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THE MAYFAIR BIOGRAPHIES
LISZT
BY
SIRALEXANDERCMACKENZIE
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LISZT
BY
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The
MAYFAIR BIOGRAPHIES
uniform with
this
volume, by eminent musicians of the day,
including
Sir
FREDERIG GOWEN,
ALEXANDER G. MAGKENZIE,
Sir LAN DON RONALD, Etc.
GHAS. V. STANFORD,
Sir
Sir
^
No.
1.
BEETHOVEN
2.
BBIAHMS
3.
LISZT
Sir Charles
Sir
5.
MOZART
SCHUMANN
6.
SCHUBERT
4.
7.
8.
9.
Frederick Corder, F.R.A.M.
HAYDN
WAGNER
HANDEL
Alexander C. Mackenzie.
...
Sir Frederic
Sir
...
...
V. Stanford.
Landon Ronald.
George H. Clutsam.
Sir Frederic
...
...
Cowen.
Cowen.
Frederick Corder, F.R.A.M.
Henry Davey
...
10.
MENDELSSOHN
11.
RUBINSTEIN
12.
TSCHAIKOWSKY
...
Sir Frederic
Cowen
Arthur Hervey
Sir
Landon Ronald
Price 1/6 each net
MURDOCH, MURDOCH &
LONDON,
W.l.
CO.,
LBW.
No. 63
LISZT
From a Photo'
by Elliot S'Fry.
hLmo
MUSIC
lllBRARY
476
N
his essay
on Wagner, included in
this series, Mr.
Frederick Corder writes of Franz Liszt: 'As time goes
on, every fact concerning this
exalts
man
him higher and higher
that comes to light
in our esteem,
till
he
seems likely to assume the legendary proportions of
a King Arthur of music'
Since his deaths, over thirty-five years ago
—the
volumes
between himself and Wagner, the Princess Saynthe letters of his son-in-law Hans von Bulow, and
of correspondence
Witt^enstein,
lastly
Wagner's Mein Leben,' have
'
further contributed to reveal the
all
unique influence on modern music and magnificent unselfishness of the
artist and the man who held the attention of musical Europe uninterruptedly for nearly seventy years.
ordinary
mth
life
—
fully discussed in
At
many
this distance of time, his extra-
biographies all
more or
the predilections or prejudices of their authors
romance than reahty.
—reads
less tinted
more
Exceptionally gifted in every respect,
seems to have been sent into the world
first
to dazzle
like
Liszt
and astound, then
to suffer for his fearless championship of all that has spelt progress in
our
art.
first of
Born
a long
in 1811 at Raiding,
series of public
a village in Hungary, and making the
appearances at the age of nine (with the
immediate result of securing a number of friends who provided
for his
future studies), the wonder-child passed into the care of Czerny, the
famous teacher whose name
is still
before every student of the pianoforte.
LISZT
6
him with reverence as the best instructor he had
known. Another master was Salieri, known to us, with a doubtful
amount of truth, as the spiteful rival of Mozart. The boy was also taken
to Schubert, and when in 1823 he made his first bow to a Viennese audience,
Beethoven (who was with difficulty persuaded to go) stepped on the platform and kissed him.^ Could the greatest of composers divine that this
boy was to become the unapproachable exponent of his works, and
practically erect, by his own exertions, the Beethoven monument at Bonn ?
Another less well-known circumstance connects the two illustrious
names. The first edition of Variations on a Waltz by Diabelli (pubHshed
in the same year, 1823) contains contributions by fourteen composers, among others
Hummel, Mozart's second son, Moscheles,
Czerny, etc. Beethoven wrote two Variations,
Liszt always spoke of
'
'
which are also to be found in
thirty -three on the
is Liszt's first
famous
his
set of
same theme, and No. IX.
published composition.
The
regulation which prevented the boy's admission to the Paris Conservatoire because he
was not
of
French parentage, can hardly be
accounted an unreasonable one, and Director
Cherubini
USZT AS A BOY.
—a foreigner
bably be the
could come.^
last
But the
himself
person from
—would
pro-
whom any pro-
mortification which Liszt felt
posal to override
it
became a source
of benefaction to others, since
we know from
himself
that out of that disappointment grew the resolve to teach young musicians
always without a fee
That
—a
resolution to which he adhered to the end.
his theoretical education
was
insufficient
may
be doubted.
There
is
evidence that the boy had composed a good deal before he came to Paris,
and that he had not spent
his chief teacher, a
man
his time entirely at the pianoforte.
of progress
and
in
advance of
his time,
exceptional interest in him, was not likely to be trifled with.
^
There
is
no doubt of
this fact, but
Young Rubinstein met
who took
Distracting
Beethoven, being already deaf, could hardly have heard much
of the boy's performance.
*
Reicha,
with the same rebuff seventeen years
later.
LISZT
7
and disturbing elements, however, were the boy's precocious powers and
strangely attractive personality which at once opened the doors of Parisian
society
much
too wide and too often for one of his years.^
His father's
needy pocket had to be kept supplied, hence these numerous
tours
and public appearances to which Franz had to submit.
England has
his eight visits to
in
London
(1824),
an immediate
prodigy,
its
peculiar interest.
when he was twelve
success,
and
who was not
Adam
His
first
artistic
Each
of
appearance
years and seven months old, was
Liszt seems to have realised that the
treated
like
a spoiled child as in Paris,
was
in a healthier atmosphere.
While in London, as Liszt told
Mr. Alfred Littleton in 1886, his
father consulted a phrenologist as
what should be done with this
'Not so stupid;
'stupid boy.'
to
him with
try
music,'
was the
answer. Father and son remain-
ed in retreat in order that the
'
'
partially
composed operetta, Don
Sancho,
should
be completed.
Thus the remaining
score
was written
in
half of the
London and
played three times in the following year in Paris.
