Records of Later Life

by Fanny Kemble

[The time we spent on the Rhine during this summer afforded me an opportunity of almost intimate acquaintance with the celebrated musician who had persuaded my sister to associate herself with him in the concerts he gave at the principal places on the Rhine where we stopped.

LISZT. Our whole expedition partook more of the character of a party of pleasure than a business speculation; and though Liszt's and my sister's musical performances were professional exhibitions of the highest order, the relations of our whole party were those of the friendliest and merriest tourists and compagnons de voyage. Nothing could exceed the charm of our delightful travelling through that lovely scenery, and sojourning in those pleasant picturesque antique towns, where the fine concerts of our two artists enchanted us even more, from personal sympathy, than the most enthusiastic audiences who thronged to hear them.

Liszt was at this time a young man, in the very perfection of his extraordinary talent, and at the height of his great celebrity. He was extremely handsome; his features were finely chiselled, and the expression of his face, especially when under the inspiration of playing, strikingly grand and commanding.

Of all the pianists that I have ever heard, and I have heard all the most celebrated of my time, he was undoubtedly the first for fire, power, and brilliancy of execution. His style, which was strictly original, and an innovation upon all that had preceded it, may be called the "Sturm und Drang," or seven-leagued-boot style of playing on the piano; and in listening to him, it was difficult to believe that he had no more than the average number of fingers, or that they were of the average length,—but that, indeed, they were not; he had stretched his hands like a pair of kid gloves, and accomplished the most incredible distances, while executing, in the interval between them, inconceivable musical feats with his three middle fingers. None of his musical contemporaries, Moscheles, Mendelssohn, Chopin, nor his more immediate rival, Thalberg, ever produced anything like the volcanic sort of musical effect which he did, perfect eruptions, earthquakes, tornadoes of sound, such as I never heard any piano utter but under his touch. But though he was undoubtedly a more amazing performer than any I ever listened to, his peculiar eccentricities were so inextricably interwoven with the whole mode and manner of his performances that, in spite of the many imitators they have inspired, he could by no means be regarded as the founder of anything deserving the name of a school of piano-playing. M. Rubinstein, I presume, in our own day, represents Liszt's peculiar genius better than any one else.

The close, concise, crowded, and somewhat crabbed style of the great learned musical school of the Bachs, which may almost be called the algebra or geometry of musical composition, at any rate its higher mathematics, had certainly challenged a spirit of the most daring contrast in the young Hungarian prodigy, who electrified Paris, and carried its severe body of classical critics by storm, with the triumphant audacity of his brilliant and powerful style. Liszt became, at the very opening of his career, so immediately a miracle, and then an oracle, in the artistic and the great world of Paris that he was allowed to impose his own terms upon its judgment; and suffering himself the worst consequences of that order of success, he achieved too early a fame for his permanent reputation. A want of sobriety, a fantastical seeking after strange effects—in short, the characteristics of artistic charlatanerie—mixed themselves up with all that he did, and, as is inevitably the case, deteriorated the fine original gifts of his genius. When I first heard him, he had already reached the furthest limit of his powers, because they were exerted in a mistaken direction; and the exaggeration and false taste which were covered by his marvellous [facility] and strength gradually became more and more predominant in his performances, and turned them almost into caricatures of the first wonderful specimens of ability with which he had amazed the musical world.

He could not go on being forever more astonishing than he had ever been before, and he paid the penalty of having made that his principal aim. His execution and composition alike became by degrees incoherent acrobatism, in which all that could call itself art was a mere combination of extraordinary and all but grotesque difficulties, devised for the sole purpose of overcoming them; musical convulsions and contortions, that forever recalled Dr. Johnson's epigram.

In the summer of 1842 Liszt was but on the edge of this descent; his genius, his youth, his personal beauty, and the vivid charm of his manner and conversation had made him the idol of society, as well as of the artistic world, and he was then radiant with the fire of his great natural gifts, and dazzling with the success that had crowned them; he was a brilliant creature....

After this I never saw Liszt again until the summer of 1870. I had gone to the theatre at Munich, where I was staying, to hear Wagner's opera of the "Rheingold," with my daughter and her husband. We had already taken our places, when S—— exclaimed to me, "There is Liszt." The increased age, the clerical dress, had effected but little change in the striking general appearance, which my daughter (who had never seen him since 1842, when she was quite a child) recognized immediately. I went round to his box, and, recalling myself to his memory, begged him to come to ours, and let me present my daughter to him; he very good-naturedly did so, and the next day called upon us at our hotel, and sat with us a long time....

His conversation on matters of art (Wagner's music, which he and we had listened to the evening before) and literature was curiously cautious and guarded, and every expression of opinion given with extreme reserve, instead of the uncompromising fearlessness of his earlier years; and the abbé was indeed quite another from the Liszt of our summer on the Rhine of 1842.

Liszt never composed any very good music; arrangement of the music of others was his specialty; and his versions of Schubert's, Weber's, and Mozart's finest melodies for the piano were the ne plus ultra of brilliant and powerful adaptation, but required his own rendering to produce their full effect; and by far the most extraordinary exhibition of skill I ever heard on the piano was his performance of the airs from the Don Giovanni, arranged by himself. His literary style had the same qualities and defects as his music: brilliancy and picturesqueness, and an absence of genuineness and simplicity. He wrote a great deal of musical criticism, and an interesting life of Chopin.