His conversation was sparkling and dazzling, and full of startling paradoxes; he had considerable power of sarcastic repartee, and once or twice is reported to have encountered the imperious queen of Austrian society, Madame de Metternich, with her own weapons, very successfully.
She patronized Thalberg, and affected to depreciate Liszt; but having invited them both to her house on one occasion, thought proper to address the latter with some impertinent questions about a professional visit he had just been paying to Paris, winding up with, "Enfin, avez-vous fait de bonnes affaires là-bas?" To which he replied, "Pardon, Madame la Princesse, j'ai fait un peu de musique; je laisse les affaires aux banquiers et aux diplomates." Later in the evening, the lady, probably not well pleased with this rebuff, accosted him again, as he stood talking to Thalberg, with a sneering compliment on his apparent freedom from all jealousy of his musical rival; to which Liszt, who was very sallow, replied, "Mais, Madame la Princesse, au contraire, je suis furieusement jaloux de Thalberg; regardez donc les jolies couleurs qu'il a!" After which Madame la Princesse le laissa en paix.
Between Thalberg and Liszt I do not think there could be any comparison. The exquisite perfection of delicate accuracy, combined with extraordinary lightness and velocity of execution, of Thalberg was his one unapproachable excellence, and as near the unerring precision of mere mechanism as possible: it was absolutely faultless; but it paid the penalty for being what things human may not be—it wanted the human element of passion and pathos. His performance was a miracle of art, and left his admiring auditors pleasingly amazed, but untouched in any of the deeper chords of sympathetic emotion. He had not a spark of the original genius or fire of Liszt. Moscheles, whom I have only named with the other two because he was a highly popular performer at the same time, was a more solid musician than either of them, and infinitely inferior as an executant to both. He was the most excellent of teachers, for which valuable office Thalberg would have wanted some and Liszt all the necessary qualifications. Of Chopin it is useless to speak: exceptional in his artistic nature and in his circumstances, he played his own most poetical music as no one else could; though his friend Dessauer, who was not a professional player at all, gave a most curious and satisfactory imitation of his mode of rendering his own compositions. But between Chopin and any other musical composer or performer there was never anything in common; he was original and unique in both characters.
As for Mendelssohn, the organ was his real instrument, though he played very finely on the piano. He was not, however, a pre-eminent performer, but a composer of music; and I should no more think of comparing the quality of his genius with that of Liszt, than I should compare the Roman girandola with its sky-scaring fusees and myriads of sudden scintillations and dazzling coruscations, with the element that lights our homes and warms our hearths, or to the steadfast shining of the everlasting stars themselves.
CHARLES HALLÉ. Of all the pianoforte players by whom I have heard Beethoven's music more or less successfully rendered, Charles Hallé has always appeared to me the one who most perfectly communicated the mind and soul of the pre-eminent composer.
Our temporary fellowship with Liszt procured for us a delightful participation in a tribute of admiration from the citizen workmen of Coblentz, that was what the French call [saissant]. We were sitting all in our hotel drawing-room together, the maestro as usual smoking his long pipe, when a sudden burst of music made us throw open the window and go out on the balcony, when Liszt was greeted by a magnificent chorus of nearly two hundred men's voices; they sang to perfection, each with his small sheet of music and his sheltered light in his hand, and the performance, which was the only one of the sort I ever heard, gave a wonderful impression of the musical capacity of the only really musical nation in the world.]
Wiesbaden, Sunday, September.
My dearest Harriet,
I have already written to you from this place: one letter I wrote almost immediately after taking a walk which you had taken with Catherine Sedgwick, the year that you were here together, towards the Sonnenberg. You wrote me letters from here too, which I received up at Lenox, and read at a window looking out over a landscape very much resembling the neighborhood of this place. I remember your epistolary accounts of Wiesbaden were not very favorable: you did not like its watering-place aspect and fashions; and neither should I, if I was in any way mixed up with them. But we have hitherto none of us taken the waters; we have pretty and comfortable rooms, with the slight drawback of hearing our neighbors washing their hands and brushing their teeth, and drawing the natural conclusion as to the reciprocity of communications we make to them. We are at the Quatre Saisons, and with nothing but the Kursaal and its arcades between us and the gardens; so I am not oppressed with the feeling of a town, streets, houses, shops, etc., all which lie at my back and are never by any accident approached by me....
I have gone into the baths merely by way of what the French call propreté, being too lazy to go and fetch a wash under the arcade, in de l'eau naturelle. The water which supplies the baths in the Quatre Saisons is not by any means as strong as the Kochbrunnen, yet I fancied that it affected me unpleasantly, causing me a sensation of fullness in the head, and nausea, which was very disagreeable, as well as making me stupidly sleepy through the day....