Practically,
then, Liszt began as an operatic composer,
and although a
hankering after the stage never
quite left
for
him, his admiration
Wagner's superior
gifts
prevented the inclination from being indulged
Of the following couple of
and
^
sixteen, there
LISZT AT THIRTEEN YEARS OF AGE
(from a LITHOGRAPH OP 1824 IN THK LIBRARY
OF THE PARIS OPERA-HOCSe).
visits to
our shores, at the ages of thirteen
would only be the same
tale of
enthusiasm to
By way of fixing the period, it should be remembered that all this carries
Madame Recamier, Chateaubriand, Due d'Orle'ans (Louis Philippe), etc.
days of
tell,
were
us hack to the later
LISZT
8
it
not for the fact that, as his musical
growing distaste for the manner of
show
itself.
gifts increased in brilliance,
life
a rapidly
he was compelled to lead began to
A
His boyish good humour vanished.
serious desire for
knowledge and a better general education seized him religious thoughts
'You
filled his mind, and he deliberately proposed to enter the Church.
;
belong to Art,' said the father; a sentence which Franz received in silence.
When
his father
—
^to
whom
he was tenderly attached
—
died, the
melan-
choly which preyed upon liim became so intense that he withdrew from
society,
all
death
—
^the
and
a rumour of his
his prolonged disappearance caused
second occurrence of this kind, for a similar report circulated
once before in Hungary when he was
This time
a wonder-child.
still
numerous obituary notices appeared in the French journals deploring the
death of a genius. The state of moody depression continued until the
Revolution of 1830, when he awoke to active
sound of the cannons cured him,'
A
his
life
once more,
The
mother was wont to say.
revolutionary symphony, never published, dates from that year
but a revised fragment became afterwards the symphonic poem
fun^bre,' in
Paris
in
'
which a faint echo of the Marseillaise
was now
his mother's
home.
is
Moving
which Lamartine, Balzac, Victor Hugo, and the
'
H^roide
to be found.
in the brilliant circles
rest of the leaders of the
exuberant romanticism of the time lived, in accordance with the freedom
they advocated, there exists no famous
in
some way connected.
This, the
one whose mind was
name with which
butterfly
fairly equally divided
the allurements of the salons.
marked the turning-point
'
The coming
Liszt cannot be
period of his
The pianoforte had
strangely contrasted moods.
for
'
lost
much
between serious
life, is full
of
charm
thought and
of its
of that weird genius Paganini
in the master's
life.
The
spell
which the
Italian virtuoso contrived to cast over his hearers not only revived the
young artist's enthusiasm, but fanned his ambition to transfer the liitherto
unapproached brilliancy of execution from the violin to the pianoforte.
What was the pianoforte literature of the moment ?
were
still
—and
for
a long time to come
Beethoven's creations
—unknown.
So were Weber's.
Chopin was just beginning, Schumann had not commenced to work, nor
had Mendelssohn written very much.
Kalkbrenner, Charles Mayer, Herz,
9
LISZT
Doeh/er (later on Thalberg on a somewhat higher plane), provided the
music heard in salon and concert-room.
We may take it for granted that
the lyrical charm and novel personal technique of Chopin attracted
had their influence on Liszt. Be that as it may, the new era
playing dates from the publication of the
and
Liszt's incredible activity
invention becomes amaz-
fertility of
ing.
in pianoforte-
and
transcriptions of Paganini's Capricii,
from that day
and
Operatic fantasias, the famous tran-
scriptions
and
Beethoven
of
Berlioz's
symphonies, of Schubert's songs, and a
number
of original
de Pelerinage
'
works such as
(Swiss
'
Grandes Etudes,'
and
all of
after sixty-five years,
his pen.
fantasias
Annees
Italian), the
which are
on every
programmes, must have
from
'
still,
pianist's
literally
flown
many
of the
Granted that
have gone out of vogue, with
their subjects, I
am
of opinion that their
astounding invention of passage-work, ingenious dove-tailing of themes and inexhaustible
Most
of
Liszt's
homage
fancy,
are
them owe
efforts
their
of
genius.
existence
to
amiable habit of offering musical
to the prominent composers of
the countries he happened to be in.
Some
were written with the deliberate intention
of popularising the music of comparatively
unknown composers.
Wagner was
in the early stages of his career, to
FRANZ
LISZT
(from an etching by jean INGRES,
MADE
IN 1839).
glad,
have that assistance.
Liszt called attention to the genius of Schubert in Austria.
In tnis
Thus with
the almost forgotten Scarlatti (the Liszt of his day) in Italy.
Rossini, Meyerbeer, Auber,
and Verdi.
It
graceful compliment to the nations as he
was
his
made
manner
way
So with
of paying a
their acquaintance in
LISZT
10
turn, or of paying tributes of thanks to musicians
to help those in
whom
who had
served him, or
he was interested.
Although the great pianist confessed that public adulation had now
and then beguiled him into the committal of unworthy tours
grammes were by no means confined to these
player he was already famous. The names
were
etc.,
published
For
all
;
all
added to
his repertoire,
A
As a Beethoven
Weber, Chopin, Schumann,
show-pieces.
of
almost as soon as their works were
and who but Liszt helped to hasten their fame ?
that, the magnetic power and masterful sway he exercised
over his audiences brought
train.
much
splenetic
and
jealous opposition in their
London
glance at the outcome of his stay in
young man
deforce, his pro-
in 1840,^
of world-wide experience at the height of his
when a
renown as a
virtuoso, will serve to give a clear idea of the effects of his strong person-
Then began that
ality.
fierce opposition,
continued until quite recently,
which raged around the very name of Liszt
—a name which seems to have
operated like the proverbial red rag upon bulls.
It should
be remembered that the same bitter attacks were being
made on him in Germany, particularly in Leipzig, from whence, without
much doubt, the rancour had travelled. Liszt was generally condemned
for
*
elaborate caricature,' which
delirious posture-master
into ugliness
artistic
:
more frequently suggested the idea
than a refined
artist,'
who
'
of a
transforms elegance
employing his acquirements on some of the ugliest and least
combinations of sound that ever found acceptance in a concert-
These are some of the milder specimens of
room.'
writer seems to have
critics
'
had the courage
may not understand M.
Liszt,
criticism.
of his opinions
when he
Only one
said,
'
The
but the musicians crowd to hear him.'
This with reference to his second Recital^ a term he invented for his London
On
his return in
the following year the storm burst with increased vigour.
