On Friday I am going to hear Rubinstein play. I suppose he will give a beautiful concert, as he and Bulow, Tausig and Clara Schumann are the grand celebrities now on the piano, Liszt having given up playing in public. After our lesson was over yesterday, Ehlert took his leave, and left us to wait for TAUSIG--my dear!--who was to hear us each play. He came in very late, and just before it was time to give his own lesson.

He is precisely like the photograph I sent you, but is very short indeed--too short, in fact, for good looks--but he has a remarkably vivid expression of the eyes. He came in, and, scarcely looking at us, and without taking the trouble to bow even, he turned on me and said, imperiously, "_Spielen Sie mir Etwas vor_. (Play something for me.)" I got up and played first an _Etude_, and then he asked for the scales, and after I had played a few he told me I "had talent," and to come to his lessons, and I would learn much. I went accordingly the next afternoon. There were two girls only in the cla.s.s, but they were both far advanced. I had never heard either of them play before. The second one played a fearfully difficult concerto by Chopin, which I once heard from Mills. It is exquisitely beautiful, and she did it very well. From time to time Tausig would sweep her off the stool, and play himself, and he is indeed a perfect wonder! If, as they say, Liszt's trill is "like the warble of a bird," his is as much so. It is not surprising that he is so celebrated, and I long to hear him in concert, where he will do full justice to his powers. He thrills you to the very marrow of your bones. He is divorced from his wife, and I think it not improbable that she could not live with him, for he looks as haughty and despotic as Lucifer, though he has a very winning way with him when he likes. His playing is spoken of as _sans pareil_.

I spent a very pleasant Christmas. The family had a pretty little tree, and we all gave each other presents. It was charming to go out in the streets the week before. The Germans make the greatest time over Christmas, and the streets are full of Christmas trees, the shops are crammed with lovely things, and there are little booths erected all along the sidewalks filled with toys. They have special cakes and confections that they prepare only at this season.

CHAPTER III.

Tausig and Rubinstein. Tausig's Pupils. The Bancrofts. A German Radical.

BERLIN, _February 8, 1870_.

I have heard both Rubinstein and Tausig in concert since I last wrote.

They are both wonderful, but in quite a different way. Rubinstein has the greatest power and _abandon_ in playing that you can imagine, and is extremely exciting. I never saw a man to whom it seemed so easy to play.

It is as if he were just sporting with the piano, and could do what he pleased with it. Tausig, on the contrary, is extremely restrained, and has not quite enthusiasm enough, but he is absolutely _perfect_, and plays with the greatest expression. He is pre-eminent in grace and delicacy of execution, but seems to hold back his power in a concert room, which is very singular, for when he plays to his cla.s.ses in the conservatory he seems all pa.s.sion. His conception is so very refined that sometimes it is a little too much so, while Rubinstein is occasionally too precipitate. I have not yet decided which I like best, but in my estimation Clara Schumann as a whole is superior to either, although she has not their unlimited technique.

This was Tausig's programme:

1. Sonate Op. 53, Beethoven.

2. a. Bourree, Bach.

b. Presto Scherzando, Mendelssohn.

c. Barcarole Op. 60, } d. Ballade Op. 47, } Chopin.

e. Zwei Mazurkas Op. 59 u 33,} f. Aufforderung zum Tanz, Weber.

3. Kreisleriana Op. 16, 8 Phantasie Stucke, Schumann.

4. a. Standchen von Shakespeare nach Schubert, } Liszt.

b. Ungarische Rhapsodie, }

Tausig's octave playing is the most extraordinary I ever heard. The last great effect on his programme was in the Rhapsody by Liszt, in an octave variation. He first played it so _pianissimo_ that you could only just hear it, and then he repeated the variation and gave it tremendously _forte_. It was colossal! His scales surpa.s.s Clara Schumann's, and it seems as if he played with velvet fingers, his touch is so very soft. He played the great C major Sonata by Beethoven--Moscheles' favorite, you know. His conception of it was not brilliant, as I expected it would be, but very calm and dreamy, and the first movement especially he took very _piano_. He did it most beautifully, but I was not quite satisfied with the last movement, for I expected he would make a grand climax with those pa.s.sionate trills, and he did not. Chopin he plays divinely, and that little Bourree of Bach's that I used to play, was magical. He played it like lightning, and made it perfectly bewitching.

