Chapter I: Front Matter

BIOGRAPHIES OF MUSICIANS.

I.

LIFE OF MOZART, From the German of Dr. Louis Nohl. With Portrait.
Price $0.75.

II.

LIFE OF BEETHOVEN, From the German of Dr. Louis Nohl. With Portrait.
Price $0.75.

III.

LIFE OF HAYDN, From the German of Dr. Louis Nohl. With Portrait.
Price $0.75.

IV.

LIFE OF WAGNER, From the German of Dr. Louis Nohl. With Portrait.
Price $0.75.

V.

LIFE OF LISZT, From the German of Dr. Louis Nohl. With Portrait.
Price $0.75.

A. C. McCLURG & CO., PUBLISHERS.

_BIOGRAPHIES OF MUSICIANS._

LIFE OF LISZT

BY
LOUIS NOHL

TRANSLATED FROM THE GERMAN
BY
GEORGE P. UPTON

“_Sorrowful and great is the destiny of the artist._”

SIXTH EDITION

CHICAGO
A. C. McCLURG & COMPANY
1902

COPYRIGHT, 1880.

TRANSLATOR’S PREFACE.

This little work, which is rather an essay upon the personal and musical characteristics of Liszt than a biography of him, as its title indicates, hardly needs more than an informal introduction to the public. It may safely be left to commend itself to readers upon its own merits. Unlike most of his other biographies, Dr. Nohl seems to have addressed himself to this with feelings of strong personal admiration and affection for his hero. It appears to be the universal testimony of those who have enjoyed Liszt’s acquaintance, not merely his friendship, that he has inspired in them the strongest and most intimate feelings of personal attachment to him by his own genial and generous nature. If at times, therefore, the biographer appears to rhapsodize, it is probably because his relations to Liszt make it difficult for him to avoid idealizing him. If this be so, fortunately there is compensation in the reflection that no other musician of the present day, in every admirable quality of head and heart, so nearly approaches the ideal.

In reproducing the selections from Miss Amy Fay’s “Music Study in Germany,” which appear in the closing chapter of this volume, the translator, so far as has been practicable, for the German version does not follow the English very closely in its connection, or always literally, has made use of the original text. He has also prepared an appendix containing much interesting matter that serves to explain and sometimes to illustrate the contents of the work. The list of scholars of the great teacher to which Dr. Nohl also refers in the closing chapter, and which were furnished to the biographer by Liszt himself, will be found at the close of this appendix. It is of more than ordinary interest as it contains indirectly the testimony of Liszt himself as to the relative prominence of the vast number of pupils who have studied with him. Surely such a life as his, so rich in success, so bountiful in reward and triumph, so fruitful in results, its skill and love attested to by eminent scholars in every country, refutes his mournful remark to George Sand, in one case at least, “Sorrowful and great is the destiny of the artist.”

G. P. U.
Chicago, Feb. 1, 1884.

AUTHOR’S PREFACE.

In contrast with our practice in the previous biographies, let us, this time, as the master has also done in his greatest oratorio, disclose the life of the hero in his deeds, which display themselves before us in regular succession.

First of all appears his early youth with its incomprehensible virtuosity. It is the actual strangling of the serpents in the cradle, so utterly does this power defy every obstacle and difficulty in the revelation of its art. Then appears a new germ of the ever fruitful life of Nature, as specially manifested in the weird gypsy world. And now the great man rises resplendent in the great artist, in strong contrast with a kindred genius, we mean the great violinist, Paganini, in whom, so different from Liszt himself, the essential principle which lies at the very root of artistic creation, namely, the genius of humanity, was not apparent. It proved its power in the recognition of the one artist of equal rank whom he encountered and whom he unceasingly helped to realize that grand consummation which we possess to-day in Baireuth.

