IV.

In the autumn of 1840 Liszt went from Paris, at which city he had been playing for some time, to the north of Germany, where he at first found the people colder than he had been wont to experience. But this soon disappeared before the magic of his playing, and even the Hamburgers, notorious for a callous, bovine temperament, gave wild demonstrations of pleasure at his concerts. He specially pleased the worthy citizens by his willingness to play off-hand, without notes, any work which they called for, a feat justly regarded as a stupendous exercise of memory.

From Hamburg he went to London, where he gave nine concerts in a fortnight, and stormed the affections and admiration of the English public as he had already conquered the heart of Continental Europe.

While in London a calamity befell him. A rascally agent in whom he implicitly trusted disappeared with the proceeds of three hundred concerts, an enormous sum, amounting to nearly fifty thousand pounds sterling. Liszt bore this reverse with cheerful spirits and scorned the condolences with which his friends sought to comfort him, saying he could easily make the money again, that his wealth was not in money, but in the power of making money.

The artist's musical wanderings were nearly without ceasing. His restless journeying carried him from Italy to Denmark, and from the British Islands to Russia, and everywhere the art and social world bowed at his feet in recognition of a genius which in its way could only be designated by the term "colossal." It seems c.u.mbersome and monotonous to repeat the details of successive triumphs; but some of them are attended by features of peculiar interest. He offered, in the summer of 1841, to give the proceeds of a concert to the completion of the Cathedral of Cologne (who that loves music does not remember Liszt's setting of Heine's song "Im Rhein," where he translates the glory of the Cathedral into music?). Liszt was then staying at the island of Nonneworth, near Bonn, and a musical society, the Liedertafel, resolved to escort him up to Cologne with due pomp, and so made a grand excursion with a great company of invited guests on a steamboat hired for the purpose. A fine band of music greeted Liszt on landing, and an extensive banquet was then served, at which Liszt made an eloquent speech, full of wit and feeling. The artist acceded to the desire of the great congregation of people who had gathered to hear him play; and his piano was brought into the ruined old chapel of the ancient nunnery, about which so many romantic Rhenish legends cl.u.s.ter. Liszt gave a display of his wonderful powers to the delighted mult.i.tude, and the long-deserted hall of Nonneworth chapel, which for many years had only heard the melancholy call of the owl, resounded with the most magnificent music. Finally the procession with Liszt at the head marched to the steamboat, and the vessel glided over the bosom of the Rhine amid the dazzling glare of fireworks and to the music of singing and instruments. All Cologne was a.s.sembled to meet them, and Liszt was carried on the shoulders of his frantic admirers to his hotel.

In common with all other great musicians, Liszt has throughout life been a reverential admirer of the genius of Beethoven, an isolated force in music without peer or parallel. In his later years Liszt bitterly reproached himself because, in the vanity and impetuosity of his youth, he had dared to take liberties with the text of the Beethoven sonatas.

Many interesting facts in Liszt's life connect themselves, directly or indirectly, with Beethoven. Among these is worthy of mention our artist's part in the Beethoven festival at Bonn in 1845, organized to celebrate the erection of a colossal bronze statue. The enterprise had been languishing for a long time, when Liszt promptly declared he would make up the deficiency single-handed, and this he did with great celerity. In an incredibly short time the money was raised, and the commission put in the hands of the sculptor Hilbnel, of Dresden, one of the foremost artists of Germany.

The programme for the celebration was drawn up by Liszt and Dr. Spohr, who were to be the joint conductors of the festival music. A thousand difficulties intervened to embarra.s.s the organization of the affair, the jealousies of prominent singers, who revolted against the self-effacement they would needs undergo, a certain truly German parsimony in raising the money for the expenses, and the envious littleness of certain great composers and musicians, who feared that Liszt would reap too much glory from the prominence of the part he had taken in the affair, But Liszt's energy had surmounted all these obstacles, when finally, only a month before the festival, which was to take place in August, it was discovered that there was no suitable Pesthalle in Bonn. The committee said, "What if the affair should not pay expenses? would they not be personally saddled with the debt?" Liszt promptly answered that, if the proceeds were not sufficient, he himself would pay the cost of the building. The architect of the Cologne Cathedral was placed at the head of the work, a waste plot of ground selected, the trees grubbed up, timber fished up from one of the great Rhine rafts, and the Festhalle rose with the swiftness of Aladdin's palace. The erection of the statue of Beethoven at his birthplace, and the musical celebration thereof in August, 1845, one of the most interesting events of its kind that ever occurred, must be, for the most part, attributed to the energy and munificence of Franz Liszt. Great personages were present from all parts of Europe, among them King William of Prussia and Queen Victoria of England. Henry Chorley, who has given a pretty full description of the festival, says that Liszt's performance of Beethoven's concerto in E flat was the crowning glory of the festival, in spite of the richness and beauty of the rest of the programme. "I must lastly commemorate, as the most magnificent piece of piano-forte playing I ever heard, Dr. Liszt's delivery of the concerto in E flat.... Whereas its deliverer restrained himself within all the limits that the most sober cla.s.sicist could have prescribed, he still rose to a loftiness, in part ascribable to the enthusiasm of time and place, in part referable to a nature chivalresque, proud, and poetic in no common degree, which I have heard no other instrumentalist attain....