Altogether, he is a great man. But Clara Schumann always puts herself _en rapport_ with you immediately. Tausig and Rubinstein do not sway you as she does, and, therefore, I think she is the greater interpreter, although I imagine the Germans would not agree with me. Tausig has such a little hand that I wonder he has been able to acquire his immense virtuosity. He is only thirty years old, and is much younger than Rubinstein or Bulow.

The day after Tausig's concert I went, as usual, to hear him give the lesson to his best cla.s.s of girls. I got there a little before the hour, and the girls were in the dressing-room waiting for the young men to be through with their lesson. They were talking about the concert. "Was it not beautiful?" said little Timanoff, to me; "I did not sleep the whole night after it!"--a touch of sentiment that quite surprised me in that small personage, and made me feel some compunctions, as I had slept soundly myself. "I have practiced five hours to-day already," she added.

Just then the young men came out of the cla.s.s-room and we pa.s.sed into it. Tausig was standing by the piano. "Begin!" said he, to Timanoff, more shortly even than usual; "I trust you have brought me a study _this_ time." He always insists upon a study in addition to the piece.

Timanoff replied in the affirmative, and proceeded to open Chopin's _Etudes_. She played the great A minor "Winter Wind" study, and most magnificently, too, starting off with the greatest brilliancy and "go."

I was perfectly amazed at such a feat from such a child, and expected that Tausig would exclaim with admiration. Not so that Rhadamanthus. He heard it through without comment or correction, and when Timanoff had finished, simply remarked very composedly, "So! Have you taken the _next_ Etude, also?" as if the great A minor were not enough for one meal! It is eight pages long to begin with, and there is no let-up to the difficulty all the way through. Afterward, however, he told the young men that he "could not have done it better" himself.

Tausig is so hasty and impatient that to be in his cla.s.ses must be a fearful ordeal. He will not bear the slightest fault. The last time I went into his cla.s.s to hear him teach he was dreadful. Fraulein H.

began, and she has remarkable talent, and is far beyond me. She would not play _piano_ enough to suit him, and finally he stamped his foot at her, s.n.a.t.c.hed her hand from the piano, and said: "_Will_ you play _piano_ or not, for if not we will go no farther?" The second girl sat down and played a few lines. He made her begin over again several times, and finally came up and took her music away and slapped it down on the piano,--"You have been studying this for weeks and you can't play a note of it; practice it for a month and then you can bring it to me again,"

he said.

The third was Fraulein Timanoff, who is a little genius, I think. She brought a Sonata by Schubert--the lovely one in A minor--and by the way he behaved Tausig must have a particular feeling about that particular Sonata. Timanoff began running it off in her usual nimble style, having practiced it evidently every minute of the time when she was not asleep, since the last lesson. She had not proceeded far down the first page when he stopped her, and began to fuss over the expression. She began again, but this time with no better luck. A third time, but still he was dissatisfied, though he suffered her to go on a little farther.

He kept stopping her every moment in the most tantalizing and exasperating manner. If it had been I, I should have cried, but Timanoff is well broken, and only flushed deeply to the very tips of her small ears. From an apple blossom she changed to a carnation. Tausig grew more and more savage, and made her skip whole pages in his impatience. "Play here!" he would say, in the most imperative tone, pointing to a half or whole page farther on. "This I cannot hear!--Go on farther!--It is too bad to be listened to!" Finally, he struck the music with the back of his hand, and exclaimed, in a despairing way, "_Kind, es liegt eine Seele darin. Weiss du nicht es liegt eine_ SEELE _darin_? (Child, there's a soul in the piece. Don't you know there is a _soul_ in it?)"

