Memories of a Musical Life Part 9

LISZT'S MOMENTS OF CONTRITION

Deep beneath the surface there was in Liszt's organization a religions trend which manifested itself openly now and then, and there were occasions upon which his contrition displayed itself to an inordinate degree. Joachim Raff, long his intimate friend and a.s.sociate, told me that these periods were sometimes of considerable duration, and while they lasted he would seek solitude, and going frequently to church, would throw himself upon the flagstones before a _Muttergottesbild_, and remain for hours, as Raff expressed it, so deeply absorbed as to be utterly unconscious of events occurring in his presence.

[Ill.u.s.tration: AUTOGRAPH OF VIEUXTEMPS]

Rubinstein also told me that on one occasion he had been a witness of such an act on the part of Liszt. One afternoon at dusk they were walking together in the cathedral at Cologne, and quite suddenly Rubinstein missed Liszt, who had disappeared in a mysterious way. He searched for quite a while through the many secluded nooks and corners of the immense building, and finally found Liszt kneeling before a _prie-dieu_, so deeply engrossed that Rubinstein had not the heart to disturb him, and so left the building alone.

PETER CORNELIUS

Sometime, I think late, in 1853 Peter Cornelius, nephew of the celebrated painter of that name, and composer of the comic opera "The Barber of Bagdad," came to Weimar and was added to the Altenburg circle.

He was well known and highly esteemed by musicians, and as he was always cheery and bubbling over with musical enthusiasm, I at once became very fond of him as a friend, and later on paid due homage to his decided talent as a composer. As an ill.u.s.tration of how easy it is to underrate the abilities of a new acquaintance the following incident is both interesting and instructive. In October, 1853, or thereabouts, quite a large musical festival took place in Karlsruhe, which was under the general direction of Liszt, who also conducted the orchestra. It goes without saying that under the management of Liszt a number of selections from the Wagner operas were played, and one of these happened to be the bridal chorus from "Lohengrin." Wagner at that time was an entirely new experience to Cornelius, and after the concert, while speaking to Liszt of the beauty of Wagner's music, he instanced this bright and pretty melody, emphasizing its beauty as though it were the special object of his admiration. We boys, while we recognized the beauty of the bridal march and its fitness for the place in which it occurs, were apt to coddle ourselves upon our superior knowledge of Wagner, and would have saved our enthusiasm for the more completed and distinctly Wagnerian characteristics. The enthusiasm of Cornelius for the purely melodic phrases of Wagner, which were in no wise characteristic of his genius, rather led us to look down upon the musical perceptions of Cornelius--or perhaps I should speak only for myself and give these as my personal impressions; but it was not long before his great talent was duly recognized and acknowledged, at least by musicians. Cornelius was a charming fellow, and I enjoyed his society because he was so enthusiastically and intensely musical.

SOME FAMOUS VIOLINISTS

I have already mentioned in these papers my meeting with Joachim in Leipsic in the year 1849. He was then about eighteen years of age and already famous as a violinist. He was of medium height, had broad, open features, and a heavy shock of dark hair somewhat like that of Rubinstein. I had a letter of introduction to him, which I presented a short time after my arrival in Leipsic, and received immediately a return call from him. He was kind and affable, and easy to become acquainted with, but owing to diffidence on my part I did not improve the opportunity as I should have done, a circ.u.mstance which I now much regret. He played the Mendelssohn concerto in one of the Gewandhaus concerts within a month of my arrival at Leipsic, and I heard him then for the first time, and was much impressed by his beautiful performance.

Subsequently, when in Weimar, I had the pleasure of meeting him on many occasions, for he was in the habit of going there not infrequently, and would sometimes take part in the Altenburg private musicales, as well as in the public concerts at the theater.