Apart from
concerts,
and which has remained with us ever
since.
the fact that, combined with a phenomenal technique, the music presented
was
entirely
new and
hand to throw
*
The
strange, there were
into the
fire.
It is generally forgotten that in
now
other combustibles ready to
Thalberg, the successful and elegant pianist,
1840 Liszt made not one, but three separate
intervals were filled hj concert-trips to the
Rhine and
to
Hamburg.
visits to
England.
11
LISZT
•was popular
both in Paris and London, and therefore an easily found
figure to set
up
existed
his
no such
in opposition.
feeling.
Add
Between the two men themselves there
to that his predilection for fashionable
intimacy with the nobility of every court in Europe.
Heinrich Heine says,
for his proteges.'
'
life,
Malicious
Liszt takes a pleasure in having talented sovereigns
AVhile in
London he
preferred that portion of society
by Lady Blessington, Count d'Orsay, and others, who were perhaps
not in the best of odours with the rest of an aristocracy which was now
led
AN EARLY CARICATURE OF
inclined to hold aloof from him.
Windsor Castle in that year.
much
An
LISZT IN
There
THE CONCERT-HALL.
is
no record
of his playing at
The sudden appearance on the
scene
—of the Countess d'Agoult cannot have helped him.
days — was
generosity —^which lasted to the end of
against his wish
extravagant
his
sneered at, and highly coloured pictures of his vanity, hauteur, and
posturings were therefore easily painted.
his fondness for society, that
But
let it
be
said, in regard to
he himself sprang from a noble, though
impoverished, Hungarian family, and had lived from childhood in close
contact with the cultured and well-bred.
offended
him
;
and
if
he asked to be treated
Anything mean or small
like
a noble, he certainly
LISZT
12
A
acted like one.
prince
among
artists,
an
artist
among
princes, Genie
was the motto which guided him. When in 1840 he sailed from
Liverpool to Hamburg and realised the miserable conditions of the
oblige
musicians there,
orchestral
the
entire
proceeds
of
the
first
concert
(17,300 francs) were given to start that pension-fund which he kept in
view
all his life.
From
the takings of his English concerts, in the same
year, 10,000 francs were sent to
hoven monument.
Bonn
as a
first
Taking into consideration
contribution to the Beetall
that he did
later, it
may
be truthfully assumed that the monument was erected chiefly by his
own
exertions.
At Frankfort also he helped to initiate the Mozart foundation.
There is not much ' posing in all this
No doubt Liszt was
impetuous at times. He was capable of throwing an etui, brought to him
by the attache of a German prince, into the wings of the stage, and of
ceasing to play when an emperor talked. Indeed, Liszt seems to have
been somewhat hard on kings and queens
In Madrid he was informed
'
!
!
that court etiquette forbade a personal introduction to the reigning
Then
and was received by Queen
Isabella.
This being the first occasion upon which the old custom had
been broken, the pubhc hailed him with shouts of Salve, Artista venturoso !
monarch.
'
I cannot play,' said he,
'
'
Certainly the venturous fight for the recognition of art
the ice for
all
who have
since followed him.
and
artists
broke
Per contra, when an old
gentleman, at one of the London Philharmonic concerts, enthusiastically
cried,
'
It
was worth much more,' and pressed a five-pound note into
hand, Liszt quietly pocketed
it
because he
'
his
did not want to offend the
The season of 1841 saw a repetition of successes with
London public and musicians but a badly arranged provincial tour had
to be curtailed, and declining to claim his legitimate fees from the manager,
dear old fellow.'
;
Liszt departed from England, not to return for forty years.
being angry at the
failure,
So far from
he actually accepted an engagement to conduct
a German opera company in London in 1849. The scheme came to
nothing, but the incident goes far to prove an increasing disgust at public
The study of French and
ItaHan art had already occupied his serious attention, and the impressions made during the years 1839-40, partly spent in Rome, by the
playing, as well as his stageward leanings.
LISZT
13
masterpieces of scvilpture and painting, had an abiding influence upon,
the receptive mind of the highly cultured musician.
we
Berlioz
find these sentences
:
'
Art
and unveils her
myself more and more of the hidden
eyes in
glory
all its
of the creative spirit in
man.
first
In a letter to
appears to
universality.
my
astonished
Every day
I assure
relationship between all the works
me
Rafael and Michael Angelo help
to
The Coliseum and the Campo Santo
"
are not so far removed from the
Eroica " and the " Requiem."
understand Mozart and Beethoven.
'
We
find the results of these meditations at first in small musical
THE «KD OP X SIGNED
pictures like the
'
MS, SONG
Penseroso
'
BY
LISZT,
WRITTEN AT VILLA d'eSTE,
TIVOLI, IN 1877.
and Sposahzio,' and later on in the Dante
'
'
'
symphony.
Up
written
to the
moment
little else
of his disappearance as a virtuoso Liszt
had
than pianoforte music, and some very beautiful songs
:
the novelty of their treatment was sufficient to ensure a cool reception,
but a large number of them are now household words, while some, such as
'
Lorelei,'
'
Es muss
ein wunderbares sein,'
'
Du
bist wie eine Blume,' are
famous.
A
'
new
field for
Rhapsodic.'
As a
exploration was discovered
child he
is
said to
when he invented the
have only cared
Beethoven and the gipsy tunes he constantly heard.
among
his earliest publications
two
sets of
for the
music of
Although we find
Hungarian melodies,
it
was
LISZT
14
the music of the Russian and Spanish gipsies which awoke his serious
Always a believer in national music, he actually lived for a
time in the tents of the Hungarian Zingari in order to saturate himself
with the spirit of these wildly quaint tunes with which we are now so
interest.
At the time
familiar.
(1840)
when
his
mother- country proudly claimed
him as her son, gipsy music was hardly on paper, but went from mouth
an enthusiast like Liszt could not fail to discover its hidden
to mouth
capabilities and acknowledge its right to become the basis of a national art.
He listened, noted it down, and invented a medium for its idealisation.
