Leschetizky bought a house and settled down, thinking to rest from teaching for a time. But no sooner was it known that he had established himself in Vienna, than the inevitable pupils assailed him with petitions for lessons, and almost immediately he was hard at work again.
He had by now published a considerable number of compositions, many of which had become popular; but, never able to devote his whole energies to composing, most of his works are valuable solely as admirable pianoforte studies, wherein he has expressed his perfect knowledge of the instrument. Everything he writes is full of charm and handled with a delicacy that is peculiarly his own. Though difficult to play well, his works are all effective and repay the trouble of study.
In 1882 his second opera, "Die Erste Falte," was brought out at Mannheim. The composer was not present on the first night, for it happened that Liszt arrived just as he was starting, and Leschetizky, in the joy of seeing his old friend again—they had not met for many years—talked on till long after the only train had gone. This opera was produced with success in several other German towns, and finally in Vienna, under Richter. Vienna was full of interesting musicians at this time, all of whom Leschetizky knew: Pauline Lucca, Mariana Brandt, Schütt, Richter, Navratil, Rosenthal, Fischof, Grünfeld, Brahms, and many more. The Ton-Künstler Verein—a new musical club—became the centre where they all met, and where they produced and discussed each other's compositions with the freedom of old friends.
Leschetizky saw Brahms more often at Ischyl than in Vienna, and spent many an evening with him for, though they could not abide each other's music, they were excellent friends.
Leschetizky relates how, when he was sitting at the piano composing one morning, Brahms walked in and looked over his shoulder to see what he was doing. "Ha! What sort of things are you writing this morning? I see—quite little things, little things, of course, yes." "Little things? Yes, they are, but ten times more amusing than yours, I can tell you."
Every great artist who stayed in Vienna came to see Leschetizky, and he and Mme. Essipoff were welcomed everywhere as the central figures of a brilliant, gifted circle in which it was a privilege to be included. In 1892 they separated. Two years later he married his secretary, Mme. Donnimirska.
ON THE KAHLENBERG
Leschetizky had long since definitely given up appearing in public. He lost his delight in applause and all the excitements connected with platform life very early. Soon, his interests, more and more absorbed by his pupils, the ambition to play gradually died out, and he gave his whole time to helping those who cared for a public career more than he did himself. His last appearance in public was in Frankfort in 1887, where he played the E flat Concerto of Beethoven. He says: "I did not care for their enthusiasm at all. Nor did I read their criticisms, though I was told they were good. If they had been bad I would have read them, for bad criticism is very wholesome. We learn much from the disagreeable things critics say, for they make us think, whereas the good things only make us glad."