The following year--1863--finds him hard at work as ever. His oratorio is not achieving great progress, but he is revising his piano arrangements of the Beethoven Symphonies. In the spring he changes his quarters and moves into the Cloister Madonna del Rosario, in which he had been offered several rooms. These new lodgings enchant him. Situated on the Monte Mario, the site commanded a view of Rome and the Campagna, the Albano Mountains and the River Tiber. So Signor Commendatore Liszt, the friend of Padre Theiner, is living in a cloister and the religious germs begin to sprout in this quiet surrounding. Liszt esteemed the priest highly as an educated man and admired his personality.

Gregorovius, on the other hand, could pump up no liking at all for the hermit-like Padre, discovered him dry and judged his writings and philosophy as dry, archaic stuff.

In Italian politics and Italian music Liszt found nothing to attract him. The latter was crude, as regards composition, and generally resolved itself into Drehorgel-Lyrik. The piano was at that time not an Italian object of furniture, and in the churches they still served up operatic music with the thinnest religious varnish. In the salons one seldom heard good music, so that Liszt, through his pupils Sgambati, Berta, and others was able to work some reform in these matters.

On July 11, 1862, the tongue of all Rome was wagging: Pope Pius IX had paid Liszt a visit at the Cloister Santa Maria del Rosario. Liszt recounts that His Holiness had stayed with him about half an hour, during which time the pianist had played for him on the harmonium and on the little working piano. After that the Pope had spoken earnestly to him and begged him to strive for the heavenly, even in earthly matters, and to prepare himself for the eternal sounding harmonies by means of the pa.s.sing earthly ones.

Liszt was the first artist who had been honored thus. A few days later the Pope granted him an audience in the Vatican, when he presented Liszt with a cameo of the Madonna.

Segnitz quotes from two of Liszt's letters in which he voices his religious sentiments, and hopes that eventually his bones may rest in Roman earth.

Rather a remarkable phase of Liszt now was that he tried with might and main to live down and forget his so-called "Glanzperiode," the one of his virtuosity. An invitation from Cologne and also one from St.

Petersburg to play and display once more "that entrancing tone which he could coax out of the keys" aroused his wrath. He asks, is he never to be taken more seriously than as a pianist, is he not worthy of recognition as a musician, a composer? On the other hand, nothing flattered him as much as when an Amsterdam society performed his Graner Messe and sent him a diploma of honorary membership. Furthermore, he derived much encouragement from an article in the _Neue Zeitschrift fur Musik_, written by Heinrich Porges, in which Liszt's compositions were seriously discussed.

Liszt found time to revise the four Psalms, 13--this was his favourite one--18, 23, 137; and during this year he also composed for the piano Alleluja, Ave Maria, Waldesrauschen, Gnomenreigen, the two legends, Die Vogelpredigt and Der heilige Franz von Paula auf den Wogen schreitend; then the organ variations on the Bach theme Weinen, klagen, sorgen, zagen, and the Papsthymus. He again took up his former project of making piano arrangements of the Beethoven quartets.

The year after this one was remarkable for the facts that Liszt was coaxed to play in public on the occasion of a benefit for the Peter's Pence, and that he partic.i.p.ated in the Karlsruhe music festival. He left Rome in August and journeyed first to St. Tropez to visit his daughter's grave; then to Karlsruhe. After this he went to Munich and visited Hans and Cosima von Bulow on the way to Weimar. Finally a trip to Paris to see his aged mother, and he returned to Rome at the end of October.

Besides working on his oratorio and making some piano transcriptions, he composed only two new numbers, a litany for organ and a chorus with organ accompaniment.

Two public appearances in Rome as pianist occurred during the spring of 1865, and then, to the surprise of many, on April 25, Liszt took minor orders of priesthood, forsook the Cloister and made his abode in the Vatican next to the rooms of his priestly friend Monseigneur Hohenlohe.

Gregorovius writes of this appearance of Liszt as the virtuoso: "He played Die Aufforderung zum Tanz and Erlkonig--a queer adieu to the world. No one suspected that already he carried his abbe's socks in his pockets.... Now he wears the cloaklet of the abbe, lives in the Vatican, and, as Schlozer tells me, is happy and healthy. This is the end of the genial virtuoso, the personality of a sovereign. I am glad that I heard Liszt play once more, he and his instrument seemed to be grown together--a piano-centaur."

As we look back at the step now and are able to weigh the gradual influence which a.s.serted itself on Liszt the act seems to have been an inevitable one. At the time, however, it was more or less unexpected.

He a.s.sures Breitkopf & Hartel that his old weakness for composition has not deserted him, that he must commit to paper some of the wonderful things which were spooking about in his head. And the public? Well, it regretted that Liszt was wasting his time writing such dreadful "Tonwirrwarr." Liszt smiled ironically--and continued to compose.