To the little Timanoff, who has no soul, and who is not sufficiently experienced to counterfeit one, this speech evidently conveyed no particular idea. She ran on as glibly as ever till Tausig could endure no more, and shut up the music. I was much disappointed, as it was new to me, and I like to hear Timanoff's little fingers tinkle over the keys, "Seele" or no "Seele." She has a most accurate and dainty way of doing everything, and somehow, in her healthy little brain I hardly wish for _Seele_!

Last of all Fraulein L. played, and she alone suited Tausig. She is a Swede, and is the best scholar he has, but she has such frightfully ugly hands, and holds them so terribly, that when I look at her I cannot enjoy her playing. Tausig always praises her very much, and she is tremendously ambitious.

Tausig has a charming face, full of expression and very sensitive. He is extremely sharp-sighted, and has eyes in the back of his head, I believe. He is far too small and too despotic to be fascinating, however, though he has a sort of captivating way with him when he is in a good humor.

I was dreadfully sorry to hear of poor Gottschalk's death. He had a golden touch, and equal to any in the world, I think. But what a romantic way to die!--to fall senseless at his instrument, while he was playing "_La Morte_." It was very strange. If anything more is in the papers about him you must send it to me, for the infatuation that I and 99,999 other American girls once felt for him, still lingers in my breast!

On Sat.u.r.day night I went for the first time to hear the Berlin Symphony Kapelle. It is composed only of artists, and is the most splendid music imaginable. De Ahna, for instance, is one of the violinists, and he is not far behind Joachim. We have no conception of such an orchestra in America.[A] The Philharmonic of New York approaches it, but is still a long way off. This orchestra is so perfect, and plays with such precision, that you can't realize that there are any performers at all.

It is just a great wave of sound that rolls over you as smooth as gla.s.s.

As the concert halls are much smaller here, the music is much louder, and every man not only plays _piano_ and _forte_ where it is marked, but he draws the _tone_ out of his violin. They have the greatest pathos, consequently, in the soft parts, and overwhelming power in the loud.

Where great expression is required the conductor almost ceases to beat time, and it seems as if the performers took it _ad libitum_; but they understand each other so well that they play like one man. It is _too_ ecstatic! I observed the greatest difference in the horn playing.

Instead of coming in in a monotonous sort of way as it does at home, and always with the same degree of loudness, here, when it is solo, it begins round and smooth and full, and then gently modulates until the tone seems to sigh itself out, dying away at last with a little tremolo that is perfectly melting. I never before heard such an effect. When the trumpets come in it is like the crack of doom, and you should hear the way they play the drums. I never _was_ satisfied with the way they strike the drums in New York and Boston, for it always seemed as if they thought the parchment would break. Here, sometimes they give such a sharp stroke that it startles me, though, of course, it is not often.

But it adds immensely to the accent, and makes your heart beat, I can tell you. They played Schubert's great symphony, and Beethoven's in B major, and I could scarcely believe my own ears at the difference between this orchestra and ours. It is as great as between---- and Tausig.

BERLIN, _March 4, 1870_.

Tausig is off to Russia to-day on a concert tour, and will not return until the 1st of May. Out of six months he has been in Berlin about two and a half! However, as I am not yet in his cla.s.s it doesn't affect me much, but I should think his scholars would be provoked at such long absences. That is the worst of having such a great artist for a master.

I believe we are to have no vacation in the summer though, and that he has promised to remain here from May until November without going off.

Ehlert and Tausig have had a grand quarrel, and Ehlert is going to leave the conservatory in April. I am very sorry, for he is an admirable teacher, and I like him extremely.

