Franz Liszt Part 14

Young, pretty girls, old ladies, who had once been pretty girls, too, threw their bouquets. He had indeed thrown a thousand bouquets into their hearts and brain.

"From Hamburg Liszt was to fly to London, there to strew new tone-bouquets, there to breathe poetry over material working day life.

Happy man! who can thus travel throughout his whole life, always to see people in their spiritual Sunday dress--yea, even in the wedding garment of inspiration. Shall I often meet him? That was my last thought, and chance willed it that we meet on a journey at a spot where I and my readers would least expect it--met, became friends, and again separated.

But that belongs to the last chapter of this journey. He now went to the city of Victoria--I to that of Gregory the Sixteenth."

HEINE

There are several reminiscences of Liszt to be found in the collected works of the great German author. Heine, writing in 1844 at Paris, says:

"When I some time ago heard of the marvellous excitement which broke out in Germany, and more particularly in Berlin, when Liszt showed himself there, I shrugged my shoulders and thought quiet, Sabbath-like Germany does not want to lose the opportunity of indulging in a little 'permitted' commotion; it longs to stretch its sleep-stiffened limbs, and my Philistines on the banks of the Spree are fond of tickling themselves into enthusiasm, while one declaims after the other, 'Love, ruler of G.o.ds and men!' It does not matter to them, thought I, what the row is about, so long as it is a row, whether it is called George Herwegh (the "Iron Lark"), f.a.n.n.y Essler or Franz Liszt. If Herwegh be forbidden we turn to the politically 'safe' and uncompromising Liszt. So thought I, so I explained to myself the Liszt mania; and I accepted it as a sign of the want of political freedom on the other side of the Rhine. But I was in error, which I recognised for the first time at the Italian Opera House where Liszt gave his first concert, and before an a.s.sembly which is best described as the elite of society here. They were, anyhow, wide-awake Parisians: people familiar with the greatest celebrities of modern times, totally blase and preoccupied men, who had 'done to death' all things in the world, art included; women equally 'done up' by having danced the polka the whole winter through. Truly it was no German sentimental, Berlin-emotional audience before which Liszt played--quite alone, or rather accompanied only by his genius. And yet, what an electrically powerful effect his mere appearance produced! What a storm of applause greeted him! How many bouquets were flung at his feet! It was an impressive sight to see with what imperturbable self-possession the great conqueror allowed the flowers to rain upon him and then, at last, graciously smiling, selected a red camellia and stuck it in his b.u.t.tonhole. And this he did in the presence of several young soldiers just arrived from Africa, where it did not rain flowers but leaden bullets, and they were decorated with the red camellias of their own heroes' blood, without receiving any particular notice either here for it. Strange, thought I, these Parisians have seen Napoleon, who was obliged to supply them with one battle after another to retain their attention--these receive our Franz Liszt with acclamation! And what acclamation!--a positive frenzy, never before known in the annals of furore."

Heine relates the following curious conversation he had with a medical man about Liszt:

"A physician whose specialty is woman, whom I questioned as to the fascination which Liszt exercises on his public, smiled very strangely, and at the same time spoke of magnetism, galvanism, and electricity, of contagion in a sultry hall, filled with innumerable wax-lights, and some hundred perfumed and perspiring people, of histrionic epilepsy, of the phenomenon of tickling, of musical cantharides, and other unmentionable matters, which, I think, have to do with the mysteries of the bona dea; the solution of the question, however, does not lie perhaps so strangely deep, but on a very prosaic surface. I am sometimes inclined to think that the whole witchery might be explained thus--namely, that n.o.body in this world knows so well how to organise his successes, or rather their mise en scene, as Franz Liszt. In this art he is a genius, a Philadelphia, a Bosco, a Houdin--yea, a Meyerbeer. The most distinguished persons serve him gratis as comperes, and his hired enthusiasts are drilled in an exemplary way."

This amusing anecdote about Liszt and the once famous tenor, Rubini, is also told by Heine:

"The celebrated singer had undertaken a tour with Franz Liszt, sharing expenses and profits. The great pianist took Signor Belloni about with him everywhere (the entrepreneur in general of his reputation), and to him was left the whole of the business management. When, however, all accounts had been settled up, and Signor Belloni presented his little bill, what was Rubini's horror to find that among the mutual expenses there appeared sundry considerable items for 'laurel wreaths,'

'bouquets,' 'laudatory poems,' and suchlike 'ovation expenses.'