Still further, there appears in its wonderful versatility his active sympathy with all the momentous intellectual questions of the time and of humanity. We recognize it with astonishment in his imposing series of “Collected Writings” which rises up before us. Then follows the new epoch in art-development, the creation of the Symphonic Poem, growing, as it were, spontaneously out of his association with all that is comprised in poetry and life. Then comes the crown of all, the latest and grandest work he has accomplished, the renovation of church music. We beseech the laymen at least to recognize the importance of this great accomplishment.

In a sketch of such a richly exuberant life it is essential that we fail not to recognize the personality of this genius in his creations as “Master.” How much of loving kindliness it manifests! It is not like Ludwig Richter’s genial and gentle “Beemaster.” It is like Michel Angelo’s majestic “Lord” to whom the newly created Eve meekly bows. It is like Prometheus among his loved creations which his breath will first inspire with life. And to what extent this reaches, the world knows by the great number of his master-scholars whose eminent names enframe the complete picture.

Thus we wander here, as it were amid a new creation, and discover that in the pure art of music our time is not inferior to any other; nay, more, that it has added to the great possessions of the past many an enduring and noble work.

CONTENTS.

CHAPTER I.

LES PRELUDES.

Liszt’s Childish Characteristics--The Home at Raiding--The
Father and his musical Abilities--His Ambition for his
Son--Selections from his Diary--Young Liszt’s first
Appearances--Peculiarities of his Playing--The Gypsies--The
Influence of their Life and Music upon him--Paganini and
Bihary--Generosity of Counts Amadee and Szapary--His studies
with Czerny--Old artists’ astonished--Plays before
Beethoven--The great Master kisses the Boy--The Journey to
Paris--Cherubini’s Churlishness--Liszt’s immense
Success--Ovations and Triumphs--A great Favorite among the
Ladies--French and German tributes. 11-35

CHAPTER II.

DIVERTISSEMENTS HONGROIS.

The Power of Music--Its Origin and Influence--Relations to
Nature--Bach, Mozart and Beethoven--Sources of their
Inspiration--Autobiographical Sketch--Liszt as a Lad--His
Voluntary Exile--Revival of the Home Feeling--His Love of
Nature--Religious Feeling--The Gypsies--A Famous Visit to
them--Picturesque Surroundings--Wild Dances--Talks with the
Old Men--The Gypsy Hags--An Impromptu Orchestra and Wonderful
Music--A Weird Night Scene--Salvator Rosa Effects--Grotesque
Cavalcade--The Concert at the Inn--A Demoniac Symphony--Wild
Revel in a Thunder Storm--Liszt’s Hungarian Music. 36-60

CHAPTER III.

CAPRICCIOSO.

Untamable Animals and Men--An Interesting Test--Attempt to
refine a Gypsy--The Boy Josy--Bought from the Gypsies--His
Advent into Liszt’s Salon--Thalberg’s Astonishment--Adopted
by the Master--Attempts to Educate him--A Hopeless Task--Josy
becomes a Fop--His Insolence and Conceit--Liszt
despondent--Josy goes to the Conservatory--Worse
and Worse--Sent to the Black Forest--No Better--Liszt’s
Encounter with a traveling Band--Josy’s Brother intercedes
for his Return--Liszt consents--Great Joy--Josy settles at
Debrezin--Violinist in a Gypsy Band--Letter to Liszt--His
Love and Devotion. 61-75

CHAPTER IV.

IMPROMPTU.

General Characteristics of Liszt--Earnestness of his Art--Its
genial Character--His Interest In Life--His Loving
Nature--Affection for his Parents--Remorse of a
Capellmeister--Richard Wagner’s Testimony--A Helping Hand
in time of Need--His Generosity to Wagner--Secures him a
Hearing--The Letter to Herr B.--Plans to bring out Wagner’s
Works in London--Wagner in Despair--Misunderstanding of
Liszt--A Personal Appeal and prompt Reply--A Success made in
Weimar--Urges Wagner to create a new Work--“The
Nibelungen”--Wagner’s Tribute at Baireuth. 76-90

CHAPTER V.