The triumph in the mind of the executant sustained the triumph in the idea of the compositions without strain, without spasm, but with a breadth and depth and height such as made the genius of the executant approach the genius of the inventor.... There are players, there are poets; and as a poet Liszt was possibly never so sublimely or genuinely inspired as in that performance, which remains a bright and precious thing in the midst of all the curiously parti-colored recollections of the Beethoven festival at Bonn."

In 1846, among Liszt's other musical experiences, he played in concerts with Berlioz throughout Austria and Southern Germany. The impetuous Osechs and Magyars showed their hot Tartar blood in the pa.s.sion of enthusiasm they displayed. Berlioz relates that, at his first concert at Pesth, he performed his celebrated version of the "Rakoczy March," and there was such a furious explosion of excitement that it wellnigh put an end to the concert. At the end of the performance Berlioz was wiping the perspiration from his face in the little room off the stage, when the door burst open, and a shabbily dressed man, his face glowing with a strange fire, rushed in, throwing himself at Berlioz's feet, his eyes br.i.m.m.i.n.g with tears. He kissed the composer over and over again, and sobbed out brokenly: "Ah, sir! Me Hungarian... poor devil... not speak French... _un, poco l'taliano_.... Pardon... my ecstasy... Ah!

understand your cannon... Yes! yes! the great battle... Germans, dogs!"

Then, striking great blows with his fists on his chest, "In my heart I carry you... A Frenchman, revolutionist... know how to write music for revolutions." At a supper given after the performance, Berlioz tells us Liszt made an inimitable speech, and got so gloriously be-champagned that it was with great difficulty that he could be restrained from pistolling a Bohemian n.o.bleman, at two o'clock in the morning, who insisted that he could carry off more bottles under his belt than Liszt.

But the latter played at a concert next day at noon "a.s.suredly as he had never played before," says Berlioz.

Before pa.s.sing from that period of Liszt's career which was distinctly that of the virtuoso, it is proper to refer to the unique character of the enthusiasm which everywhere followed his track like the turmoil of a stormy sea. Europe had been familiar with other great players, many of them consummate artists, like Hummel, Henri Herz, Czerny, Kalkbrenner, Field, Moscheles, and Thalberg, the most brilliant name of them all. But the feeling which these performers aroused was pale and pa.s.sionless in comparison with that evoked by Franz Liszt. This was not merely the outcome of Liszt as a player and musician, but of Liszt as a man. The man always impressed people as immeasurably bigger than what he did, great as that was. His nature had a lavishness that knew no bounds. He lived for every distinguished man and beautiful woman, and with every joyous thing. He had wit and sympathy to spare for gentle and simple, and his kindliness was lavished with royal profusion on the sc.u.m as well as the salt of the earth. This atmosphere of personal grandeur radiated from him, and invested his doings, musical and otherwise, with something peculiarly fine and fascinating. And then as a player Liszt rose above his mates as something of a different genius, a different race, a different world, to every one else who has ever handled a piano. He is not to be considered among the great composers, also pianists, who have merely treated their instrument as an interpreting medium, but as a poet, who executively employed the piano as his means of utterance and material for creation. In mere mechanical skill, after every one else has ended, Liszt had still something to add, carrying every man's discovery further. If he was surpa.s.sed by Thalberg in richness of sound, he surpa.s.sed Thalberg by a variety of tone of which the redoubtable Viennese player had no dream. He had his delicate, light, freakish moods in which he might stand for another Chopin in qualities of fancy, sentiment, and faery brilliancy. In sweep of hand and rapidity of finger, in fire and fineness of execution, in that interweaving of exquisite momentary fancies where the work admits, in a memory so vast as to seem almost superhuman; in that lightning quickness of view, enabling him to penetrate instantaneously the meaning of a new composition, and to light it up properly with its own inner spirit (some touch of his own brilliancy added); briefly, in a mastery, complete, spontaneous, enjoying and giving enjoyment, over every style and school of music, all those who have heard Liszt a.s.sert that he is unapproached among players and the traditions of players.