During the year 1845-46 I heard and became well acquainted with three famous violinists, Vieuxtemps, Ole Bull, and Sivori, who came to Boston and played many times both in public and in private. They were all great players, each having his special individuality. Vieuxtemps and Ole Bull I met several times in later years, and became familiar with their playing. Vieuxtemps came to Weimar and played both in private and in public. His playing was wonderfully precise and accurate, every tone receiving due attention, and his phrasing was delightful. Scale and arpeggio pa.s.sages were absolutely clean and without a flaw. He was certainly a player of exquisite taste, and he still preserved his characteristics when I heard him years later, in 1853 at Weimar, and in 1873 at New York. Ole Bull came to Boston a year or so after Vieuxtemps.

He was a born violinist, and developed after his own fas.h.i.+on and nature, in the manner of a genius. Vieuxtemps was the result of scientific training and close adherence to well-founded principles. Ole Bull, on the other hand, was a law unto himself, and burst out into full blossom without showing the various degrees of growth. He did not realize the importance of close attention to detail while in the course of development.

Sivori was of the gentle, poetic, and graceful cla.s.s of players. Beauty and grace rather than self-a.s.sertion characterized his style. Ernst, whom I heard in Homburg in the year 1852, was a player of great intensity of feeling, and was regarded as the most fervent violinist of his time. Joachim's style impressed me as cla.s.sical and rather reserved, and while I enjoyed and admired it, there was present no feeling of enthusiasm. Wilhelmj, with his broad and n.o.ble style, was certainly most impressive. Henri Wieniawski had a musical organization of great intensity, and this, combined with his perfect technic, made his playing irresistible. Ferdinand Laub, for some reason not so well known to the general public as he should be, is generally conceded by the most distinguished violinists to have been the greatest of all quartet-players. Laub was concertmeister during the whole period of my stay in Weimar, and was an intimate friend of mine. It will be remembered that at that time Bernhard Cossmann was the violoncellist of the Weimar string quartet. I owe many delightful moments of musical enjoyment to his exquisitely poetical and refined playing. The last time I met him was at his own house in Frankfort. His wife and children were present, and being thus quite _en famille_, we played together, for the sake of old times, the piano and violoncello sonata of Beethoven in A major.

[Ill.u.s.tration: AUTOGRAPH OF OLE BULL]

There are many others whom I am prevented by lack of s.p.a.ce from mentioning; but I must not omit the name of my friend Adolf Brodsky, a violinist of the first rank, and a man of great n.o.bility of character.

His playing is broad, intelligent, and thoroughly musical, whether as soloist or as first violin in chamber quartet music. Sometimes I have heard him in the privacy of my own home, where, feeling entire freedom from restraint, he has thrown himself intensely into his music, to my thorough and complete musical satisfaction.

REMENYI

I have already had something to say of Eduard Remenyi, the Hungarian violinist who accompanied Brahms to Weimar in 1853. He was a talented man, and was esteemed by Liszt as being, in his way, a good violinist.

He remained at Weimar after Brahms left there, and I became intimately acquainted with him. He was very entertaining, and so full of fun that he would have made a tiptop Irishman. He was at home in the Gipsy music of his own country, and this was the main characteristic of his playing.

He had also a fad for playing Schubert melodies on the violin with the most attenuated pianissimo effects, and occasionally his hearers would listen intently after the tone had ceased, imagining that they still heard a trace of it.

Not long before leaving Weimar I had some fun with him by asking if he had ever heard "any bona-fide American spoken." He replied that he did not know there was such a language. "Well," said I, "listen to this for a specimen: 'Ching-a-ling-a-dardee, Chebung c.u.m Susan.'" I did not meet him again until 1878, twenty-four years after leaving Weimar. I was going up-stairs to my studio in the Steinway building when some one told me that Remenyi had arrived and was rehearsing for his concerts in one of the rooms above. So, going up, I followed the sounds of the violin, gave a quick knock, opened the door, and went in. Remenyi looked at me for a moment, rushed forward and seized my hand, and as he wrung it cried out: "Ching-a-ling-a-dardee, Chebung c.u.m Susan!" He had remembered it all those years.

SOME DISTINGUISHED OPERA-SINGERS

My concert-playing and teaching have naturally made me more interested in instrumental than in vocal music. Moreover, the princ.i.p.al celebrities who came to visit Liszt during my sojourn at Weimar were composers and instrumentalists. For that reason I met but few distinguished opera-singers during my stay abroad. However, I heard the best of them in opera or concert.

