Home > Authors Index > Amy Fay > Music-Study in Germany > This page
Music-Study in Germany, a non-fiction book by Amy Fay |
||
With Liszt - Chapter 19 |
||
| < Previous |
Table of content |
Next > |
|
________________________________________________
_ WITH LISZT CHAPTER XIX Liszt's Expression in Playing. Liszt on Conservatories. Ordeal of Liszt's Lessons. Liszt's Kindness. In Liszt I can at last say that my ideal in something has been realized. He goes far beyond all that I expected. Anything so perfectly beautiful as he looks when he sits at the piano I never saw, and yet he is almost an old man now.[E] I enjoy him as I would an exquisite work of art. His personal magnetism is immense, and I can scarcely bear it when he plays. He can make me cry all he chooses, and that is saying a good deal, because I've heard so much music, and never have been affected by it. Even Joachim, whom I think divine, never moved me. When Liszt plays anything pathetic, it sounds as if he had been through everything, and opens all one's wounds afresh. All that one has ever suffered comes before one again. Who was it that I heard say once, that years ago he saw Clara Schumann sitting in tears near the platform, during one of Liszt's performances?--Liszt knows well the influence he has on people, for he always fixes his eyes on some one of us when he plays, and I believe he tries to wring our hearts. When he plays a passage, and goes pearling down the key-board, he often looks over at me and smiles, to see whether I am appreciating it.
Liszt does such bewitching little things! The other day, for instance, Fräulein Gaul was playing something to him, and in it were two runs, and after each run two staccato chords. She did them most beautifully, and struck the chords immediately after. "No, no," said Liszt, "after you make a run you must wait a minute before you strike the chords, as if in admiration of your own performance. You must pause, as if to say, 'How nicely I did that.'" Then he sat down and made a run himself, waited a second, and then struck the two chords in the treble, saying as he did so "Bra-vo," and then he played again, struck the other chord, and said again "Bra-vo," and positively, it was as if the piano had softly applauded! That is the way he plays everything. It seems as if the piano were speaking with a human tongue. Our class has swelled to about a dozen persons now, and a good many others come and play to him once or twice and then go. As I wrote to L. the other day, that dear little scholar of Henselt, Fräulein Kahrer, was one, but she only stayed three days. She was a most interesting little creature, and told some funny stories about Henselt, who she says has a most violent temper, and is very severe. She said that one day he was giving a lesson to Princess Katherina (whoever that is), and he was so enraged over her playing that he snatched away the music, and dashed it to the ground. The Princess, however, did not lose her equanimity, but folded her arms and said, "Who shall pick it up?" And he had to bend and restore it to its place. I've never seen Liszt look angry but once, but then he was terrific. Like a lion! It was one day when a student from the Stuttgardt conservatory attempted to play the Sonata Appassionata. He had a good deal of technique, and a moderately good conception of it, but still he was totally inadequate to the work--and indeed, only a mighty artist like Tausig or Bülow ought to attempt to play it. It was a hot afternoon, and the clouds had been gathering for a storm. As the Stuttgardter played the opening notes of the sonata, the tree-tops suddenly waved wildly, and a low growl of thunder was heard muttering in the distance. "Ah," said Liszt, who was standing at the window, with his delicate quickness of perception, "a fitting accompaniment." (You know Beethoven wrote the Appassionata one night when he was caught in a thunder-storm.) If Liszt had only played it himself, the whole thing would have been like a poem. But he walked up and down the room and forced himself to listen, though he could scarcely bear it, I could see. A few times he pushed the student aside and played a few bars himself, and we saw the passion leap up into his face like a glare of sheet lightning. Anything so magnificent as it was, the little that he did play, and the startling individuality of his conception, I never heard or imagined. I felt as if I did not know whether I were "in the body or out of the body."--GLORIOUS BEING! He is a two-edged sword that cuts through everything. The Stuttgardter made some such glaring mistakes, not in the notes, but in rhythm, etc., that at last Liszt burst out with, "You come from Stuttgardt, and play like that!" and then he went on in a tirade against conservatories and teachers in general. He was like a thunder-storm himself. He frowned, and bent his head, and his long hair fell over his face, while the poor Stuttgardter sat there like a beaten hound. Oh, it was awful! If it had been I, I think I should have withered entirely away, for Liszt is always so amiable that the contrast was all the stronger.--"Aber das geht Sie nichts an (But this does not concern you)," said he, in a conciliatory tone, suddenly stopping himself and smiling. "Spielen Sie weiter (Play on)."--He meant that it was not at the student but at the conservatories that he had been angry. Liszt hasn't the nervous irritability common to artists, but on the contrary his disposition is the most exquisite and tranquil in the world. We have been there incessantly, and I've never seen him ruffled except two or three times, and then he was tired and not himself, and it was a most transient thing. When I think what a little savage Tausig often was, and how cuttingly sarcastic Kullak could be at times, I am astonished that Liszt so rarely loses his temper. He has the power of turning the best side of every one outward, and also the most marvellous and instant appreciation of what that side is. If there is anything in you, you may be sure that Liszt will know it. Whether he chooses to let you think he does, may, however, be another matter.