In a letter from Berlioz to Liszt, the writer gives us a vivid idea of the great virtuoso's playing and its effects. Berlioz is complaining of the difficulties which hamper the giving of orchestral concerts.

After rehearsing his mishaps, he says: "After all, of what use is such information to you? You can say with confidence, changing the mot of Louis XIV, '_L'orchestre, c'est moi; le chour, c'est moi; le chef c'est encore moi_.' My piano-forte sings, dreams, explodes, resounds; it defies the flight of the most skillful forms; it has, like the orchestra, its brazen harmonies; like it, and without the least preparation, it can give to the evening breeze its cloud of fairy chords and vague melodies. I need neither theatre, nor box scene, nor much staging. I have not to tire myself out at long rehearsals. I want neither a hundred, fifty, nor twenty players. I do not even need any music. A grand hall, a grand pianoforte, and I am master of a grand audience. I show myself and am applauded; my memory awakens, dazzling fantasies grow beneath my fingers. Enthusiastic acclamations answer them. I sing Schubert's "Ave Maria," or Beethoven's "Adelaida" on the piano, and all hearts tend toward me, all b.r.e.a.s.t.s hold their breath....

Then come luminous bombs, the banquet of this grand firework, and the cries of the public, and the flowers and the crowns that rain around the priest of harmony, shuddering on his tripod; and the young beauties, who, all in tears, in their divine confusion kiss the hem of his cloak; and the sincere homage drawn from serious minds and the feverish applause torn from many; the lofty brows that bow down, and the narrow hearts, marveling to find themselves expanding '.... It is a dream, one of those golden dreams one has when one is called Liszt or Paganini."

That such a man as this, brilliant in wit, extravagant in habit and opinion, courted for his personal fascination by every one greatest in rank and choicest in intellect from his prodigious youth to his ripe manhood, should suddenly cease from display at the moment when his popularity was at its highest, when no rival was in being, is a remarkable trait in Dr. Franz Liszt's remarkable life. But this he did in 1849, by settling in Weimar as conductor of the court theatre, his age then being thirty-eight years.

V.

Liszt closed his career as a virtuoso, and accepted a permanent engagement at Weimar, with the distinct purpose of becoming identified with the new school of music which was beginning to express itself so remarkably through Richard Wagner. His new position enabled him to bring works before the world which would otherwise have had but little chance of seeing the light of day, and he rapidly produced at brief intervals eleven works, either for the first time, or else revived from what had seemed a dead failure. Among these works were "Lohengrin," "Rienzi," and "Tannhauser" by Wagner, "Benvenuto Cellini" by Berlioz, and Schumann's "Genoveva," and music to Byron's "Manfred." Liszt's new departure and the extraordinary band of artists he drew around him attracted the attention of the world of music, and Weimar became a great musical center, even as in the days of Goethe it had been a visiting shrine for the literary pilgrims of Europe. Thus a nucleus of bold and enthusiastic musicians was formed whose mission it was to preach the gospel of the new musical faith.

Richard Wagner says that, after the revolution of 1849, when he was compelled to fly for his life, he was thoroughly disheartened as an artist, and that all thought of musical creativeness was dead within him. From this stagnation he was rescued by a friend, and that friend was Franz Liszt. Let us tell the story in Wagner's own words:

"I met Liszt for the first time during my earliest stay in Paris, at a period when I had renounced the hope, nay, even a wish of a Paris reputation, and, indeed, was in a state of internal revolt against the artistic life which I found there. At our meeting he struck me as the most perfect contrast to my own being and situation. In this world into which it had been my desire to fly from my narrow circ.u.mstances, Liszt had grown up from his earliest age so as to be the object of general love and admiration at a time when I was repulsed by general coldness and want of sympathy. In consequence, I looked upon him with suspicion.