His patriotism sent him travelling once more--this year to Pesth, where he conducted his arrangement of the Rakoczy March and the Divine Comedy.

He returned to Rome and learned that his friend Hohenlohe was about to be made cardinal, an event which had its bearing on his stay in the Vatican.

Liszt moved back to the Cloister after Hohenlohe had given up his quarters in the Vatican for a cardinal's house. This year--1866--is also a record of travel. After he had conducted his Dante Symphony in Rome--and the natives found it "inspired but formless"--he went to Paris to witness a performance of his Ma.s.s. Report had preceded him that he was physically a wreck, and he delighted in showing himself to prove the falsehood of the rumour. And partly to display his mental activity he began theological studies, so that he might pa.s.s his examination and take higher orders.

In addition to his Paris trip he also wandered to Amsterdam to hear his Ma.s.s once more. Immediately after his return to Rome he completed the Christus oratorio and began work on the arrangements of the Beethoven quartets. He soon found that he had attacked an impossible task. "I failed where Tausig succeeded," he lamented; and then explained that Tausig had been wise enough to select only such movements as were available for the piano.

His compositions this year were not very numerous--some piano extracts out of his oratorio and sketches for the Hungarian Coronation Ma.s.s.

Politics were throwing up dense clouds of dust in Rome, the Papal secular power was petering out, and in consequence Liszt, who hated politics, was compelled to change his residence again, moving this time to the old cloister Santa Francesca Romana. Here he met his friends weekly on Friday mornings, and besides animated conversation there was much chamber music to be heard.

The Hungarian Ma.s.s was finished early in 1867, and Liszt went to Pesth, where he conducted it with much success when Francis Joseph was made King of Hungary. Then he appeared at the Wartburg Festival, and on his return trip stopped at Lucerne to greet Wagner. After a short stay at Munich, with Cosima and Hans von Bulow, he found himself once more in Rome and was allowed a few months of rest. Besides the Hungarian Ma.s.s he composed this year a Funeral March on the occasion of Maximilian of Mexico's death--it appeared later as the sixth of the third collection: Annees de Pelerinage. His piano transcriptions were confined to works by Verdi and Von Bulow, and as a souvenir of the days pa.s.sed with Wagner at Triebschen he transcribed Isolde's Liebestod.

The social features of his stay in Rome were becoming unbearable, and Liszt could only command privacy by being rude to the persistent ones.

Several little excursions out of Rome during the spring were followed by a long journey in the summer with his friend Abbe Solfanelli. First to a place of pilgrimage; then to the city of Liszt's patron saint, a.s.sisi, and from there to Loreto. When Liszt re-entered Rome he found the social life so exigent that he was driven to the stillness of the Campagna, and lived for some time in the Villa d'Este. This--1868--was his last year at Rome, for the middle of January of the following year found him settled in Weimar again. Although he was still spared many years in which to work, yet the eve of his life was upon him. If he had hoped to find finally in Weimar homely rest and peace he was doomed to disappointment. He remained a wanderer to the end of his days.

There remains to be made a mention of his compositions during his last year at Rome. Princ.i.p.al among these was the Requiem dedicated to the memory of his deceased mother and his two children, Daniel and Blandine; then three church compositions and the epilogue to his Ta.s.so, Le Triomphe du Ta.s.se, and the usual transcriptions for the piano.

Whether or not Liszt's interest in matters religious abated is not made very clear. So much is certain that his plans for taking higher orders came to nothing. Was the Church after all a disappointment to him? One recalls his childish delight when first he was created Abbe. Then he wrote Hohenlohe: "They tell me that I wear my _soutane_ as though I always had worn one."

The Hungarian Government elected the Abbe honorary president of the Landes Musikakademie in 1873. This gave Liszt's wanderings still a third objective point, Budapest.

In Weimar his time was now devoted more to teaching than to composing, and the Liszt pupils began to sprout by the gross. The absurd sentimentality which clings about this period has never been condemned sufficiently. Read this entry in the note-book of Gregorovius and draw at least a few of your own conclusions: "Dined with Liszt at Weimar. He was very lovable, made up to me and hoped at parting that I would give him my confidence. This would be very difficult, as we have not one point in common. He has grown very old; his face is all wrinkled; yet his animation is very attractive. The Countess Tolstoy told me yesterday that an American lady living here had stripped the covering off a chair on which Liszt had sat, had had it framed and now it hung on her wall.

She related this to Liszt, who at first seemed indignant and then asked if it were really true! If such a man does not despise mankind then one must give him great credit for it."

Still Liszt fluttered to Rome from time to time. "If it had not been for music I should have devoted myself entirely to the church and would have become a Franciscan; It is in error that I am accused of becoming a 'frivolous Abbe' because of external reasons. On the contrary, it was my most innermost wish which led me to join the church that I wished to serve" he said.