"The nave singer had, in his innocence, imagined that he had been granted these tokens of public favour solely on account of his lovely voice. He flew into a great rage, and swore he would not pay for the bouquets which probably contained the most expensive camellias."

That Heine could appreciate Liszt seriously, these extracts testify sufficiently:

"He (Liszt) is indisputably the artist in Paris who finds the most unlimited enthusiasm as well as the most zealous opponents. It is a characteristic sign that no one speaks of him with indifference. Without power no one in this world can excite either favourable or hostile pa.s.sions. One must possess fire to excite men to hatred as well as to love. That which testifies especially for Liszt is the complete esteem with which even his enemies speak of his personal worth. He is a man of whimsical but n.o.ble character, unselfish and without deceit. Especially remarkable are his spiritual proclivities; he has great taste for speculative ideas, and he takes even more interest in the essays of the various schools which occupy themselves with the solution of the problems of heaven and earth than in his art itself. It is, however, praiseworthy, this indefatigable yearning after light and divinity; it is a proof of his taste for the holy, for the religious....

"Yes, Franz Liszt, the pianist of genius, whose playing often appears to me as the melodious agony of a spectral world, is again here, and giving concerts which exercise a charm which borders on the fabulous. By his side all piano players, with the exception of Chopin, the Raphael of the piano, are as nothing. In fact, with the exception of this last named artist alone, all the other piano players whom we hear in countless concerts are only piano players; their only merit is the dexterity with which they handle the machine of wood and wire. With Liszt, on the contrary, the people think no more about the 'difficulty overcome'; the piano disappears, the music is revealed. In this respect has Liszt, since I last heard him, made the most astonis.h.i.+ng progress. With this advantage he combines now a reposed manner, which I failed to perceive in him formerly. If, for example, he played a storm on the piano we saw the lightning flicker about his features; his limbs fluttered as with the blast of a storm, and his long locks of hair dripped as with real showers of rain. Now when he plays the most violent storm he seems exalted above it, like the traveller who stands on the summit of an Alp while the tempest rages in the valley; the clouds lie deep below him, the lightning curls like snakes at his feet, but his head is uplifted smilingly into the pure ether."

The following remarks on Liszt, to be found in Heine's letters to his friends, are also interesting:

"That such a restless head, driven and perplexed by all the needs and doctrines of his time, feeling compelled to trouble himself about all the necessities of humanity, and eagerly sticking his nose into all the pots in which the good G.o.d brews the future--that Franz Liszt can be no quiet piano player for tranquil townfolks and good-natured night-caps is self-evident. When he sits down at the piano, and has stroked his hair back over his forehead several times, and begins to improvise, he often storms away right madly over the ivory keys, and there rings out a wilderness of heaven-height thought, amid which here and there the sweetest flowers diffuse their fragrance, so that one is at once troubled and beatified, but troubled most."

To another he writes:

"I confess to you, much as I love Liszt, his music does not operate agreeably upon my mind; the more so that I am a Sunday child, and also see the spectres which others only hear; since, as you know, at every tone which the hand strikes upon the keyboard the corresponding tone figure rises in my mind; in short, since music becomes visible to my inward eye. My brain still reels at the recollection of the concert in which I last heard Liszt play. It was in a concert for the unfortunate Italians, in the hotel of that beautiful, n.o.ble, and suffering princess, who so beautifully represents her material and her spiritual fatherland, to wit, Italy and Heaven. (You surely have seen her in Paris, that ideal form, which yet is but the prison in which the holiest angel-soul has been imprisoned; but this prison is so beautiful that every one lingers before it as if enchanted, and gazes at it with astonishment.) It was at a concert for the benefit of the unhappy Italians where I last heard Liszt, during the past winter, play, I know not what, but I could swear he varied upon themes from the Apocalypse. At first I could not quite distinctly see them, the four mystical beasts; I only heard their voices, especially the roaring of the lion and the screaming of the eagle. The ox with the book in his hand I saw clearly enough. Best of all, he played the Valley of Jehoshaphat. There were lists as at a tournament, and for spectators the risen people, pale as the grave and trembling, crowded round the immense s.p.a.ce. First galloped Satan into the lists, in black harness, on a milk-white steed. Slowly rode behind him Death on his pale horse. At last Christ appeared, in golden armour, on a black horse, and with His holy lance He first thrust Satan to the ground, and then Death, and the spectators shouted. Tumultuous applause followed the playing of the valiant Liszt, who left his seat exhausted and bowed before the ladies. About the lips of the fairest played that melancholy smile."

