Another satisfaction to Grieg was a most sympathetic and cordial letter from Liszt on making acquaintance with his Sonata for violin and piano, Op. 8, which he praised in high terms. He invited Grieg to come and visit him, that they might become better acquainted. This unsolicitated appreciation from the famous Liszt was a fine honor for the young composer, and was the means of inducing the Norwegian Government to grant him an annuity. This sum enabled him the following year, to go to Rome and meet Liszt personally.
He set out on this errand in October, and later wrote his parents of his visits to Liszt. The first meeting took place at a monastery near the Roman Forum, where Liszt made his home when in town.
"I took with me my last violin Sonata, the Funeral March on the death of Nordraak and a volume of songs. I need not have been anxious, for Liszt was kindness itself. He came smiling towards me and said in the most genial manner:
"'We have had some little correspondence, haven't we?'
"I told him it was thanks to his letters that I was now here. He eyed somewhat hungrily the package under my arm, his long, spider-like fingers approaching it in such an alarming manner that I thought it advisable to open at once. He turned over the leaves, reading through the Sonata. He had now become interested, but my courage dropped to zero when he asked me to play the Sonata, but there was no help for it.
"So I started on his splendid American Chickering grand. Right in the beginning, where the violin starts in, he exclaimed: 'How bold that is! Look here, I like that; once more please.' And where the violin again comes in adagio, he played the part on the upper octaves with an expression so beautiful, so marvelously true and singing, it made me smile inwardly. My spirits rose because of his lavish approval, which did me good. After the first movement, I asked his permission to play a solo, and chose the Minuet, from the Humoresken."
At this point Grieg was brave enough to ask Liszt to play for him. This the master did in a superb manner. To go on with the letter:
"When this was done, Liszt said jauntily, 'Now let us go on with the Sonata'; to which I naturally retorted, 'No thank you, not after this.'
"'Why not? Then give it to me, I'll do it.' And what does Liszt do? He plays the whole thing, root and branch, violin and piano; nay more, for he plays it fuller and more broadly. He was literally over the whole piano at once, without missing a note. And how he did play! With grandeur, beauty, unique comprehension.
"Was this not geniality itself? No other great man I have met is like him. I played the Funeral March, which was also to his taste. Then, after a little talk, I took leave, with the consciousness of having spent two of the most interesting hours of my life."