object, but it occasioned a good deal of embarra.s.sment and wretchedness, as we shall see. A few days after this gay al fresco tea she came to me in great distress, begging me forthwith to deliver a little note into the master's hand. I was reluctantly obliged to delegate the delicate mission to a hired messenger. Ill would it have become a stranger to interfere in these imbroglios. Moreover, at that very time Liszt had, as I have hinted, a love affair on his hands--had, in fact, momentarily succ.u.mbed to the influence of one of those women who were his evil genius. Just ten years later I revisited Weimar, and my first inquiry of common friends was after my sweet young music mistress. 'Fraulein Marie! Alas!' replied my informant, 'the poor girl has long been in a maison de sante.' Her love for Liszt ended in loss of reason."

LADY BLANCHE MURPHY

Lady Blanche gives an interesting account of Liszt's sojourn at the Monastery on Monte Mario in 1862, shortly after he became an abbe of the Roman Catholic Church. After describing the scenery of the place she says: "Here Liszt had taken up his abode, renting two bare white-walled rooms for the summer, where he looked far more at home than among the splendours of the prelate's reception room or the feminine elegancies of the princess' boudoir. He seemed happier, too--more cheerful, and light-hearted. He said he meant to be a hermit this summer, and the good Dominican lay brother attended to all his creature comforts, while he could solace himself by hearing the daily ma.s.s said in the early morning in the little chapel, into which he could step at any moment.

His piano stood in one corner of his little cell, his writing table was piled with books and music, and besides these there was nothing of interest in the room. The window looked out upon one of the most glorious views of the world. Here Liszt seemed quite another being. He talked gaily, and suddenly started up, volunteering to play for us--a thing, many of his best friends said, they had not known him do for years.

"It was all his own, yet, though peculiar, the sound did not resemble the sobbing music, the weird chords, his fingers had drawn forth from the keys as he played among conventional people in conventional evening gatherings. There was a freshness, a springiness, in to-day's performance which suited the place and hour, and that visit to the hermit-artist was indeed a fitting leave-taking for us who were so entranced with his pure, strong genius. Still, the artist had not forgotten to initiate us into one of the secrets of his simple retreat.

The Dominicans of some remote mountain convent had kindly sent him a present of some wonderful liqueur--one of those impossible beverages a.s.sociated in one's mind with Hebe's golden cups of flowing nectar, rather than with any commonplace drink. Liszt insisted upon our tasting this: green Chartreuse was nothing to it and we scarcely did more than taste. And this was the last time we saw him, this king-artist. It was a great privilege, and perhaps he, of all living artists we had come across, is the only one who could not disappoint one's ideal of him."

KARL KIRKENBUHL

This author, in his Federzeichnungen aus Rom, describes a visit to Liszt in 1867:

"The building in which Liszt resides in Rome is of unpretending appearance; it is, and fancy may have pictured such a place as Liszt's 'Sans Souci,' a melancholy, plain little monastery. But by its position this quiet abode is so favoured that probably few homes in the wide world can be compared to it. Situated upon the old Via Sacra, it is the nearest neighbour of the Forum Romanum, while its windows look toward the Capitol, the ruins of the Palatine Palace and the Colosseum. In such a situation a life of contemplation is forced upon one. I mounted a few steps leading to the open door of the monastery, and all at once grew uncertain what to do, for I saw before me a handsome staircase adorned with pillars, such as I should not have expected from the poor exterior of the building. Had not a notice in the form of a visiting-card over the large door at the top of the stairs met my eye, I should have considered it necessary to make further inquiries. As it was, however, I was able to gain from the card itself the information I needed. I approached and read: 'L'Abbe Franz Liszt.' So, really an Abbe! A visiting-card half supplies the place of an autopsy. After I arranged my necktie and pulled on my gloves more tightly, I courageously grasped the green cord that summoned the porter. Two servants, not in tail coat, it is true, but clad in irreproachable black, received me; one hastened to carry in my card, while the other helped me off with my topcoat.

"My ideas of a genuine monkish life suffered a rude shock. Wherefore two servants before the cell of a monk; or if attendant spirits, why were they not, according to monastic rules, simply lay brothers?

"But I had not long to puzzle my brains with these obtrusive questions, for I was presently plunged into still greater mental confusion. The messenger who had gone to announce me returned and ushered me in with a notification that Signor Abbate requested me to await a moment in--the drawing-room! Yes, actually a drawing-room, in the most elegant acceptation of the word. It wanted nothing either of the requisites for northern comfort or of the contrivances demanded by the climate of Rome, though glaring luxury appeared scrupulously avoided.