I had no opportunity of disclosing my being and working to him, and therefore the reception I met with on his part was of a superficial kind, as was indeed natural in a man to whom every day the most divergent impressions claimed access. But I was not in a mood to look with unprejudiced eyes for the natural cause of this behavior, which, though friendly and obliging in itself, could not but wound me in the then state of my mind. I never repeated my first call on Liszt, and, without knowing or even wishing to know him, I was p.r.o.ne to look on him as strange and adverse to my nature. My repeated expression of this feeling was afterward told to him, just at the time when my "Rienzi"

at Dresden was attracting general attention. He was surprised to find himself misunderstood with such violence by a man whom he had scarcely known, and whose acquaintance now seemed not without value to him. I am still moved when I think of the repeated and eager attempts he made to change my opinion of him, even before he knew any of my works. He acted not from any artistic sympathy, but led by the purely human wish of discontinuing a casual disharmony between himself and another being; perhaps he also felt an infinitely tender misgiving of having really hurt me unconsciously. He who knows the selfishness and terrible insensibility of our social life, and especially of the relations of modern artists to each other, can not be struck with wonder, nay, delight, with the treatment I received from this remarkable man.... At Weimar I saw him for the last time, when I was resting for a few days in Thuringia, uncertain whether the threatening persecution would compel me to continue my flight from Germany. The very day when my personal danger became a certainty, I saw Liszt conducting a rehearsal of my 'Tannhouser,' and was astonished at recognizing my second self in his achievement. What I had felt in inventing this music, he felt in performing it; what I had wanted to express in writing it down, he expressed in making it sound. Strange to say, through the love of this rarest friend, I gained, at the very moment of becoming homeless, a real home for my art which I had hitherto longed for and sought for in the wrong place.... At the end of my last stay in Paris, when, ill, miserable, and despairing, I sat brooding over my fate, my eye fell on the score of my 'Lohengrin,' which I had totally forgotten. Suddenly I felt something like compa.s.sion that this music should never sound from off the death-pale paper. Two words I wrote to Liszt; the answer was that preparation was being made for the performance on the grandest scale which the limited means of Weimar permitted. Everything that man or circ.u.mstances could do was done to make the work understood....

Errors and misconceptions impeded the desired success. What was to be done to supply what was wanted, so as to further the true understanding on all sides and, with it, the ultimate success of the work? Liszt saw it at once, and did it. He gave to the public his own impression of the work in a manner the convincing eloquence and overpowering efficacy of which remain unequaled. Success was his reward, and with this success he now approaches me, saying, 'Behold, we have come so far! Now create us a new work, that we may go still farther.'"

Liszt remained at Weimar for ten years, when he resigned his place on account of certain narrow jealousies and opposition offered to his plans. Since 1859 he has lived at Weimar, Pesth, and Rome, always the center of a circle of pupils and admirers, and, though no longer occupying an active place in the world, full of unselfish devotion to the true interests of music and musicians. In 1868 he took minor orders in the Roman priesthood. Since his early youth Liszt had been the subject of strong paroxysms of religious feeling, which more than once had nearly carried him into monastic life, and thus his brilliant career would have been lost to the world and to art. After he had gained every reward that can be lavished on genius, and tasted to the very dregs the wine of human happiness, so far as that can come of a splendid prosperity and the adoration of the musical world for nearly half a century, a sudden revulsion seems to have recalled again to the surface that profound religious pa.s.sion which the glory and pleasure of his busy life had never entirely suppressed. It was by no means astonishing to those who knew Liszt's life best that he should have taken holy orders.

Abbe Liszt lives a portion of each year with the Prince-Cardinal Hohenlohe, in the well-known Villa d'Este, near Rome, a chateau with whose history much romance is interwoven. He is said to be very zealous in his religious devotions, and to spend much time in reading and composing. He rarely touches the piano, unless inspired by the presence of visitors whom he thoroughly likes, and even in such cases less for his own pleasure than for the gratification of his friends. Even his intimate friends would hardly venture to ask Liszt to play. His summer months are divided between Pesth and Weimar, where his advent always makes a glad commotion among the artistic circles of these respective cities. Of the various pupils who have been formed by Liszt, Hans von Bulow, who married his daughter Cosima, is the most distinguished, and shares with Rubenstein the honor of being the first of European pianists, now that Liszt has for so long a time withdrawn himself from the field of compet.i.tion.

