AN ANONYMOUS GERMAN ADMIRER
The following recollections of Liszt's first visit to Stuttgart were published in a periodical many years ago. Though they appeared without any signature, the author seems to have been on intimate terms with the great musician:
"Liszt played several times at court, for which he received all possible distinctions which the King of Wurtemberg could confer upon an artist. The list of honours was exhausted when the royal princesses wished to hear once more this magician of the piano keys quite privately in their own apartments. Liszt, our truly chivalric artist, accepted with delight such an invitation, expecting less to show himself as an artist than to express his thanks for the many honours received. It must have been rare enjoyment for a royal family which recognised in art only a graceful pastime and a delightful intoxication of the sense, with an agreeable excitement of the sentiments; for no artist in the world understands better than Liszt how to survey at a glance the character and the most hidden recesses in the hearts of his audience. This very fact is the cause of his wonderful effects, and will secure them to him always. He played on that occasion Weber's Invitation à la Valse, with his own effectual, free, final cadenza, his Chromatic Galop (which causes all nerves to vibrate), and a few of his transcriptions of Schubert's songs—those genuine pearls, the richness and colouring of which none can show so well as himself, being a unique and most perfect master of the art of touch. And, finally, in order to show something at least of his immense bravura, he played a little concert piece. The most gracious words of acknowledgment were showered upon him. Liszt, enraptured by the truly heavenly eyes of one of the princesses, which, rendered still more beautiful by a singular moisture, were fixed upon him, declared his happiness in thus being able to express his thanks for the many honours conferred upon him.
"Among all the princes of Europe, however, there is none so little inclined to accept of services without remuneration as the King of Wurtemberg. This is one of the many chivalric traits in the character of that monarch; no other rewards artists in such royal style. On the next morning I was with Liszt, each of us smoking a real Havana comfortably on one end of the sofa. Liszt was telling me of his last visit to court, when one of its servants entered. He placed a roll of 150 ducats in gold upon the table, and presenting Liszt with an open receipt, asked him to sign it. Liszt read: 'Received for playing,' etc. Aloud, and in a tone of astonishment, Liszt repeated the words, 'Received for my playing?' and, rising with that peculiar aristocratic grace, he says in a mild, condescending tone: 'For my playing—am I to sign this document? My friend, I imagine some clerk of the court treasury has written this scrawl.' Upon which the servant, interrupting, said that it had been written by Herr Tagel, Counsellor of Court and Director of the Court Treasury. 'Well,' said Liszt, 'take back the receipt and money, and tell' (raising his voice) 'the counsellor from me, that neither king nor emperor can pay an artist for his playing—only, perchance, for his lost time, and' (with haughty indignation) 'that the counsellor is a blockhead if he does not comprehend that. For your trouble, my friend,' (giving him 5 ducats) 'take this trifle.'"
The writer goes on to say:
"The servant, in utter astonishment, knew not what to answer, and looked at me. But Liszt's slight figure was erect, his finely cut lips were compressed, his head was boldly thrown back, so that his thick hair fell far down on his shoulders; his nostrils were expanding, the lightning of his keen and brilliant eye was gleaming, his arms were folded, and he showed all his usual indications of inward commotion. Knowing, therefore, that Liszt had by that document been touched in his most sensitive point, and that this was nothing more nor less than a small battle in his great contest for the social position and rights of artists—a contest which, when a boy of fifteen years, he had already taken up—I was well aware of the impossibility of changing his mind for the present, and therefore remained silent, while the discomfited lackey retired with many low bows, taking money and scroll with him. Whether he really delivered the message I know not; but I was still with Liszt when he reappeared and, laying the money upon the table, gave Liszt a large sealed letter, which read as follows: 'The undersigned officer of the Treasury of Court, commanded by His Majesty the King, begs Dr. Liszt to accept, as a small compensation for his lost time with the princesses, the sum of 150 ducats.' Liszt handed me the paper, and with a silent glance I interrogated him in return. It is an old fact that the soul is always most clearly reflected in homely features, and I distinctly read in his face reconciliation and the kindest feeling again. He sat down and wrote on a scrap of paper with pencil: 'Received from the Royal Treasury 150 ducats—Franz Liszt,' and gave it to the servant very politely, accompanied by another rich gift. There was never afterward any further allusion to the affair.
"The price of admission to Liszt's concerts was unusually high, so that they could only be frequented by the wealthier classes. At a party the conversation fell upon the subject, and it was regretted that for such a reason many teachers and scholars, in spite of their great anxiety to hear the great master, were prevented from doing so. I told Liszt this, and he answered: 'Well, arrange a concert for them, only charge as much or as little as you think proper, and let me know when and what I shall play. Immediately a committee was formed, and a concert for teachers and scholars only arranged, to which the price of admission amounted to only 18 kreutzers (about sixpence). Quantities of tickets were sold, and immense galleries had to be erected in the large hall. Liszt viewed with delight the juvenile multitude, whose enthusiasm knew no bounds, and I never heard him play more beautifully. With a delighted heart he stood amid a shower of flowers which thousands of little hands were strewing for him, and when at last six veritable little angels approached in order to thank him, he embraced them with tears in his eyes—not heeding the fact that the grown-up people were appropriating his gloves, handkerchief, and all they could get hold of, tearing them up into a thousand bits to keep in remembrance of him. On the next morning we brought him the proceeds of the concert (nearly 1,000 florins). He declared that he had felt happier at that concert than ever before, and that nothing could induce him to accept the money, with which the committee might do as they pleased, and if, after so much delight, they did not wish really to hurt his feelings he would beg of them never to mention that money to him again. It was appropriated to a Liszt Fund, which will continue to exist forever, and a poor teacher's son, on going to college, is destined to receive the first interest.
"Liszt was once at my house, when a woman was announced to whom I was in the habit of giving quarterly a certain sum for her support. It being a few days before the usual time, she gave as an excuse (it was November) the hard times. While providing for her I told Liszt in an under-tone that she was an honest but very indigent widow of a painter, deceased in his prime, to whom an number of brother artists were giving regular contributions in order to enable her to get along with her two small children. I confess, while telling him this, I hoped that Liszt, whose liberality and willingness to do good had almost become proverbial, would ask me to add something in his name, and was, therefore, surprised to see him apparently indifferent, for he answered nothing and continued looking down in silence. After a few days, however, the widow reappeared, her heart overflowing with thankfulness and her eyes filled with tears of joy, for she and her children had at the expense of a man whose name she was not permitted to know, received beautiful and new winter clothing, while kitchen and cellar had been stored with every necessary for the coming winter. Now all this had been arranged by the landlady of a certain hotel, at which Liszt was then stopping. A piano maker, who had not the means to erect a factory, needed but to convince Liszt of his rare ability, and immediately he had at his command over 80,000 frs. This man is now dead, and Liszt never had received a farthing of that money back."