His hair is white, his complexion dark red, veined, and not very healthy. He seems to need fresh air and exercise; the great gardens of the Vatican are no compensation for this man of sorrows, homesick for the sultry lagoons and stretches of gleaming waters in his old diocese of Venice. If the human in him could call out it would voice Venice, not the Vatican. The flesh of his face is what the painters call "ecclesiastical flesh," large in grain. His nose broad, unaristocratic, his brows strong and harmonious. His eyes may be brown, but they seemed black and brilliant and piercing. He moved with silent alertness. An active, well-preserved man, though he achieved the Biblical three-score and ten in June, 1905. I noted, too, with satisfaction, the shapely ears, artistic ears, musical ears, their lobes freely detached. A certain resemblance to Pius IX there is; he is not so amiable as was that good-tempered Pope who was nicknamed by his intimate friend, the Abbe Liszt, _Pia Nina_, because of his musical proclivities. Altogether, I found another than the Pope I had expected. This, then, was that exile--an exile, yet in his native land; a prisoner in sight of the city of which he is the spiritual ruler; a prince over all princ.i.p.alities and dominions, yet withal a feeble old man, whose life might be imperilled if he ventured into the streets of Rome.

The Pope had now finished his circle of pilgrims and stood at the other end of the Sala. With him stood his chamberlains and ecclesiastics.

Suddenly a voice from the balcony, which I saw for the first time, bade us come nearer. I was thunder-struck. This was back to the prose of life with a vengeance. We obeyed instructions. A narrow aisle was made, with the Pope in the middle perspective. Then the voice, which I discovered by this time issued from the mouth of a bearded person behind a huge, glittering camera, cried out in peremptory and true photographer style:----

"One, two, three! Thank your Holiness."

And so we were photographed. In the Vatican and photographed! Old Rome has her surprises for the patronising visitors from the New World. It was too business-like for me, and I would have gone away, but I couldn't, as the audience had only begun. The Pope went to his throne and received the heads of the pilgrims. A certain presumptuous American told him that the church musical revolution was not much appreciated in America. He also asked, rash person that he was, why an example was not set at St. Peter's itself, where the previous Sunday he had heard, and to his horror, a florid ma.s.s by Milozzi, as florid and operatic as any he had been forced to endure in New York before the new order of things. A discreet poke in the ribs enlightened him to the fact that at a general audience such questions are not in good taste.

The Pope spoke a few words in a ringing barytone voice. He said that he loved Germany, loved its Emperor; that every morning his second prayer was for Germany--his first, was it for the hundredth wandering sheep of the flock, France? That he did not explain. He blessed us, and his singing voice proved singularly rich, resonant and pure in intonation for an old man. Decidedly Pius X is musical; he plays the pianoforte it is said, with taste. The pilgrims thundered the Te Deum a second time, with such pious fervour that the venerable walls of the Sala Regia shook with their lung vibrations. Then the Papal suite followed the sacred figure out of the chamber and the buzzing began. The women wanted to know--and indignant were their inflections--why a certain lady attired in scarlet, hat and all, was permitted within the sacred precincts. The men hurried, jostling each other, for their precious umbrellas. The umbrella in Germany is the symbol of the mediaeval sword. We broke ranks and tumbled into the now sunny daylight, many going on the wings of thirst to the Piazza Santi Apostoli, which, notwithstanding its venerable name, has amber medicine for parched German gullets.

Pius X is a democratic man. He may be seen by the faithful at any time.

He has organised a number of athletic clubs for young Romans, taking a keen interest in their doings. He is an impulsive man and has many enemies in his own household. He has expressed his intention of ridding Rome of its superfluous monks, those unattached ones who make life a burden by their importunings and beggaries in Rome.

His personal energy was expressed while I was in Rome by his very spirited rebuke to some members of the athletic clubs at an audience in the Vatican. There was some disorder while the Pontiff spoke. He fixed a noisy group with an angry glance:--"Those who do not wish to hear me--well, there is the open door!"