;
LISZT S MUSIC-ROOM
AND LIBRARY AT WEIMAR,
became a fixed idea with him to hand down these remnants of ancient
Hungary in an artistic form, as a national treasure, and of these immensely popular Rhapsodies there exist twenty from his pen. Himgarian
opera ^in fact Hungarian musical art owes its birth to this labour of love.
It
—
In spite of
etc.,
—
all
and the
the medals struck, the freedom of
large
sums
of
money which came
directions
mind
was
and
persistently before the artist.
swords of honour,
to him, he
inwardly chafing under the always distasteful
necessity for the development of his gifts
cities,
life
was
fretting
he had to lead.
and
The
them in nobler
Weimar was always in his
of exercising
as a suitable spot for the furtherance of his plans as a composer,
conductor, and active patron of the
new movement
in
music which was
15
LISZT
struggling for recognition.
in 1842, the position of
'
AMiile
still
the
strolling player
'
upon
With habitual consideration
for others, the
completed the
'
^
Thus
by
his
own
moment
peace
neither
Liszt passed
of tliirty-eight.
of
at Elizabethgrad in
from opulence to comparative poverty
when
child, lasted
and
LISZT
^Miile the
providing
mother and
AT THE REHEARSAL OF THE PASTORAL SYMPHONY
AT GOTHA, JANUARY 17, 1844.
{^Sketches from life by
for
Paul Emil Jacobs.)
his three legitimised children compelled
him
to continue
performances as long as he did, he gave lavishly to charity, both
public and private,
when
money
called
An
solicitations of others.
value of
money was given
of 1847, the last
career as
ceased abruptly at the age
his public
summer
nor reward.
barely for twenty years,
his
six years of travel
was
there
beginning
he was a mere
necessity
Another
and from
His phenomenal
a pianist,
interfere %\ath the
act at the zenith
of his popularity,
that
no way
and, in the late
concert at which he ever played for
South Russia.
agreement was only signed
in
permanent conductor.
Wanderjahre,'
'
duties until a couple of years later.
its
on condition that the appointment should
status of the
he accepted,
Maitre de chapcUe en services extraordinaires
at Weimar, but did not enter
work or
'
upon
by
either
own generosity or
his own future, or
his
utter disregard for
for his personal needs,
was one
of his
the
the
most prominent
characteristics.
Before passing to a
much more important
period, be it
remembered
that Liszt had been carrying the music of the gi'catest dead and living
composers from place to place.
special mission.
names
Liszt
The spread
was the only
artist
of Beethoven's
who
fame was
his
persistently brought the
of his contemporaries before the public during his meteoric flights.
The reputations
of
some
of
them were
as yet purely local
—Berlioz and
^ This is the itinerary of the last couple of years
Poland and Russia, South and North Germany,
France, Spain and Portugal, from Gibraltar to Alsatia, Saxony, Hungary, Constantinople.
:
LISZT
16
Chopin in Paris, Schumann in Leipzig,
set
of
His heart was now
for instance.
upon the continuation of this mission on a larger scale.
With the sudden change in the master's Hfe (in 1848) began the battle
Weimar a. struggle to open new paths, to introduce new men and
So far from entirely identifying himself during
methods.
office
his ten years of
with the so-called Music of the future, Liszt's orchestral and operatic
programmes are unique
in their liberality
and
He
for their eclecticism.
Weimar with a couple of personal projects in his mind one being
the completion of a symphony inspired by Dante, the other was the
development of a new art-form, the Symphonic Poem,' for the first
came
to
:
'
example
*
of
which he had already chosen
Ce qu'on entend sur
la
montagne.'
Sneers at the idea of his wanting to compose at
his ability either to score for, or to conduct,
The
distributed.
production
Tannhduser,
Liszt wrote to
all
all,
and doubts
an orchestra were
as to
freely
these things remarkably well
But the hue and cry commenced with the
established.
When
do
fact that he could
was very soon
of
from Victor Hugo,
his subject
which inaugurated a
Wagner
in 1849,
most zealous and devoted admirers
'
Once
for all,
me among your
on me and dispose
count
far or near, count
;
friendship.
lifelong
what unlimited extent he was to be
impossible to disconnect these two names
of me,' he probably did not foresee to
taken at his w^ord.
history has linked
It is
:
them together
for all time.
But
this paper, being
devoted to the elder master, requires only a brief reference to the younger.
'
In 1848 Wagner was no more to Liszt than a number of other
toward
whom
He had no high
biographers.
drawn to
its
he had amiable intentions.'
composer.
Out
reference, I shall only quote
So writes one of
opinion of Kienzi, nor had he
of the
mass of
literature
felt
now
a couple of extracts which
men
Liszt's
personally
available for
may
be safely
detached from their contexts without injustice to either correspondent.
was written by Wagner to a mutual friend
That wonderful man must also look after my poor
The
'
first
The other
of Liszt's ovtvl
^
(to
Wagner)
wife.'
I give because it contains a frank statement
monetary troubles
For quotations from
in 1849.^
letters^ see Liszt
:
and Wagner correspondence, translated by
F. Hueffer.
17
LISZT
more than once explained to you my difficult pecuniary
situation, which simply amounts to this, that my mother and my three
children are decently provided for by my former savings, and that I have
'
to
I have
manage on
by way
my salary (as Kapellmeister) of
1000 thalers and 300 thalers
of a present for the court concerts (barely
two hundred pounds).
For many years, since I became firmly resolved to Uve up to
LISZt's house, villa d'eSTE,
near
TIVOLI, -where LISZT SPENT
my
artistic
SOME
OF THE LATER YEARS OF HIS LIFE.
vocation, I have not been able to count on
music-publishers.
My
Symphonic Poems do not bring me
but, on the contrary, cost
on the purchase
any additional money from the
me
a considerable sum, which I have to spend
of copies for distribution
among my
I
have to pinch a good
trouble which might affect
deal,
my
and have to be
My Mass
friends.
and Faust Symphony are also entirely useless works, and for
Fortimately I can
I have had no chance of making money.
but
in a shilling,
several years
just
manage,
careful not to get into
position very unpleasantly here
'
any
(1856).
In the fight for progress Liszt had practically the whole of Germany
18
LISZT
against him.
Two
small ducal residences,
Weimar and Sondershausen
was
(the capital of Schwarzburg-Thuringia) were the centres of all that
new, and even as late as 1862 the works of Berlioz, Wagner, and Liszt
were nowhere else to be heard. The present writer, then resident in
Sondershausen, remembers that pilgrims interested in the
journeyed from
all
parts of
Germany
new movement
to hear the musica proibita.
The
Excursions, alarums, and reprisals were the order of the day.
younger men, such as Brendel, Biilow, Bronsart, wrote with very sharp
pens, and Wagner's provocative pamphlet, Das Judenihum in der
Musik, effectually
set the heather
on
fire.
Sarcasm and abuse were shot
But the living first always remained Liszt's motto.
As each of the twelve Symphonic Poems appeared, hostile criticism was
But while their composer strongly resented any
liberally poured upon it.
depreciation of Wagner's art, all that was levelled against his own was
from both camps.
'
'
taken almost as a matter of course.
'Really, I often require the patience becoming a Confrater of the
Franciscan order to bear so
many
intolerable things.'
Even
words have as much reference to the treatment of men
these mild
whom
he was
endeavouring to serve as to himself.
Regarding the cool reception of his compositions he wrote,
hear and read so
much about them,
'
I have to
that I have no opinion on the subject,
and continue to work only from persistent inner conviction, and without
any claims to recognition or approval. Several of my intimate fiiends,
for example Joachim, and formerly Schumann and others, have shown
themselves strange, doubtful, and unfavourable towards my musical
I owe them no grudge on that account, and cannot retaliate,
creations.
because I take a sincere and comprehensive interest in their work,'
I once informed Liszt, when he was just leaving Florence for Rome
in the very early hours of an exceedingly cold morning, of the projected
performance of his
fine Tliirteenth
Psalm
in England.
Reflecting
upon
the very slow acceptance his music found there, he replied, with a touch of
gentle sarcasm, in the opening words of that psalm,
Briefly,
strained
then,
the situation at
and disagreeable as
'
O
Lord,
how
long
'
!
Weimar became more and more
fresh difficulties were placed in his way,
and
LISZT
19
waxed more and more severe. His influence at the petty court
gradually waned, the dream of a new art-period for Weimar ended amid
the charivari of cat-calls and abuse which attended the production of his
pupil Peter Cornelius's opera, The Barber of Bagdad. The strong mar's
patience was exhausted, and he left for Rome in 1861.
The refusal of Pope Pio Nono to permit his marriage with Princess
criticism
He
appears witli the smile
conscious superiority,
tempered by the modesty
of
garment (as abb^).
Tremendous applause.
of his
The first chord —U-r-r-rrum — Looking back, as if
to say 'Attention, — I now
:
begin
Deep
playFestive
if
Pianissimo. Saint Assisi Liszt
speaks to the birds. His face
=
brightens with holy light.
—
!
'IDIT'
Hamlet'sbroodings ; Faust's
struggles.
With eyes closed, as
ing only to himself.
vibration of the strings.
!
Chopin, George Band,
Reminiscence,
Sweet
youth. Moonlight, Fragrance and Love.
silence.
The very whisper becomes a
sigh.
Dante's Inferno. Wailings
of the condemned (among
them those of the piano).
The
Feverish excitement.
tempest closes the gates of
He has played ; not only
—
hell.
Refor us but with us.
tiring, he bows with lofty
humility. Deafening applause.
Boom!
A SERIES OF CARICATURES FROM A HUNGARIAN
C03IIC
Eviva
!
PAPER.
Sayn- Wittgenstein, whose encouraging influence had been of the best, cast
a deeper gloom over this the most depressing time in his
storm and
stress
were over
The days
of
he entered the Church (taking minor orders),
;
and, begging his friends to
life.
let
him
live in peaceful retirement,
occupied
himself almost exclusively with sacred music.
This step, as usual, caused
much unkind comment, but
fulfilment of a frequently
expressed wish.
Weimar.
I
saw him
it
was only the
for the first
time in the year before he quitted
There remains the impression of a beautiful,
finely chiselled
20
LISZT
face, full of dignity,
even to severity, with firmly compressed
exceptional quantity of ^viry hair
covered by a
On
for the size of his head.
train of friends
and
my boyish
which, to
tall hat,
—already
streaked with gre}^
much
mind, seemed
An
lips.
—was
too small
that occasion he was accompanied by a
pupils, the value of
whose names I was too young to
aopreciate.
Nearly
all Liszt's
greater works were written between 1841
and 1861.
In this varied catalogue are comprised the two Pianoforte Concertos,
Hungarian Rhapsodies, the twelve Symphonic Poems, the Sym-
fifteen
phonies
'
Dante
'
and
'
the Graner Mass, the 13th and 18th
Faust,'
Psalms, most of the songs, and a quantity of other important compositions.
The Faust s}Tiiphony ranks as his highest achievement in orchestral
music it is not a mere illustration of the drama, but a reproduction of
'
'
;
the three types which Goethe embodies in his tragedy, and the
adopted in the symphonic poems
actual events of a
poem
choice of subjects
was
should attempt, which
who have
is
a similar one.
drama than
Liszt cared less for the
for its inner meaning,
and
in his
more than it
some composers
careful not to ask music to express
is
perhaps more than can be said of
followed the lines laid
phonic poems
it
or
is
method
down by him.
The preface
to the sym-
the best explanation of so-called programme-music
he adds, with characteristic independence
(at
:
in
a time when he could
hardly secure a performance anywhere), a hint to conductors to the effect
that
fail
if
the necessary orchestral material be not at their disposal, or
to understand the work,
with works which in no
way
'
it
if
they
would be better not to occupy themselves
claim to an every-day popularity.'
The Faust legend had a lasting fascination for our master besides
the monumental symphony, he wrote two orchestral pieces on Lenau's
Faust and three Mephisto waltzes. In these weirdly picturesque pieces
he would almost seem to be giving vent to his irony, preferring as it were
;
to blow off the steam in musical sarcasm in preference to the adoption of
other
to his feelings.
relief
but remarks of
this nature
the sly and wdtty
Commedia
'
is
Liszt,
way
in
when he
chose, could be very cutting
were always robbed of half their sting by
which the irony was concealed.
a religious instrumental
epic,
The
'
Divina
which remains, from its nature.
LISZT
and
difficulties,
understood of
21
and
colossal proportions, the less frequently played
all his
works.
Its first sketch dates
least
from 1847, the year
in
which he projected the combination of instrumental music and poetry
;
but the symphony was not completed until 1858 and must therefore have
The
been his constant travelling-companion for at least ten years.
two performances must be accounted
It
was not
until 1868 that it
which was the fate
Liszt
must have
An
him.
of the
opera
of the latter poet
At one time
Dante and Byron in
had a great attraction
thus alluded to in a letter dated 1849
is
:
for
'In the course
summer my Sardanapalus
(in Italian) will
finished.'
plated
'
began to meet with that tardy acceptance
—so to speak—the works of
The dramas
his pocket.
failures.
epoch-making compositions.
of all these
carried
first
be completely
And he
the
setting
Heaven and
also contem-
Mystery,
Earth,' to music
as an oratorio.
Wagner
pro-
mised to arrange the book, but
did not find time to oblige his
friend.
We
also
have
own
his
^
^^i-houette op
n.zT at the piano, made
m
1841.
words with reference to the great Mass, composed for the consecration
of the
Dom
bishop,^
'
in Gran, where,
I can say that I
by the way, one
of his forefathers
have prayed rather than composed
was arch-
it.'
In his declining years Liszt would reply to any reminder of the hostility
to his music with a smile of resignation,
'
Well, at least the old
Abbe has
The major portion of the compositions written
between 1861 and 1870 was dictated and inspired by either religious or
written the Graner Messe.'
devotional feelings.
Witness
'
St.
Much
of the pianoforte
Francesco preaching to the Birds,'
The two oratorios,
dimensions and design.
The
instance.
glorifying
*
Christian
And
music even bears
charity
St. Elizabeth
first
and
'
this
stamp.
Benediction de Dieu,' for
and
Christus, are of large
-named, a sacred- dramatic legend
patience,
is
well
known.
yet another, Johann Liszt^ was Bishop of Ilaab in the sixteenth centiiry.
Christus,
LISZT
22
illustrating as it does the
purely devotional.
works,
strongly
is
and the
'
'
'
'
;
in spite of the greater success of St. Elizabeth,
church work, demanding a
mind on the part
is
But the picturesque element, never absent in Liszt's
represented in such scenes as the Mount of Olives
Storm at Sea
this beautiful
redemption of the world through Christ's love,
like
of its auditors as that in
ought to receive the acknowledgment
it
solemn and devout frame of
which
it
deserves.
evidently was written,
Besides a quantity of
smaller religious pieces, there are five masses, seven psalms, of which the
13th
the best known, the above-mentioned St. Elizabeth, Christus, and
is
an unfinished
oratorio, St. Stanislaus.
The Hungarian scale pervading the setting of the 137th Psalm (the
first piece of work undertaken in Rome) gives an unmistakably personal
touch to the Lamentation. In the great Mass written for the coronation
of the present Emperor of Austria as apostolic King of Hungary, the
introduction of the national element is entirely successful and fitted to the
occasion.
During
his seven years' seclusion
whom
others
last
inely missed.
:
Berlioz
and
he had championed had received due acknowledgment,
Wagner had conquered
were at
much had happened
accepted
;
Hungary
:
own
his
progressive tendencies,
while,
above
called
him
all,
not his music,
if
his inspiring presence
to the presidentship of
was genu-
an Academy
of
The Duke
urgently requested a return to Weimar, sajdng, Everything awaits you
here.'
A little house in the Hofgartnerei was prepared for him, and there
Music in Budapest before the institution actually existed.
'
some months
he lived
for
between
Rome and
'
The
tuition
;
in the year, the rest of the time being di\'ided
Budapest.
last chapter,' as the
aged master called
was
chiefly
devoted to
the encouragement of his too numerous pupils, by assisting them
with advice and solid help to positions in
all
it,
the work they brought.
'
If I
morning,' he once remarked to
life,
do anything
me; and
made
the days too short for
for myself, it
is
in the early
as a matter of fact he
was at
his
When
he
desk at four o'clock in the morning during the summer.
travelled with his pupils, their expenses, hotel
were invariably paid by himself.
bills,
and
concert-tickets
Probably his entire income at
this
time
LISZT
23
could hardly have been more than four hundred pounds per annum, yet
it
seemed to
suffice for his
modest needs, since he allowed himself no
luxuries.
There can be
little
doubt that
Liszt's fabulous
good-nature was
taken advantage of to a ridiculous extent, or that, despite the fact that he
remained (with the exception of Wagner) the most conspicuous figure in
One
the world of music, these closing years were lonely enough.
LISZT
The
AND
HIS FRIENDS.
figures (from the left) are Kriehuber, Berlioz, Czerny, Liszt,
solicitous for the welfare of others
so
and Ernst.
From a drawing by
Kriehuber.
must have felt the lack of care and
While every
entitled him to enjoy.
and position
field in which he had done the heavy spade-work was bearing other men's
crops, many of his own compositions had to wait for posthumous recogniprotection which age
tion.
The
Some
of
them he heard
gi'imly brilliant
'
but was not played in
Musikfest.
for the first time during his last yeaxs.
Todten-tanz,' for instance, was published in 1865,
its
If other lands
composer's presence until 1881, at the Antwerp
were slow enough to admit the value of
all
that
'^^
LISZT
the pioneer-composer accomplished, England was the last country to
and at
recognise his merits,
this distance of
time our native appraisements
and Wagner's music make curious and instructive reading. It is
within the writer's knowledge that Liszt's name on a programme
of Liszt
well
made every
critical
Moses
abuse to flow from his
'
seize his staff
own
and cause an abundant stream
Tempora
particular rock.
of
The
inutantur.
blatant, noisy instrumentation of discordant combinations of sounds,'
which gave so much
offence, is
even as the cooing of doves when compared
much of the fashionable cacophony of to-day. But one native
musician's name is so closely connected with the introduction of the then
new movement that it may not be omitted here.
with
Walter Bache, whose devotion to Liszt was in
itself
a beautiful display
of affectionate gratitude, carried on the fight against overpowering pre-
and under adverse conditions which in the present day seem almost
Only one among many of Liszt's warnings and remonstrances
incredible.
judice
in reference to his friend's personal sacrifices need be quoted here
'
where
Your programme
my
is
again a bold deed, particularly in London,
compositions encounter
than anywhere
Assisted at
else
first
'
The word
(1878).
by von
sorts of difficulties
all
Biilow, later
'
even
'
is
worthy
:
even more
of note.
by Dannreuther and Manns,
this
enthusiast kept steadily breaking the ice at his annual concerts (from 1871
by producing most
to 1885)
*
Dante,'
*
St. Elizabeth,' etc.),
of the greater
and
works (including
'
Faust,'
so cleared the fairway for these per-
formances by Richter and others which have taken place under more
encouraging and enlightened conditions since the death of the master and
his pupil.
We now
arrive at the fatal year 1886,
and
as the
memorable
visit to
London was truly the last event in the master's life, I may be forgiven for
Although Liszt had been subject to
offering some reminiscent remarks.
unusual fits of depression, even of tears, his genial spirits and good
humour were unfailing during the fortnight which he passed in our midst.
We learned that he had been warned against dropsy both a cure at
;
* My friend Bache died within two years after Liszt ; their names are bound together in the
Bache' Scholarship, which is in the keeping of the Royal Academy of Music.
'^Liszt-
25
LISZT
Kissingen and a possible operation for cataract had been suggested, yet
he put these personal considerations aside with the words,
mised.'
The accented point of
*
the St. Elizabeth performance
;
my coming
it
was
to
London
is
'
I
have pro-
to be present at
this that decided
my
coming.'
The honour fell to me, as conductor of the Novello Choir, to perform that
work twice in his presence, viz. 6th April in St. James's Hall and at the
Crystal Palace, Sydenham, on the 17th.
\Mien
became
his decision
known, a
visit
to
was
Paris
added to the scheme, and the
enthusiasm which greeted him,
while evidently beneficial to his
spirits,
was a
of
which made amends
triumph
for
blaze
final
much
that can hardly be
accounted to the credit of either
capital.
In London the veteran
master was the guest of the late
Mr. Henry Littleton
(at
'
West-
wood,' Sydenham), whose most
hospitable
house became
the
centre of a series of fetes given
in his honour.
Entering keenly
into the spirit of this
able
Liszt
with
difficulty
Festival,
memorhe was
prevented from
overtaxing his strength.
On
A FRENCH CARICATURE OP
LISZT.
the original appears a verse to the effect that 'Among
all warriors Liszt alone is without reproach.
For in spite of
his great sabre one knows that tiiis hero conquers only doublecrotchets and kills only pianos.
Upon
the evening after his arrival, he attended a
and seating himself at the pianoforte
continued the music from the point I had reached when he entered the
hall.
These were the first notes he played in London after an interval of
choir rehearsal of St. Elizabeth,
forty years.
Age and waning strength had not dimmed an intellect as brilliantly
clear as ever, and the unique combination of power and strength remained
undiminished. Although the stipulation had been made that he was not
LISZT
26
to be
pushed
'
when
his
clouded
'
'
to the piano in public, he
seventy-five-year-old fingers,' as he called them,
memory
Even
was frequently heard
astonished
in private
and an un-
all.
in his fieriest virtuoso-days, Liszt never
not ylay^ they thrash the piano nowadays,' he
'
thumped.'
'
They do
said.^
One morning I happened to be alone with him in the large conservatory at Westwood House, where stood the famous Roubilliac statue of
Liszt stopped before
Handel.
if
exclaiming,
it,
recognising an acquaintance.
'
'
Ha
I used to play
!
the old
a fugue of
man
his
—
!
'
let
as
me
and he finished the piece without effort. Fortunate were
they who caught him in those moods, for sometimes when he saw a pianosee, it
began
so,'
forte he would, like Nelson,
coming back next
were his parting words to
year,'
every care was taken of him
(if
put the telescope to his blind eye
;
but a return
Here, at
us.
visit to Paris
!
on
his
'
I
least,
way home
he could be said to have had a home), taken against the advice of
friends,
was
years.
'
I
far too
heavy a
am already more
wait long for the
rest,
.
.
.'
festival at Sondershausen,
strain
upon the
than half blind
:
vital
am
his
powers of one of his
perhaps I shall not have to
Travelling from Paris to Weimar, then to a
and
a short
after
bourg, he finally arrived at Bayreuth.
visit to
Colpach in Luxem-
All this fatigue did its
fell
work.
After being actually carried to a performance of Parsifal, he grew rapidly
worse, and died peacefully in his modest rooms
—on the
months
31st of July, barely three
—
close to
after he
Wagner's gates
had bade us good-
bye.
It is
a deplorable fact that he
musical creations of others,
who was a
who gave
lifelong propagandist of the
fortunes away, always thinking last
and least of his own personality, had the smallest amount of encouragement meted out to himself. The Hungarian master's standard should not
be taken with a German tape-measure.
with different
travel,
when he
somewhere
*
—^almost
says,
opposite
so early in
fife
—
He
belonged to a race endowed
characteristics.
was
'
During the years of
foiuid guilty of success,' as Carlyle
he acquired the widest outlook, and learned to appreciate
All the great pianists unhesitatingly admitted his supremacy both as performer and interpreter.
so in the present writer's hearing.
Anton Rubinstein did
LISZT
and
eclectic
many
But that rare symgenerosity was not recognised by the Chauvinists
the essential qualities of the music of
pathetic
2T
lands.
of his time.
he laboured for the foremost German composers we know, but,
rightly or wrongly, he seems to have expected nothing more from them
A firm belief in nationalism in music urged him
after Schumann's death.
How
to
t^ive
an
initial start
or an additional impetus to
A LETTER FROM
With prophetic
finger
LISZT
ABOUT A
'
FINALE
'
it
in every country.
BY VERDI.
he pointed to Russia's great future, and
all
the
composers of that country, from Glinka to Tschaikowsky, enjoyed his help.
But
Grieg, Smetana, Saint-Saens, besides
and encouragement.
Whatever changes he wrought
many
smaller men, had his
personal aid
sought to destroy anything.
maker
is
—^and
To think
of
to do injustice to a great mind.
B
there are
him
many
—Liszt
never
as a mere sapper or road-
Faust, the Symphonic Poems,
minor Sonata, and much else, are not only
accepted models, but very real achievements. Adding and building.
the Concertos, the great
2^
LISZT
logically lengthening the identical lines
which Beethoven was drawing in
came to stay and
his latest creations, everything that Liszt did
Even now
others.
some great works, such as
there are
have as yet been either inadequately presented or are
number
large
(large
and
latter
would probably
is
which
unknown
to a
of musicians.
his principal compositions
which
Christus,
still
It is impossible within the allotted space to venture
hundred.
to inspire
;
there exist some seven hundred original works
small), not counting transcriptions
Nor can
I
represented
on an analysis of
swell the
number
and arrangements.
to between twelve
do more than mention
These
and thirteen
Liszt's literary activity,
by seven published volumes, and covers a wide
and
interesting
it is
hoped that they may convey some idea of the vast extent of the
range of subjects.
life-labour, nature, nobility,
was to
Incomplete
and modesty
as
of a genius,
these pages are,
whom
to
know
love.
A. C. Mackenzie.
Lowe & Brydoke pKiNTfRS
Ltd., Typographical Music and General Printers,
Victoria Road, Willesden junction,
N.W.
10.
I
THE CONCERT EDITION of
STANDARD AND TRADITIONAL.
BRITISH SONGS
REVISED WITH
New
Accompaniments by G. H. Clutsam.
wonderful old Songs, with
magic appeal and priceless fount of melody, are the choicest gems
THESE
heritage of
Their fragrant beauty
their
in
the national
art.
has been enhanced by the scholarly accompaniments written by
Mr. G. H. Clutsam. These accompaniments are modern in spirit, and varied according to the character of the
words, and yet are written with due reverence for the traditions surrounding each song.
Beautiful engraving, beautiful printing on superfine paper, make this edition one to be prized and cherished.
Invaluable
for teaching, an aid to interpretation, and a treasury unmatched in the annals of music publishing.
In
Two Keys— HIGH and
—
LOW
Voices
of Allan Water
26.
Kelvin Grove
The Harp that once
Home, Sweet Home
Green grow the Rashes, O!
The pretty girl milking her cow
2.
Sally in our Alley
27.
3.
The Bonnie Banks of Loch Lomond
The Bailiffs Daughter of Islington
28.
4.
29.
6.
Ye Banks and Braes
Drink to me only with
7.
Caller Herrin'
32.
8.
Robin Adair
Jock o' Hazeldean
33.
10.
Comin'
35.
11.
12.
Come, lasses and lads
The Lass of Richmond
13.
Barbara Allen
14.
The
5.
9.
30.
thine eyes
34.
Hill
15.
16.
Silent,
17.
18.
Within a Mile of Edinboro'
Tom Bowling
19.
Down among
41.
Town
43.
Dead Men
Maiden of Bashful Fifteen
20.
Here's to the
The Meeting of
22.
Charlie is my Darling
The Leather Bottel
Annie Laurie
Here's a Health unto His Majesty
25.
the Waters
HENRY
J.
WOOD.— "They
colleiit, and were sadly needed.
teach them to my pupils "
THE SPECTATOR. — " In
sufifer
45.
I
47.
FEW
are really exshall certainly
concert rooms
we
frequently
from the clumsy chordal .accompaniments which some
fit to old songs, and Mr. Clutsam's
settings will be
pianists
welcomed as
44.
46.
A
SIR
42.
the
21.
24.
Land
Shule Agra
John Anderson, my Joe
Mary of Argyle
Afton Water
Kathleen O'More
Turn ye to me
40.
Oh Moyle
satisfying a long-felt want.
His accompaniments are simple and musicianly, and
although written specially for the concert room, they will
present no difficulties to an ordinary pianist."
Mary Morison
The Bonny Brier Bush
37.
39.
Ash
Brien the brave
three ravens
Oft in the stilly night
The
36.
38.
Minstrel Boy
Oh, the Oak and the
23.
31.
Rye
thro' the
each net.
SECOND SERIES
FIRST SERIES
The Banks
1.
2/-
o'
the Leal
Bay of Biscay
Believe me, if all those endearing young charnts
The Young May Moon
The Auld House
The Cruiskeen Lawn
48.
Blue Bonnets
49.
The Vicar
50.
Fine old English Gentleman
of Bray
OPINIONS.
THE MUSICAL TIMES.—"The
charm of these old
songs is maintained intact by Mr. Clutsam's discriminative
welding of tune and accompaniment.
He has done this
with great economy of means, and has avoided monotony
by skilfully varying his setting of different verses, and yet
preserving their simplicity."
MUSICAL OPINION.—
"Taken as a whole, the collection forms a golden treasury of song such as the competent
vocalist cannot afford to ignore.
It is seldom that we find
instruction
MURDOCH, MURDOCH &
and pleasure so agreeably blended."
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THE WORKS OF ARNOLD BAX
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Score
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)>
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8vo
••
M
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M
Of a Rose I Sing— Carol for Choir, Harp, 'Cello, and Contra-bass...
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,
M.
Now
^
is
••
),
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Name
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Name
String Quartet in
> >_
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1/
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CHAMBER
D
in the press
MUSIC.
...
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net
...
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„
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„
G
G
• • •
• • •
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•
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Aspiration (R. Dehmel)
Parting (jE.)
...
Green Grow the Rashes O! (Burns)
Youth (Clifford Bax)
The Market Girl (Thos. Hardy)
Five Irish Songs
...
The Pigeons- ..
As I came over
(Two Keys)
Complete
...
Grey Hills
(Two Keys)
the Grey,
I heard a Piper Piping
Across the Door
Beg-Innish ...
of
...
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LD21A-5»n-ll,'72
(Q5761S10)476—A-32
General Library
University of California
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DATE DUE
Music Library
University of California at
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