In Boston, about the year 1846-47, the Havana Italian Opera gave a season at the Howard Athenaeum of that city, and created considerable interest. They gave, I think for the first time in this country, Verdi's "Ernani," which was received with great favor. The princ.i.p.al soprano was Mme. Fortunata Tedesco, who was afterward at the Grand Opera in Paris from 1851 to 1857. The tenor was Signore Perelli, who had an exceptionally fine voice. Both of these singers had well-trained voices and were well supported by chorus and orchestra. As this was my first experience in opera, it produced a deep and lasting impression.

The opera season in Leipsic in the year 1852, beginning about the 1st of February and continuing up to the 1st of May, was notable, for it afforded the opportunity of hearing in quick succession three singers of world-wide reputation: Henriette Sontag, Johanna Wagner, and De la Grange.

HENRIETTE SONTAG

[Ill.u.s.tration: Autograph of Henriette Sontag]

The singer of whom I have the liveliest impression is Henriette Sontag, whom I heard in Leipsic on her first appearance after she had been twenty years in retirement. The interest I took in the occasion was much increased by the fact that I had a seat next to Moscheles, who was very communicative, and gave me an interesting history of his long acquaintance with Sontag, whom he had heard at her last appearance, I think, before her retirement. He was naturally on the _qui vive_, and impatiently waited for the opera to begin. Like many of her other old admirers who were in the theater, he was full of expectancy mingled with dread of possible failure. She appeared as _Maria_ in Donizetti's "Fille du Regiment" In this part the voice of the singer is heard before she appears on the stage, and as soon as Moscheles heard Sontag's voice trilling behind the scenes, he exclaimed with delight, "It is Sontag!

n.o.body I have heard since she left the stage could do that! She is the same Henriette!"

Some of the roles in which I heard her were _Amina_ in "Sonnambula,"

_Martha_ in the opera of that name, _Susan_ in "The Marriage of Figaro,"

and _Rosina_ in "The Barber of Seville." I enjoyed the lovely feminine quality of her voice and manner. There was something peculiarly charming and womanly about her. She sang with unfailing ease and grace, her voice being so flexible that it sounded like the trilling of birds. The most difficult roulades and cadences were given with absolute accuracy and rhythm. It was simply fascinating.

JOHANNA WAGNER

During the month of March of the same year, Johanna Wagner, niece of Richard Wagner, sang in several operas. Among those in which I heard her were Bellini's "Romeo and Juliet," as _Romeo_; "Fidelio," as _Leonora_ or _Fidelio_; and "Iphigenia in Aulis," by Gluck, as _Iphigenia_. Here indeed she was a contrast to Sontag, and in these parts she seemed to me quite unapproachable. Her voice was large and full, and her acting most dramatic. Like all the German singers whom I heard, she lacked the nicety of detail, the clear and beautiful phrasing, characteristic of the Italians I had heard in Boston. But when I grew to know the German method, I began to admire it, not so much for the actual singing itself as for the combination of qualities that entered into it--the artistic earnestness, the acting, and the musicians.h.i.+p.

MME. DE LA GRANGE

It was my experience that the Germans themselves greatly admired singing of the Italian school, for when, following Sontag and Wagner, Mme. de la Grange came the next month and sang an engagement in Leipsic (April and May, 1852), the management doubled the prices, and, notwithstanding this, the house was crowded every time she sang. She was in her prime, and one of the finest singers I ever heard. Her style was brilliant and dazzling, but never lacking in repose. Her high tones were clear and musical, without any trace of shrillness, and in the most rapid pa.s.sages the tones were never slurred or confused, but distinct and in perfect rhythmic order. The roles in which she most appealed to me were as _Queen of the Night_ in "The Magic Flute," by Mozart, and _Rosina_ in "The Barber of Seville," by Rossini. But she also sang both parts of _Isabella_ and _Alice_ in Meyerbeer's "Robert the Devil" in the most admirable manner.

"DER VEREIN DER MURLS"