Another incident, and one I neglected to relate in its proper place;--As Pius proceeded along the line of kneeling figures during the German audience he encountered a little, jolly-looking priest, evidently known to him. A smile, benign, witty, delicately humourous, appeared on his lips. For a moment he seemed more Celt than Latin. There was no hint of the sardonic smile which is said to have crossed the faces of Roman augurs. It was merely a friendly recognition tempered by humility, as if he meant to ask:--"Why do you need my blessing, friend?" And it was the most human smile that I would imagine worn by a Pope. It told me more of his character than even did his meek and resigned pose when the official photographer of the Vatican called out his sonorous "Una, due, tre!"

VIII

LISZT PUPILS AND LISZTIANA

Here is a list of the pupils who studied with Liszt. There are doubtless a thousand more who claim to have been under his tutelage but as he is dead he can't call them liars. All who played in Weimar were not genuine pupils. This collection of names has been gleaned from various sources.

It is by no means infallible. Many of them are dead. No attempt is made to denote their nationalities, only s.e.x and alphabetical order is employed. _Place aux dames._

Vilma Barga Abranyi, Anderwood, Baronne Angwez, Julia Banholzer, Bartlett, Stefanie Busch, Alice Bechtel, Berger, Robertine Bersen-Gothenberg, Ida Bloch, Charlotte Blume-Ahrens, Anna Bock, Bodinghausen, Valerie Boissier-Gasparin, Marianne Brandt, Antonie Bregenzer, Marie Breidenstein, Elisabeth Brendel-Trautmann, Ingeborg Bronsart-Stark, Emma Bruckmann, Burmester, Louisa Cognetti, Descy, Wilhelmine Doring, Victoria Drewing, Pauline Endry, Pauline Fichtner Erdmannsdorfer, Hermine Esinger, Anna Mehlig-Falk, Amy Fay, Anna Fiebinger, Fischer, Margarethe Fokke, Stefanie Forster, Hermine Frank, H. von Friedlander, Vilma von Friedenlieb, Stephanie von Fryderyey, Hirschfeld-Gartner, Anna Gall, Cecilia Gaul, Kathi Gaul, Ida Seelmuyden, Geyser, Gilbreth, Goodwin, Gower, Amalie Greipel-Golz, Margit Groschmied, Emma Grossfurth, Ilona Grunn, Emma Guttmann von Hadeln, Adele Hastings, Piroska Hary, Howard, Heidenreich, Nadine von Helbig (nee Princesse Schakovskoy), Gertrud Herzer, Hippins, Hodoly, Holtze, Aline Hundt, Marie Trautmann Jaell, Olga Janina (Marquise Cezano), Jeapp, Jeppe, Julia Jerusalem, Clothilde Jeschke, Helene Kahler, Anna Kastner, Clemence Kautz-Kreutzer, Kettwitz, Johanna Klinkerfuss-Schulz, Emma Koch, Roza Koderle, Manda Von Kontsky, Kovnatzka, Emestine Kramer, Klara Krause, Julia Rive King, Louise Krausz, Josefine Krautwald, Isabella Kulissay, Natalie Kupisch, Marie La Mara (Lipsius), Adele Laprunarede (d.u.c.h.esse de Fleury), Vicomtesse de La Rochefoucauld, Julie Laurier, Leu Ouscher, Elsa Levinson, Ottilie Lichterfeld, Hedwig von Liszt, Hermine Luders, Ella Maday, Sarah Magnus-Heinze, Marie von Majewska-Sokal, Martini, Sofie Menter, Emilie Merian Genast, Emma Mettler, Olga de Meyendorff (nee Princesse Gortschakoff), Miekleser, Von Milde-Agthe, Henrietta Mildner, Comtesse de Miramont, Ella Modritzky, Marie Mosner, De Montgolfier, Eugenie Muller-Katalin, Herminie de Musset, Ida Nagy, Gizella Neumann, Iren n.o.bel, Adele Aus der Ohe, Sophie Olsen, Paramanoff, Gizella Paszthony-Voigt de Leitersberg, Dory Petersen, Sophie Pflughaupt-Stehepin, Jessie Pinney-Baldwin, Marie Pleyel-Mock, Pohl-Eyth, Toni Raab, Lina Ramann, Katchen von Ra.n.u.schewitsch, Laura Rappoldi-Kahrer, d.u.c.h.esse de Rauzan, Ilonka von Ravacz, Gertrud Remmert, Martha Remmert, Auguste Rennenbaum, Klara Riess, Anna Rigo, Anna Rilke, Rosenstock, M. von Sabinin, Comtesse Carolyne Saint-Criq d'Artignan (Liszt's first love), Grafin Sauerma, Louise Scharnack, Lina Scheuer, Lina Schmalhausen, Marie Schn.o.bel, Agnes Scholer, Adelheid von Schorn, Anna Schuck, Elly Schulze, Irma Schwarz, Arma Senkrah (Harkness), Caroline Montigny-Remaury (Serres), Siegenfeld, Paula Sockeland, Ella Solomonson, Sothman, Elsa Sonntag, Spater, Anna Spiering, H. Stark, Anna Stahr, Helene Stahr, Margarethe Stern-Herr, Neally Stevens, Von Stvicowich, Hilda Tegernstrom, Vera von Timanoff, Iw.a.n.ka Valeska, Vial, Pauline Viardot-Garcia, Hortense Voigt, Pauline von Voros, Ida Volkmann, Josephine Ware, Rosa Wappenhaus, Ella Wa.s.semer, Olga Wein-Vaszilievitz, Weishemer, Margarethe Wild, Etelka Willheim-Illoffsky, Winslow, Janka Wohl, Johanna Wenzel-Zarembska.

Among the men were: Cornel Abranyi, Leo d'Ageni, Eugen d'Albert, Isaac Albeniz, C. B. Alkan, Nikolaus Almasy, F. Altschul, Conrad Ansorge, Emil Bach, Walter Bache, Carl Baermann, Albert Morris Bagby, Josef Bahnert, Johann Butka, Antonio Bazzini, J. von Beliczay, Franz Bendel, Rudolf Bensey, Theodore Ritter, Wilhelm Berger, Arthur Bird, Adolf Bla.s.smann, Bernhard Boekelmann, Alexander Borodin, Louis Bra.s.sin, Frederick Boscovitz, Franz Brendel, Emil Brodhag, Hans von Bronsart, Hans von Bulow, Buonamici, Burgmein (Ricordi), Richard Burmeister, Louis Coenen, Herman Cohen ("Puzzi"), Chop, Peter Cornelius, Bernhard Cossmann, Leopold Damrosch, William Dayas, Ludwig Dingeldey, D' Ma Sudda-Bey, Felix Draeseke, Von Dunkirky, Paul Eckhoff, Theodore Eisenhauer, Imre Elbert, Max Erdsmannsdorfer, Henri Falcke, August Fischer, C. Fischer, L. A. Fischer, Sandor Forray, Freymond, Arthur Friedheim, W. Fritze, Ferencz Gaal, Paul Geisler, Josef Gierl, Henri von Gobbi, August Gollerich, Karl Gopfurt, Edward Gotze, Karl Gotze, Adalbert von Goldschmidt, Bela Gosztonyi, A. W. Gottschlag, L. Grunberger, Guglielmi, Luigi Gulli, Guricks, Arthur Hahn, Ludwig Hartmann, Rudolf Hackert, Harry Hatch, J. Hatton, Hermann, Carl Hermann, Josef Huber, Augustus Hyllested, S. Jada.s.sohn, Alfred Jaell, Josef Joachim, Rafael Joseffy, Ivanow-Ippolitoff, Aladar Jukasz, Louis Jungmann, Emerich Kastner, Keler, Berthold Kellermann, Baron Von Keudell, Wilhelm Kienzl, Edwin Klahre, Karl Klindworth, Julius Kniese, Louis Kohler, Martin Krause, Gustav Krausz, Bela Kristinkovics, Franz Kroll, Karl Von Lachmund, Alexander Lambert, Frederick Lamond, Siegfried Langaard, Eduard La.s.sen, W. Waugh Lauder, Georg Leitert, Graf de Leutze, Wilhelm Von Lenz, Otto Lessmann, Emil Liebling, Georg Liebling, Saul Liebling, Karlo Lippi, Louis Lonen, Joseph Lomba, Heinrich Lutter, Louis Ma.s.s, Gyula Major, Hugo Mansfeldt, L. Marek, William Mason, Edward MacDowell, Richard Metzdortf, Baron Meyendorff, Max Meyer, Meyer-Olbersleben, E. Von Michalowich, Mihlberg, F. Von Milde, Michael Moszonyi, Moriz Moszkowski, J. Vianna da Motta, Felix Mottl, Franz Muller, Muller-Hartung, Johann Muller, Paul Muller, Nikol Nelisoff, Otto Neitzel, Arthur Nikisch, Ludwig Nohl, John Orth, F. Pezzini, Robert Pflughaupt, Max Pinner, William Piutti, Richard Pohl, Karl Pohlig, Pollack, Heinrich Porges, Wilhem Posse, Silas G. Pratt, Dionys Pruckner, Graf Puckler, Joachim Raff, S. Ratzenberger, Karoly Rausch, Alfred Reisenauer, Edward Remenyi, Alfonso Rendano, Julius Reulke, Edward Reuss, Hermann Richter, Julius Richter, Karl Riedel, F. W. Riesberg, Rimsky-Korsakoff, Karl Ritter, Hermann Ritter, Moriz Rosenthal, Bertrand Roth, Louis Rothfeld, Joseph Rubinstein, Nikolaus Rubinstein, Camille Saint-Saens, Max van de Sandt, Emil Sauer, Xaver Scharwenka, Hermann Scholtz, Bruno Schrader, F.

Schreiber, Karl Schroeder, Max Schuler, H. Schwarz, Max Seifriz, Alexander Seroff, Franz Servais, Giovanni Sgambati, William H. Sherwood, Rudolf Sieber, Alexander Siloti, Edmund Singer, Otto Singer, Antol Sipos, Friederich Smetana, Goswin Sockeland, Wilhelm Speidel, F. Spiro, F. Stade, L. Stark, Ludwig Stasny, Adolph Stange, Bernhard Stavenhagen, Eduard Stein, August Stradal, Frank Van der Stucken, Arpad Szendy, Ladislas Tarnowski, Karl Tausig, E. Telbicz, Otto Tiersch, Anton Urspruch, Baron Vegh, Rudolf Viole, Vital, Jean Voigt, Voss, Henry Waller, Felix Weingartner, Weissheimer, Westphalen, Joseph Wieniawsky, Alexander Winterberger, Theador de Witt, Peter Wolf, Jules Zarembsky, Van Zeyl, Geza Zichy (famous one-armed Hungarian pianist), Hermann Zopff, Johannes Zschocher, Stephen Thoman, Louis Messemaekers, Robert Freund. And how many more?

All the names above mentioned were not pianists. Some were composers, later celebrated, conductors, violinists--Joachim and Remenyi, and Van Der Stucken, for example--harpists, even musical critics who went to Liszt for musical advice, advice that he gave with a royal prodigality.

He never received money for his lessons. "Am I a piano teacher?" he would thunder if a pupil came to him with faulty technic.

[Ill.u.s.tration:

Frl. Paraninoff Frau Friedheim Mannsfeldt Rosenthal Frl. Drewing Liszt Liebling Silotti Friedheim Sauer Reisenauer Gottschalg

Liszt and His Scholars, 1884]

What became of Part Third of the Liszt Piano Method? It was spirited away and has never been heard of since. In his Franz Liszt in Weimar, the late A. W. Gottschalg discusses the mystery. A pupil, a woman, is said to have been the delinquent. The Method, as far as it goes is not a work of supreme importance. Liszt was not a pedagogue, and abhorred technical drudgery.

As to the legend of his numerous children, we can only repeat Mark Twain's witticism concerning a false report of his death--the report has been much exaggerated. At one time or another Alexander Winterberger, a pupil (since dead), the late Anton Seidl, Servais, Arthur Friedheim, and many others have been called "sons of Liszt." And I have heard of several ladies who--possibly thinking it might improve their technic--made the claim of paternity. At one time in Weimar, Friedheim smilingly a.s.sured me, there was a craze to be suspected an offspring of the Grand Old Man--who like Wotan had his Valkyrie brood. When Eugen d'Albert first played for Liszt he was saluted by him as the "Second Tausig." That settled his paternity. Immediately it was hinted that he greatly resembled Karl Tausig, and although his real father was a French dance composer--do you remember the Peri Valse?--everyone stuck to the Tausig legend. I wonder what the mothers of these young Lisztians thought of their sons' tact and delicacy?

Liszt denied that Thalberg was the natural son of Prince Dietrichstein of Vienna, as was commonly believed. To Gollerich he said that his early rival was the son of an Englishman. Richard Burmeister told me when Servais visited Weimar the Lisztian circle was agitated because of the remarkable resemblance the Belgian bore to the venerable Abbe. At the whist-table--the game was a favourite one with the Master--some tactless person bluntly put the question to Liszt as to the supposed relationship. He fell into a rage and growlingly answered: "Ich kenne seine Mutter nur durch Correspondenz, und so was kann man nicht durch Correspondenz abmachen." Then the game was resumed.

Liszt admired the brilliant talents of the young Nietzsche, but he distrusted his future. Nietzsche disliked the pianist and said of him in one of his aphorisms: "Liszt the first representative of all musicians, but no musician. He was the prince, not the statesman. The conglomerate of a hundred musicians' souls, but not enough of a personality to cast his own shadow upon them." In his Roving Expeditions of an Inopportune Philosopher, Nietzsche even condescends to a pun on Liszt as a piano teacher: "Liszt, or the school of running--after women" (Schule der Gelaufigkeit).

TAUSIG

Over a quarter of a century has pa.s.sed since the death of Karl Tausig, a time long enough to dim the glory of the mere virtuoso. Many are still living who have heard him play, and can recall the deep impressions which his performances made on his hearers. Whoever not only knew Karl Tausig at the piano, but had studied his genuinely artistic nature, still retains a living image of him. He stands before us in all his youth, for he died early, before he had reached the middle point of life; he counted thirty years at the time of his death, when his great heart, inspired with a love for all beauty, ceased to beat; when those hands, _Tes mains de bronze et des diamants_, as Liszt named them in a letter to his pupil and friend, grew stiff in death.

It was through many wanderings and perplexities that Karl Tausig rose to the height which he reached in the last years of his life. A friendless childhood was followed by a period of _Sturm und Drang_, till the dross had been purged away and the pure gold of his being displayed. The essence of his playing was warm objectivity; he let every masterpiece come before us in its own individuality; the most perfect virtuosity, his incomparable surmounting of all technical means of expression, was to him only the means, never the end. Paradoxical as it may appear, there never was, before or since, so great a virtuoso who was less a virtuoso. Hence the career of a virtuoso did not satisfy him; he strove for higher ends, and apart from his ceaseless culture of the intellect, his profound studies in all fields of science and the devotion which he gave to philosophy, mathematics, and the natural sciences, what he achieved in the field of music possesses a special interest, as he regarded it as merely a preparation for comprehensive creative activity.

Some of these compositions are still found in the programmes of all celebrated pianists, while the arrangements that he made for pedagogic purposes occupy a prominent place in the courses of all conservatories.

Karl Tausig came to Berlin in the beginning of the sixties. Alois Tausig, his father, a distinguished piano teacher at Warsaw, who had directed the early education of the son, whom he survived by more than a decade, had already presented him to Liszt at Weimar. Liszt at once took the liveliest interest in the astonishing talents of the boy and made him a member of his household at Altenburg, at Weimar, where this prince in the realm of art kept his court with the Princess Sayn-Wittgenstein, surrounded by a train of young artists, to which Hans von Bulow, Karl Klindworth, Peter Cornelius (to name only a few) belonged. With all these Karl Tausig formed intimate friendships, especially with Cornelius, who was nearest to him in age. An active correspondence was carried on between them, even when their paths of life separated them.

Tausig next went to Wagner at Zurich, and the meeting confirmed him in his enthusiasm for the master's creations and developed that combativeness for the works and artistic struggles of Wagner which resulted in the arrangement of orchestral concerts in Vienna exclusively for Wagner's compositions, a very hazardous venture at that period. He directed them in person, and gave all his savings and all his youthful power to them without gaining the success that was hoped for. The master himself, when he came to Vienna for the rehearsals of the first performances of Tristan und Isolde, had sad experiences; his young friend stood gallantly by his side, but the performance did not take place. Vienna was then a sterile soil for Wagner's works and designs.

Tausig returned in anger to Berlin, where he quickly became an important figure and a life-giving centre of a circle of interesting men. He founded a conservatory that was sought by pupils from all over the world, and where teachers like Louis Ehlert and Adolf Jensen gave instruction. When Richard Wagner came to Berlin in 1870 with a project for erecting a theatre of his own for the performance of the Nibelungen Ring it was Tausig who took it up with ardent zeal, to which the master bore honourable testimony in his account of the performance.

In July, 1871, Tausig visited Liszt at Weimar and accompanied him to Leipsic, where Liszt's grand ma.s.s was performed in St. Thomas' Church by the Riedle Society. After the performance he fell sick. A cold, it was said, prostrated him. In truth he had the seeds of death in him, which Wagner, in his inscription for the tomb of his young friend, expressed by the words, "Ripe for death!" The Countess Krockow and Frau von Moukanoff, who on the report of his being attacked by typhus hastened to discharge the duties of a Samaritan by his sick-bed in the hospital, did all that careful nursing and devoted love could do, but in vain, and on July 17 Karl Tausig breathed his last.

His remains were carried from Leipsic to Berlin, and were interred in the new cemetery in the Belle Alliance Stra.s.se. During the funeral ceremony a great storm burst forth, and the roll of the thunder mingled with the strains of the Funeral March from the Eroica which the Symphony Orchestra performed at his grave. Friends erected a simple memorial. An obelisk of rough-hewn syenite bears his portrait, modelled in relief by Gustav Blaesar. Unfortunately wind and weather in the course of years injured the marble of the relief, so that its destruction at an early period was probable, and the same friends subst.i.tuted a bronze casting for the marble, which on the twenty-fifth anniversary of his death was adorned with flowers by loving hands.

Karl Tausig represents the very opposite pole in "pianism" to Thalberg; he was fire and flame incarnate, he united all the digital excellencies of the aristocratic Thalberg, including his supreme and cla.s.sic calm to a temperament that, like a comet, traversed artistic Europe and fired it with enthusiastic ideals. If Karl Tausig had only possessed the creative gift in any proportion to his genius for reproduction he would have been a giant composer. As a pianist he has never had his equal. With Liszt's fire and Bulow's intellectuality he nevertheless transcended them both in the possession of a subtle something that defied a.n.a.lysis. We see it in his fugitive compositions that revel on technical heights. .h.i.therto unscaled. Tausig had a force, a virility combined with a mental insight, that made him peer of all pianists. It is acknowledged by all who heard him that his technic outshone all others; he had the whispering and crystalline pianissimo of Joseffy, the liquidity of Thalberg's touch, with the resistless power of a Rubinstein.

He literally killed himself playing the piano; his vivid nature felt so keenly in reproducing the beautiful and glorious thoughts of Bach, Beethoven and Chopin, and, like a sabre that was too keen for its own scabbard, he wore himself out from nervous exhaustion. Tausig was many-sided, and the philosophical bent of his mind may be seen in the few fragments of original music he has vouchsafed us. Take a Thalberg operatic fantaisie and a paraphrase of Tausig's, say of Tristan and Isolde, and compare them; then one can readily gauge the vast strides piano music has taken. Touch pure and singing was the Thalbergian ideal.

Touch dramatic, full of variety, is the Tausig ideal. One is vocal, the other instrumental, and both seem to fulfill their ideals. Tausig had a hundred touches; from a feathery murmur to an explosive crash he commanded the entire orchestra of contrasts. Thalberg was the cultivated gentleman of the drawing-room, elegiac, but one who never felt profoundly (glance at his etude on repeated notes). Elegant always, jocose never. Tausig was a child of the nineteenth century, full of its ideals, its aimless strivings, its restlessness, its unfaith and desperately sceptical tone. If he had only lived he would have left an imprint on our modern musical life as deep as Franz Liszt, whose pupil he was. Richard Wagner was his G.o.d and he strove much for him and his mighty creations.

ROSENTHAL

"You, I presume, do not wish for biographical details--of my appearances as a boy in Vienna and later in St. Petersburg, of my early studies with Joseffy and later with Liszt," asked the great virtuoso. "You would like to hear something about Liszt? As a man or as an artist? You know I was with him ten years, and can flatter myself that I have known him intimately. As a man, I can well say I have never met any one so good and n.o.ble as he. Every one knows of his ever-ready helpfulness toward struggling artists, of his constant willingness to further the cause of charity. And when was there ever such a friend? I need only refer you to the correspondence between him and Wagner, published a year ago, for proof of his claims to highest distinction in that oft-abused capacity.

One is not only compelled to admire the untiring efforts to a.s.sist Wagner in every way that are evidenced in nearly each one of his letters, but one is also obliged to appreciate such acts for which no other doc.u.ments exist than the history of music in our day. The fact alone that Liszt, who had every stage of Germany open to him if he had so wished, never composed an opera, but used his influence rather in behalf of Wagner's works, speaks fully as eloquently as the many letters that attest his active friendship. For Liszt the artist, my love and admiration are equally great. Even in his inferior works can be discovered the stamp of his genius. Do you know the Polonaise, by Tschakowsky, transcribed by him? Is it not a remarkable effort for an old gentleman of seventy-two? And the third Mephisto Waltz for piano?

Certain compositions of his, such as Les Preludes, Die Ideale, Ta.s.so, the Hungarian Rhapsodies, and some of the songs and transcriptions for piano, will unquestionably continue to be performed and enjoyed for many, many years to come.

"You ask how he played? As no one before him, and as no one probably will ever again. I remember when I first went to him as a boy--he was in Rome at the time--he used to play for me in the evening by the hour--nocturnes by Chopin, etudes of his own--all of a soft, dreamy nature that caused me to open my eyes in wonder at the marvellous delicacy and finish of his touch. The embellishments were like a cobweb--so fine--or like the texture of costliest lace. I thought, after what I had heard in Vienna, that nothing further would astonish me in the direction of digital dexterity, having studied with Joseffy, the greatest master of that art. But Liszt was more wonderful than anybody I had ever known, and he had further surprises in store for me. I had never heard him play anything requiring force, and, in view of his advanced age, took for granted that he had fallen off from what he once had been."