REFLEXIONS.

Goethe’s Criticism on Winckelmann--The Poetical
Necessity--Winckelmann and the Plastic Art--Has Music a
Language?--Musicians and Musical Writers--Gluck’s
Writings--His War in Paris--A fierce Struggle with the
Theorists--Luther’s Indebtedness to Bach--Heinse and his
Writings--His Italian Visit--Reichardt, Rochlitz and
Schubart--Their literary Characteristics--A Criticism of
Marx--Liszt’s Contributions to Literature--His great
literary Ability--The Place of Artists--List of his
Works--Goethe and Beethoven--Bettina’s Phantasies--Liszt’s
Criticism of the “Swan Song”--Tribute from the “Gazette
Musicale”--Selections from his Writings. 91-112

CHAPTER VI.

HARMONIES POETIQUES.

Liszt’s Tribute to Wagner--A new Form of Instrumental
Music--Liszt’s new Departure--The Symphonic Poem--Its
Essence and Characteristics--The Union of Poetry and
Music--Programme Music--How Liszt developed his new
Forms--Analysis of Individual Works--Liszt’s Tribute to
Beethoven--His Notice of “Egmont”--Beethoven as a
Pioneer--Fulfillment of Haydn’s Prophecy. 113-120

CHAPTER VII.

CONSOLATION.

Liszt’s Great Resolve--Reply to a Scoffer--Religion and
Music--Religion at the Foundation of Culture--George
Sand’s Testimony--Relations of Religion and Music--Music
in the Catholic and Protestant Churches--Peculiarities of
the Musical Services--Influence of the Catholic Church on
Music--A Gradual Lowering of the Standard--Opera Music in
the Church--Liszt’s Ambition to Reform it--His early
Piety--Views on Church Music--The Religious Element in
his Compositions--The Hungarian Coronation Mass--The
Choral Mass--Departure to Rome--Takes Orders--Why he did
not remain--Germany his Field for Work. 121-135

CHAPTER VIII.

HARMONIES RELIGIEUSES.

The Oratorio of “Christus”--Its Title--The Origin of
Oratorios--Their Relation to Opera--Gradual Changes in
Style--The Dramatic Element in them--Liszt’s Original
Treatment--A Wide Departure from Old Forms--Events
Pictured in Music--Groupings of Materials--What it did
for the Church--General Divisions of the Oratorio--The
Motto of “Christus”--The Christmas Music--Introduction
of the Stabat Mater--The Shepherds at the Manger--The
Kings’ March--The “Seligkeit”--Entrance to Jerusalem--The
Scene at Gethsemane--The Inflammatus--Skillful treatment
of Motifs. 136-148

CHAPTER IX.

PROMETHEUS.

Liszt’s letter to George Sand--Happiness of the
Wanderer--Allusions to Wagner--The Artist as an
Exile--Sorrowful Character of his Lot--His Solitude--His
Creative Moments and Inspirations--No Sympathy between
the Artist and Society--Degradation of Art--Artisans, not
Artists--Letter to Adolph Pictet--Why he devoted himself
to the Piano--His love for it--Estimate of its
Capabilities--Miss Fay’s “Music Study in Germany”--A
Critical Notice--The Author’s first Meeting with
Liszt--Personal Description--Grace of his
Manner--Peculiarities of his Playing--His Home--Pleasant
Gatherings--Personal Incidents--Liszt and Tausig--The
Loss of “Faust”--Happily Recovered--The Final Tribute. 149-177

APPENDIX.

A LETTER FROM LISZT’S FATHER. 179
LISZT’S ONE OPERA. 183
BIHARY. 187
THE HUNGARIAN GYPSY MUSIC. 189
HEINE ON LISZT. 192
A LETTER FROM BERLIOZ TO LISZT. 194
HESSE’S CRITICISM OF LISZT. 196
LIST OF LISZT’S PRINCIPAL SCHOLARS. 198

THE LIFE OF LISZT.