We had another Musical Reading on Sunday, at which I played, but all the conservatory cla.s.ses were there, and all the teachers, with Tausig, also, so it was a pretty hard ordeal. The girls said I turned deadly pale when I sat down to the piano, and well I might, for here you cannot play any thing that the scholars have not either played themselves or are perfectly familiar with, so they criticise you without mercy. Tausig plays so magnificently that you know beforehand that a thing can never be more than comparatively good in his eyes. Fraulein L. is the only one of his pupils that plays to suit him. I do not like her playing so much myself, because it sounds as if she had tried to imitate him exactly--which she probably does. It does not seem spontaneous, and she is an affected creature. They all think 'the world' of her at the conservatory, and I suppose she _is_ quite extraordinary; but I prefer Fraulein Timanoff--"_die kleine Person_," as Tausig calls her--and she is, indeed, a "little person." On Sunday Fraulein L. played the first part of a Sonata by Chopin, and Tausig was quite enchanted with her performance. I thought he was going to embrace her, he jumped up so impetuously and ran over to her. He declared that it could not be better played, and said he would not hear anything else after that, and so the school was dismissed, although several had not played that expected to do so.

Tausig has one scholar who is a very singular girl--the Fraulein H. I mentioned to you before, who has studied with Bulow. She is half French and half German, and speaks both languages. She is full of talent and cannot be over eighteen, but she is the most intense character, and is a perfect child of nature. One can't help smiling at everything she does, because she goes at everything so hard and so unconsciously. When the other girls are playing she folds her arms and plays with her fingers against her sides all the time, and when her turn comes she seizes her music, jumps up, and rushes for the piano as fast as she can. She hasn't the least timidity, and on Sunday when Tausig called out her name he scarcely got the words out before she said, "_Ja_," to the great amus.e.m.e.nt of the cla.s.s (for none of us answered to our names) and ran to the piano.

She sat down with the chair half crooked, and almost on the side of it, but she never stopped to arrange herself, but dashed off a prelude out of her own head, and then played her piece. When she got through she never changed countenance, but was back in her seat before you could say "Jack Robinson." She is as pa.s.sionate as Tausig, and so they usually have a scene over her lesson. He is always either half amused at her or very angry, and is terribly severe with her. When he stamps his foot at her she makes up a face, and the blood rushes up into her head, and I believe she would beat him if she dared. She always plays as impetuously as she does everything else, and then he stops his ears and tells her she makes too much "_Spectakel_" (his favorite expression). Then she begins over again two or three times, but always in the same way. He s.n.a.t.c.hes the music from the piano and tells her that is enough. Then the cla.s.s bursts out laughing and she goes to her seat and cries. But she is too proud to let the other girls see her wipe her eyes, and so she sits up straight, and tries to look unconcerned, but the tears trickle down her cheeks one after the other, and drop off her chin all the rest of the hour. By the time she has had a piece for two lessons she comes to the third, and at last she has managed to tone down enough, and then she plays it splendidly. She is a savage creature. The girls tell me that one time she sat down to the piano (a concert-grand) with such violence as to push the instrument to one side, and began to play with such vehemence that she burst the sleeve out of her dress behind! She is going to be an artist, and I told her she must come to America to give concerts. She said "_Ja_," and immediately wanted to know where I lived, so she could come and see me. I think she will make a capital concert player, for she is always excited by an audience, and she has immense power. I am a mere baby to her in strength. Perhaps when she is ten years older she will be able to restrain herself within just limits, and to put in the light and shade as Fraulein L. does.

Since I last wrote I have been to hear Rubinstein again. He is the greatest sensation player I know of, and, like Gottschalk, has all sorts of tricks of his own. His grand aim is to produce an _effect_, so it is dreadfully exciting to hear him, and at his last concert the first piece he played--a terrific composition by Schubert--gave me such a violent headache that I couldn't hear the rest of the performance with any pleasure. He has a gigantic spirit in him, and is extremely poetic and original, but for an entire concert he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening. Rubinstein doesn't care how many notes he misses, provided he can bring out his conception and make it vivid enough. Tausig strikes _every_ note with rigid exactness, and perhaps his very perfection makes him at times a little cold. Rubinstein played Schubert's Erl-Konig, arranged by Liszt, _gloriously_. Where the child is so frightened, his hands flew all over the piano, and absolutely made it shriek with terror. It was enough to freeze you to hear it.

Last week I went to a party at Mrs. Bancroft's in honour of Washington's birthday, and had a lovely time, as I always do when I go there.