ARTHUR FRIEDHEIM

Arthur Friedheim was born of German parentage in St. Petersburg, October 26, 1859. He lost his father in early youth, but was carefully reared by an excellent mother. His musical studies were begun in his eighth year, and his progress was so rapid that he was enabled to make his artistic debut before the St. Petersburg public in the following year by playing Field's A-flat major concerto. He created a still greater sensation, however, after another twelve months had elapsed, with his performance of Weber's difficult piano concerto, reaping general admiration for his work. Despite these successes, the youth was then submitted to a thorough university education, and in 1877 pa.s.sed his academical examination with great honours. But now the musical promptings of his warm artist soul, no longer able to endure this restraint, having revived, Friedheim with all his energy again devoted himself to his musical advancement, including the study of composition, and it proved a severe blow, indeed, to him when his family soon afterward met with reverses, in losing their estates, thus robbing the young artist of his cheery home surroundings.

From this time Friedheim's artistic wanderings began, and fulfilling a long cherished desire, he, with his mother, first paid a visit to that master of masters, Franz Liszt. Then he went to Dresden, continuing in the composition of an opera begun at St. Petersburg, ent.i.tled The Last Days of Pompeii. In order to acquire the necessary routine he accepted a position as conductor of operas for several years, when an irresistible force once more led his steps toward Weimar, where, after he had produced the most favourable impression by the performance of his own piano concerto, with Liszt at a second piano, he took up his permanent abode with the master, accompanying him to Rome and Naples. Meantime Friedheim concertised in Cairo, Alexandria, and Paris, also visiting London in 1882. At the request of Camille Saint-Saens fragments of his works were produced during his stay in Paris.

Friedheim next went to Vienna, where his concerts met with brilliant success, and later on to Northern Germany, where his renown as a great pianist became firmly established. He enjoyed positive triumphs in Berlin, Leipsic and Carlsruhe. Friedheim's technic, his tone, touch, marvellous certainty, unequalled force and endurance, his broad expression and that rare gift--a style in the grand manner--are the qualities that have universally received enthusiastic praise. In later years he travelled extensively, and more particularly in 1884 to 1886, in Germany. In 1887 he conducted a series of concerts in Leipsic, in 1888 he revisited London, in 1889 he made a tour through Russia and Poland; a second tour through Russia was made in 1890, including Bohemia, Austria, and Galicia, while in 1891 he played numerous engagements in Germany and also in London, whence he came to this country to fulfil a very short engagement.

Albert Morris Bagby wrote as follows in his article, "Some Pupils of Liszt," in the _Century_ about twenty years ago:

"Friedheim! What delightful musical memories and happy recollections are the rare days spent together in Weimar that name excites! D'Albert left there before my time, and though I met him on his flying visits to Weimar, I generally think of him as I first saw him, seated at a piano on the concert platform.

"One late afternoon in August, 1885, Liszt stood before a wide-open window of his salon on the second floor of the court gardener's residence in Weimar, and his thoughtful gaze wandered out beyond the long row of hothouses and narrow beds of rare shrubs to the rich leafy growth which shaded the glorious park inclosing this modest home. He was in a serene state of mind after an hour at whist in which he had won the rubber, and now, while his young companions were putting the card-tables and chairs back into their accustomed places about the room, he stood silent and alone. Any one of us would have given more than 'a penny for his thoughts,' a fact which he probably divined, for, without turning his head, he said; 'Friedheim did indeed play beautifully!' referring to the young pianist's performance of his A major concerto that afternoon in the cla.s.s lesson.

"'And the accompaniment was magnificently done, too!' added one of the small party.

"'Ah!' exclaimed the master, with an animated look and gesture which implied, 'that goes without saying.' 'Friedheim,' said he, and lifted his hand with a proud sweep to indicate his estimation of his favourite pupil, who had supplied the orchestral part on a second piano. After Friedheim's triumphal debut at Leipsic in the spring of 1884, Liszt was so much gratified that he expressed with unwonted warmth his belief that the young man would yet become the greatest piano virtuoso of the age.

He was then just twenty-four years old, and his career since that event points toward the fulfilment of the prophecy.