Heine also relates:

"On one occasion two Hungarian countesses, to get his snuff-box, threw each other down upon the ground and fought till they were exhausted!"

CAROLINE BAUER

The lady whose revelations in her Memoires about various royal and princely personages furnished the contributors of "Society" papers with a large amount of "copy" at the time of its publication, writes as follows concerning Liszt's intimacy with Prince Lichnowsky in 1844:

"I had heard a great deal in Ratibor of mad Prince Felix Lichnowsky, who lived at his neighbouring country seat, and who furnished an abundant daily supply for the scandal-mongers of the town. Six years before that time the prince had quitted the Prussian service, owing to his debts and other irregularities, and had gone to Spain to evade his unhappy creditors, and to offer his ward to the Pretender, Don Carlos. Three years afterward he had returned from Spain with the rank of Carlist brigadier-general, and now he lived in his hermitage, near Ratibor, by no means a pious hermit. And then, one evening, shortly before the commencement of the 'Letzter Waffengang,' when I was already dressed in my costume, the prince stood before me behind the scanty wings of the Ratibor stage, to renew his acquaintance with me. He had aged, his checkered life not having pa.s.sed over him without leaving traces; but he was still the same elegant, arrogant libertine he was at Prague, of whom a journalist wrote: 'Prince Felix Lichnowsky, like Prince Puckler, belongs to those dandies, roues, lions who attract the attention of the mult.i.tude at any cost by their contempt of men, their triviality, impudence, liaisons, horses, and duels; a kind of modern Alcibiades, every dog cutting the tail of another dog.' Within the first five minutes I learned from the prince's lips: 'My friend Liszt has lately been living with me at my hermitage for several weeks, and we have led a very agreeable life together.' Yes, indeed, in Ratibor, the people related the wildest stories of this pasha life! The following forenoon the prince invited us to a dejeuner a la fourchette at his 'hermitage,'

as he liked to call it. We inspected the park, which contained many fine trees; I tried the glorious 'grand' which Liszt had consecrated. But I was not to rise from the table without having had a new skirmish with my prince from Prague--preux chevalier. The conversation turned about Director Nachtigall, and suddenly Lichnowsky said roughly:

"'Just fancy, this Nachtigall had the impudence to call here and invite my friend Liszt to play upon his miserable Ratibor stage. A Liszt, and my guest, to play in Ratibor, and with a Nachtigall--unheard of! You may imagine that I gave this Nachtigall a becoming answer.'

"The bit stuck in my mouth, and, trembling with indignation, I said sharply:

"'My prince, am I not your guest, too? And do not I play in Ratibor, and with a Nachtigall? If your friend Liszt had done nothing worse here than play the piano in Ratibor he would not have degraded himself in any way.'

"'Ah! the town gossip of Ratibor has your ear, too, I see!' Lichnowsky said, with a scornful smile. 'But of course we are not going to quarrel.'"

Caroline Bauer also relates in her Memoires the following anecdote about Liszt and the haughty Princess Metternich:

"Liszt had been introduced to the princess and paid her a visit in Vienna. He was received and ushered into the drawing-room, in which the princess was holding a lively conversation with another lady. A condescending nod of the head was responded to the bow of the world-renowned artist; a gracious movement of the head invited him to be seated. In vain the proud and spoiled man waited to be introduced to the visitor, and to have an opportunity of joining in the conversation. The princess quietly continued to converse with the lady as if Franz Liszt were not in existence at all, at least not in her salon. At last she asked him in a cool and off-hand manner:

"'Did you do a good stroke of business at the concert you gave in Italy?'

"'Princess,' he replied coldly, 'I am a musician, and not a man of business.'

"The artist bowed stiffly and instantly left.