Bismarck was present, and wore a coat all decorated with stars and orders. He is a splendid looking man, and is tall and imposing. No one could be kinder than Mr. Bancroft. He and Mrs. Bancroft live in a beautiful house, furnished in perfect taste and full of lovely pictures and things, and they entertain most charmingly. They seem to do their utmost for the Americans who are in Berlin, and I am very proud of our minister. His reputation as our national historian, together with his German culture and early German a.s.sociations, all combine to render him an admirable representative of our country to this haughty kingdom, and I hear that he is very popular with its selfsatisfied citizens. As for Mrs. Bancroft, one could hardly be more elegant, or better suited to the position. Mr. Bancroft is pa.s.sionately fond of music, and knows what good music is,--which is of course an additional t.i.tle to _my_ high opinion!

The other day Herr J. called for me to go and take a walk through the Thier-Garten, and see the skating. It was the first time I had been there, though it is not far from us, and I was delighted with it. It is the natural forest, with beautiful walks and drives cut through it, and statues here and there. We went to see the skating, and it was a lovely sight. The band was playing, and ladies and gentlemen were skating in time to the waltz. Many ladies skate very elegantly, and go along with their hands in their m.u.f.fs, swaying first to one side and then to the other. It is grace itself. Carriages and horses pranced slowly around the edge of the pond, and at last the Prince and Princess Royal came along, drawn by two splendid black horses.

The carriage stopped and they got out to walk. "Now," said I to Herr J., "you must take off your hat"--for everybody takes off his hat to the Crown Prince. As they pa.s.sed us he did take it off, but blushed up to his ears, which I thought rather odd, until he said, in a half-ashamed tone, "That is the first time in my life that I ever took off my hat to a Prince." "Well, what did you do it for?" said I. "Because you told me to," said he. He is such a red hot republican, that even such a little act of respect as this grated upon him! I only told him in fun, any way, but I was very much amused to see how he took it. He always raves over the United States, and says we are the greatest country in the world. He is a strange man, and you ought to hear his theory of religion. He sets the Bible entirely aside--like most German cultivated men. We were talking of it one night, and he said, "We won't speak of that _blockhead_ Peter, stupid fisherman that he was! but we will pa.s.s on to Paul, who was a man of some education." David, he calls "that rascal David, etc." Of course, I hold to my own belief, but I can't help laughing to hear him, it sounds so ridiculous. The world never had any beginning, he says, and there is no resurrection. We live only for the benefit of the next generation, and therefore it is necessary to lead good lives. We inherit the result of our father's labours, and our children will inherit ours. So we shall go on until the human race comes to a state of perfection. "And then what?" said I. Oh--then, he didn't know. Perhaps the world would explode, and go off in meteors. "We _do_ know," said he, "that there are lost stars. Occasionally a star disappears and we can't tell what has become of it; and perhaps the earth will become a wandering star, or a comet. The intervals between the stars are so great as to admit of a world wandering about--and there is no police in those regions, I fancy," concluded he, with a shrug of his shoulders. "Do you really _believe_ that, Herr J.?" I asked. "Oh,"

said he, "we won't speak about _beliefs_. Now we are _speculating_!" He is a delightful companion, and I think he is scrupulously conscientious.

Though he does not profess the Christian faith, he acts up to Christian principles.

CHAPTER IV.

Opera and Oratorio in Berlin. A Typical American. Prussian Rudeness. Conservatory Changes. Easter.

BERLIN, _March 20, 1870_.

On Wednesday the Bancrofts most kindly called for me to go to the opera with them. They came in their carriage, with two horses and footmen, so it was very jolly, and we bowled rapidly through Unter den Linden (the Broadway of Berlin), in rather a different manner from the pace I usually crawl along in a droschkie. They had fine opera gla.s.ses, of course, and we took our seats just as the overture was about to begin, so that everything was charming except that instead of Lohengrin, which we had expected to hear, they had changed the opera to Faust, which I had heard the week before. Faust is, however, a fascinating opera, and it is beautifully given here, albeit the Germans stick to it that it is Gounod's Faust and not Goethe's.