WEIMAR, July 15, 1873. Liszt is such an immense, inspiring force that one has to try and stride forward with him at double rate, even if with double expenditure, too! To-day I'm more dead than alive, as we had a lesson from him yesterday that lasted four hours. There were twenty artists present, all of whom were anxious to play, and as he was in high good-humour, he played ever so much himself in between. It was perfectly magnificent, but exhausting and exciting to the last degree. When I come home from the lessons I fling myself on the sofa, and feel as if I never wanted to get up again. It is a fearful day's work every time I go to him. First, four hours' practice in the morning. Then a nervous, anxious feeling that takes away my appetite, and prevents me from eating my dinner. And then several hours at Liszt's, where one succession of concertos, fantasias, and all sorts of tremendous things are played. You never know before whom you must play there, for it is the musical headquarters of the world. Directors of conservatories, composers, artists, aristocrats, all come in, and you have to bear the brunt of it as best you can. The first month I was here, when there were only five of us, it was quite another matter, but now the room is crowded every time. Liszt gave a matinee the other day at which I played a "Soirée de Vienne," by Tausig--awfully hard, but very brilliant and peculiar. I don't know how I ever got through it, for I had only been studying it a few days, and didn't even know it by heart, nor had I played it to Liszt. He only told me the evening before, too, about eight o'clock--"To-morrow I give a matinee; bring your Soirée de Vienne." I rushed home and practiced till ten, and then I got up early the next morning and practiced a few hours. The matinee was at eleven o'clock. First, Liszt played himself, then a young lady sang several songs, then there was a piece for piano and flute played by Liszt and a flutist, and then I came. I was just as frightened as I could be! Metzdorf (my Russian friend) and Urspruch sat down by me to give me courage, and to turn the leaves, but Liszt insisted upon turning himself, and stood behind me and did it in his dexterous way. He says it is an art to turn the leaves properly! He was so kind, and whenever I did anything well he would call out "charmant!" to encourage me. It is considered a great compliment to be asked to play at a matinee, and I don't know why Liszt paid it to me at the expense of others who were there who play far better than I do--among them a young lady from Norway, lately come, who is a most superb pianist. She was a pupil of Kullak's, too, but it is four years since she left him, and she has been concertizing a good deal. Yesterday she played Schumann's A minor concerto magnificently. I was surprised that Liszt had not selected her, but one can never tell what to expect from Liszt. With him "nothing is to be presumed on or despaired of"--as the proverb says. He is so full of moods and phases that you have to have a very sharp perception even to begin to understand him, and he can cut you all up fine without your ever guessing it. He rarely mortifies any one by an open snub, but what is perhaps worse, he manages to let the rest of the class know what he is thinking while the poor victim remains quite in darkness about it!--Yes, he can do very cruel things. After all, though, people generally have their own assurance to thank, or their own want of tact, when they do not get on with Liszt. If they go to him full of themselves, or expecting to make an impression on him, or merely for the sake of saying they have been with him, instead of presenting themselves to sit at his feet in humility, as they ought, and learn whatever he is willing to impart--he soon finds it out, and treats them accordingly. Some one once asked Liszt, what he would have been had he not been a musician. "The first diplomat in Europe," was the reply. With this Machiavellian bent it is not surprising that he sometimes indulges himself in playing off the conceited or the obtuse for the benefit of the bystanders. But the real basis of his nature is compassion. The bruised reed he does not break, nor the humble and docile heart despise! Fräulein Gaul tells a characteristic story about the "Meister," as we call Liszt. When she first came to him a year or two ago, she brought him one day Chopin's B flat minor Scherzo--one of those stock pieces that every artist must learn, and that has also been thrummed to death by countless tyros. Liszt looked at it, and to her fright and dismay cried out in a fit of impatience, "No, I won't hear it!" and dashed it angrily into the corner. The next day he went to see her, apologized for his outburst of temper, and said that as a penance for it he would force himself to give her not one, but two or three lessons on the Scherzo, and in the most minute and careful manner--which accordingly he did! Fancy any music teacher you ever heard of, so humbling himself to a little girl of fifteen, and then remember that Tausig, the greatest of modern virtuosi, said of Liszt, "No mortal can measure himself with Liszt. He dwells upon a solitary height." But you need not fear that I am "giving up American standards" because I reverence Liszt so boundlessly. Everything is topsy-turvy in Europe according to our moral ideas, and they don't have what we call "men" over here. But they do have artists that we cannot approach! It is as a Master in Art that I look at and write of Liszt, and his mere presence is to his pupils such stimulus and joy, that when I leave him I shall feel I have left the best part of my life behind! _ |
||