VI.

Liszt has been a very industrious and prolific writer, his works numbering thirty-one compositions for the orchestra; seven for the piano-forte and orchestra; two for piano and violin; nine for the organ; thirteen ma.s.ses, psalms, and other sacred music; two oratorios; fifteen cantatas and chorals; sixty-three songs; and one hundred and seventy-nine works for the piano-forte proper. The bulk of these compositions, the most important of them at least, were produced in the first forty years of his life, and testify to enormous energy and capacity for work, as they came into being during his active period as a virtuoso. In addition to his musical works, Liszt has shown distinguished talent in letters, and his articles and pamphlets, notably the monographs on Robert Franz, Chopin, and the Music of the Gypsies, indicate that, had he not chosen to devote himself to music, he might have made himself an enviable name in literature.

Perhaps no better characterization of Liszt could be made than to call him the musical Victor Hugo of his age. In both these great men we find the same restless and burning imagination, a quickness of sensibility easily aroused to vehemence, a continual reaching forward toward the new and untried and impatience of the old, the same great versatility, the same unequaled command of all the resources of their respective crafts, and, until within the last twenty years, the same ceaseless fecundity.

Of Liszt as a player it is not necessary to speak further. Suffice it that he is acknowledged to have been, while pursuing the path of the virtuoso, not only great, but the greatest in the records of art, with the possible exception of Paganini. To the possession of a technique which united all the best qualities of other players, carrying each a step further, he added a powerful and pa.s.sionate imagination which illuminated the work before him. Wagner wrote of him: "He who has had frequent opportunities, particularly in a friendly circle, of hearing Liszt play, for instance, Beethoven, must have understood that this was not mere reproduction, but production. The actual point of division between these two things is not so easily determined as most people believe, but so much I have ascertained without a doubt, that, in order to reproduce Beethoven, one must produce with him." It was this quality which made Liszt such a vital interpreter of other composers, as well as such a brilliant performer of his own works. As a composer for the piano Franz Liszt has been accused of sacrificing substantial charm of motive for the creation of the most gigantic technical difficulties, designed for the display of his own skill. This charge is best answered by a study of his transcriptions of songs and symphonies, which, difficult in an extreme degree, are yet rich in no less excess with musical thought and fullness of musical color. He transcribed the "Etudes" of Pa-ganini, it is true, as a sort of "tour deforce", and no one has dared to attempt them in the concert room but himself; but for the most part Liszt's piano-forte writings are full of substance in their being as well as splendid elaboration in their form. This holds good no less of the purely original compositions, like the concertos and "Rhapsodies Hongroises," than of the transcriptions and paraphrases of the _Lied_, the opera, and symphony.

As a composer for the orchestra Liszt has spent the ripest period of his life, and attained a deservedly high rank. His symphonies belong to what has been called, for want of a better name, "programme music," or music which needs the key of the story or legend to explain and justify the composition. This cla.s.sification may yet be very misleading. Liszt does not, like Berlioz, refer every feature of the music to a distinct event, emotion, or dramatic situation, but concerns himself chiefly with the pictorial and symbolic bearings of his subject. For example, the "Mazeppa" symphony, based on Victor Hugo's poem, gets its significance, not in view of its description of Mazeppa's peril and rescue, but because this famous ride becomes the symbol of man: "_Lie vivant sur la croupe fatale, Genie, ardent Coursier_." The spiritual life of this thought burns with subtile suggestions throughout the whole symphony.

Liszt has not been merely a devoted adherent of the "Music of the Future" as expressed in operatic form, but he has embodied his belief in the close alliance of poetry and music in his symphonies and transcriptions of songs. Anything more pictorial, vivid, descriptive, and pa.s.sionate can not easily be fancied. It is proper also to say in pa.s.sing that the composer shows a command over the resources of the orchestra similar to his mastery of the piano, though at times a tendency to violent and strident effects offends the ear. Franz Liszt, take him for all in all, must be regarded as one of the most remarkable men of the last half century, a personality so stalwart, picturesque, and ma.s.sive as to be not only a landmark in music, but an imposing figure to those not specially characterized by their musical sympathies.

His influence on his art has been deep and widespread; his connection with some of the most important movements of the last two generations well marked; and his individuality a fact of commanding force in the art circles of nearly every country of Europe, where art bears any vital connection with social and public life.

THE END.