"Soon after this Prince Metternich proved himself to be as perfect a gentleman as he was a diplomatist. At Liszt's first concert in Vienna he went to him and, entering the artist's room, cordially pressed his hands before everybody, and, with a gracious smile, said softly:

"'I trust you will pardon my wife for a slip of the tongue the other day; you know what women are!'"

f.a.n.n.y KEMBLE

Mrs. Kemble, in her chatty book, Records of Later Life, relates a pleasant incident in September, 1842:

"Our temporary fellows.h.i.+p with Liszt procured for us a delightful partic.i.p.ation in a tribute of admiration from the citizen workmen of Coblentz, that was what the French call saisissant. We were sitting all in our hotel drawing-room together, the maestro, as usual, smoking his long pipe, when a sudden burst of music made us throw open the window and go out on the balcony, when Liszt was greeted by a magnificent chorus of nearly two hundred men's voices. They sang to perfection, each with his small sheet of music and his sheltered light in his hand; and the performance, which was the only one of the sort I ever heard, gave a wonderful impression of the musical capacity of the only really musical nation in the world."

Mrs. Kemble also gives her impression of Liszt at Munich in 1870:

"I had gone to the theatre at Munich, where I was staying, to hear Wagner's opera of the Rheingold, with my daughter and her husband. We had already taken our places, when S. exclaimed to me, 'There is Liszt.'

The increased age, the clerical dress had effected but little change in the striking general appearance, which my daughter (who had never seen him since 1842, when she was quite a child) recognised immediately. I went round to his box, and, recalling myself to his memory, begged him to come to ours, and let me present my daughter to him. He very good-naturedly did so, and the next day called upon us at our hotel and sat with us a long time. His conversation on matters of art (Wagner's music which he and we had listened to the evening before) and literature was curiously cautious and guarded, and every expression of opinion given with extreme reserve, instead of the uncompromising fearlessness of his earlier years; and the Abbe was indeed quite another from the Liszt of our summer on the Rhine of 1842."

LOLA MONTEZ

The once notorious actress, who, after a series of adventures caused some uproar at Munich, met Liszt during his travels in Germany, and her biographer relates how they divided honours at Dresden in 1842.

"Through the management of influential friends an opening was made for her at the Royal Theatre at Dresden, where she met the celebrated pianist, Franz Liszt, who was then creating such a furore that when he dropped his pocket handkerchief it was seized by the ladies and torn into rags, which they divided among themselves--each being but too happy to get so much as a sc.r.a.p which had belonged to the great artist. The furore created by Lola Montez' appearance at the theatre in Dresden was quite as great among the gentlemen as was Liszt's among the ladies."

Lola Montez, during the last few years of her life, devoted herself to lecturing in various European cities, and the following is extracted from a published one ent.i.tled, "The Wits and Women of Paris":

"There was a gifted and fas.h.i.+onable lady (the Countess of Agoult), herself an accomplished auth.o.r.ess, concerning whom and George Sand a curious tale is told. They were great friends, and the celebrated pianist Liszt was the admirer of both. Things went on smoothly for some time, all couleur de rose, when one fine day Liszt and George Sand disappeared suddenly from Paris, having taken it into their heads to make the tour of Switzerland for the summer together. Great was the indignation of the fair countess at this double desertion; and when they returned to Paris Madame d'Agoult went to George Sand and immediately challenged the great writer to a duel, the weapons to be finger-nails, etc. Poor Liszt ran out of the room and locked himself up in a dark closet till the deadly affray was ended, and then made his body over in charge to a friend, to be preserved, as he said, for the remaining a.s.sailant. Madame d'Agoult was married to a bookworm, who cared for naught else but his library; he did not know even the number of children he possessed, and so little the old philosopher cared about the matter that when a stranger came to the house he invariably, at the appearance of the family, said: 'Allow me to present to you my wife's children'; all this with the blandest smile and most contented air."

Lola Montez also says in her lecture:

"I once asked George Sand which she thought the greatest pianist, Liszt or Thalberg. She replied, 'Liszt is the greatest, but there is only one Thalberg. If I were to attempt to give an idea of the difference between Liszt and Thalberg, I should say that Thalberg is like the clear, placid flow of a deep, grand river; while Liszt is the same tide foaming and bubbling and das.h.i.+ng on like a cataract.'"