During these later visits he took up his abode in the Hotel d'Alibert.

His rooms were furnished as plainly as possible--in the one a bed and a writing-desk, and the second one, his reception and cla.s.s-room, held a grand piano. Some of his pupils lived at the same hotel--Stradal, Ansorge, Gollerich, Burmeister, Stavenhagen, and Mademoiselle Cognetti.

Liszt's daily mode of life is rather intimately described. He arose at four in the morning and began composing, which he continued until seven.

His pupils would drop in to greet him and be dismissed kindly with a cigar. After a second breakfast he attended early ma.s.s in the San Carlo Church, where he was accompanied by Stradal; then back to his rooms, and after an hour's rest he would work or pay some visits.

His noon meal was taken regularly with the Princess Sayn-Wittgenstein, who now lived a retired life and devoted herself to religious studies.

These visits brought to Liszt much peace and to the Princess happiness; they were still devoted to each other. After this meal Liszt returned to his quarters and rested. Only on every other day he taught. The pupil played the composition of his own choice and Liszt's criticisms would follow. Muddy playing drove him frantic, and he often told his pupils to "wash their dirty linen at home"! He taught liberal use of the pedal, but with utmost discretion. The one thing he could not abide was pedantic performance: "Among artists there is not the division of professors and non-professors. They are only artists--or they are not."

Occasionally he would play for a small a.s.sembly--once he favoured the few with the D-flat Etude, and the crossing left hand struck false notes repeatedly. He played the piece to the end, and then atoned for his bulls by adding an improvisation on the theme which moved the a.s.sembly to tears!

During these cla.s.s hours a small circle of intimate ones was usually invited. The Princess Wittgenstein was noticeably absent; but there were the Princess Minghetti, the Countess Reviczy--to whom the Fifth Rhapsody is dedicated--and several barons and artists--Alma Tadema among the latter. Depend upon it, wherever Liszt pitched his tent there were some t.i.tles in the neighbourhood. From two until six in the afternoon these lessons lasted. Then the small audience withdrew and Liszt played cards with his pupils for one hour.

About eight in the evening Liszt would take himself to the house of the Princess Wittgenstein and sup with her. This meal consisted princ.i.p.ally of ham, says the biographer, and Hungarian red wine. By nine he had usually retired.

Stradal seems to have been one of his favourites and accompanied Liszt on some of his little excursions to the beloved cloisters, San Onofrio and Monte Mario, then into the Valle dell' Inferno. Here under the Ta.s.so oak Liszt spoke of the life of the great poet and compared his own fate to that of Ta.s.so. "They will not carry me in triumph across the Capitol, but the time will come when my works will be acknowledged. This will happen too late for me--I shall not be among you any more," he said. Not an untrue prophecy.

[Ill.u.s.tration: Liszt in His Atelier at Weimar]

During these trips he gave alms freely. His servant Mischka filled Liszt's right vest pocket with _lire_ and the other one with _soldi_ every morning. And Liszt always strewed about the silver pieces, returning to his astonished servant with the pocket full of copper coins untouched.

Rudolf Louis, another Liszt biographer, tells an amusing story which fits in the time when Pius the Ninth visited Liszt in the cloister.

While most of the living composers contented themselves with envying Liszt, old Rossini tried to turn the incident to his own advantage. He begged Liszt to use his influence in securing the admission of female voices in service of the church because he--Rossini--did not care to hear his churchly compositions sung by croaking boys' voices! Of course nothing came of this request.

The incident itself--the Pope's visit to Liszt--caused much gossip at the time. It was even reported that Pio Nono had called Liszt "his Palestrina."

M. Louis also makes a point which most Wagner biographers seem to have overlooked in their hurry to make Richard appear a very moral man, namely, that the little Von Bulow-Cosima-Wagner affair did not please Papa Liszt at all. Truce was patched up only in 1873, when Liszt's "Christus" performance at Weimar was witnessed by Wagner. Bayreuth of '76 cemented the friendship once more.

Read this paragraph from the pen of the cynical Gregorovius; it refers to the Roman performance of the Dante Symphony in the Galleria Dantesca when the Abbe reaped an aftermath of homage: "The Ladies of Paradise (?!) poured flowers on him from above; Frau L. almost murdered him with a big laurel wreath! But the Romans criticised the music severely as being formless. There is inspiration in it, but it does not reach(?!).

Liszt left for Paris. The day before his departure I breakfasted with him at Tolstoy's; he played for a solid hour and allowed himself to be persuaded to do this by the young Princess Nadine h.e.l.lbig--Princess Shahawskoy--a woman of remarkably colossal figure, but also of remarkable intelligence."

V

AS COMPOSER

Richard Wagner wrote to Liszt July 20, 1856, concerning his symphonic poems: