LISZT AS TEACHER
"While Liszt has been immensely written about as pianist and composer, sufficient stress has not been laid upon what the world owes him as a teacher of pianoforte playing," writes Amy Fay. "During his life-time Liszt despised the name of 'piano-teacher,' and never suffered himself to be regarded as such. 'I am no Professeur du Piano,' he scornfully remarked one day in the class at Weimar, and if any one approached him as a 'teacher' he instantly put the unfortunate offender outside of his door.
"I was once a witness of his haughty treatment of a Leipsic pupil of the fair sex, who came to him one day and asked him 'to give her a few lessons.' He instantly drew himself up and replied in the most cutting tone:
"'I do not give lessons on the piano; and,' he added with a bow, in which grace and sarcasm were combined, 'you really don't need me as a teacher.'
"There was a dead silence for a minute, and then the poor girl, not knowing what to do or say, backed herself out of the room. Liszt, turning to the class, said:
"'That is the way people fly in my face, by dozens! They seem to think I am there only to give them lessons on the piano. I have to get rid of them, for I am no Professor of the Piano. This girl did not play badly, either,' concluded he, half ashamed of himself for his treatment of her.
"For my part, I was awfully sorry for the girl, and I was tempted to run after her and bring her back, and intercede with Liszt to take her; but I was a new-comer myself, and did not quite dare to brave the lion in his den. Later, I would have done it, for the girl was really very talented, and it was a mere want of tact on her part in her manner of approaching Liszt which precipitated her defeat. She brought him Chopin's F minor concerto, and played the middle movement of it, Liszt standing up and thundering out the orchestral accompaniment, tremolo, in the bass of the piano. I wondered it did not put the girl out, but she persisted bravely to the end, and did not break down, as I expected she would.
"She came at an inopportune moment, for there were only five of us in the room, and we were having a most entertaining time with Liszt, that lovely June afternoon, and he did not feel disposed to be interrupted by a stranger. In spite of himself, he could not help doing justice to her talent, saying: 'She did not play at all badly.' This, however, the poor girl never knew. She probably wept briny tears of disappointment when she returned to her hotel.
"While Liszt resented being called a 'piano-teacher,' he nevertheless was one, in the higher sense of the term. It was the difference between the scientific college professor of genius and the ordinary school-teacher which distinguished him from the rank and file of musical instructors.
"Nobody could be more appreciative of talent than Liszt was—even of talent which was not of the first order—and I was often amazed to see the trouble he would give himself with some industrious young girl who had worked hard over big compositions like Schumann's Carnival, or Chopin's sonatas. At one of the musical gatherings at the Frauleins' Stahr (music-teachers in Weimar, to whose simple home Liszt liked to come) I have heard him accompany on a second piano Chopin's E minor concerto, which was technically well played, by a girl of nineteen from the Stuttgart Conservatory.
"It was a contrast to see this young girl, with her rosy cheeks, big brown eyes, and healthy, everyday sort of talent, at one piano, and Liszt, the colossal artist, at the other.
"He was then sixty-three years old, but the fire of youth burned in him still. Like his successor, Paderewski, Liszt sat erect, and never bent his proud head over the 'stupid keys,' as he called them, even deprecating his pupils' doing so. He was very picturesque, with his lofty and ideal forehead thrown back, and his magnificent iron-gray hair falling in thick masses upon his neck. The most divine expression came over his face when he began to play the opening measures of the accompaniment, and I shall never forget the concentration and intensity he put into them if I live to be a hundred! The nobility and absolute 'selflessness' of Liszt's playing had to be heard to be understood. There was something about his tone that made you weep, it was so apart from earth and so ethereal!"