Albert Morris Bagby wrote as follows in his article, "Some Pupils of Liszt," in the Century about twenty years ago:
"Friedheim! What delightful musical memories and happy recollections are the rare days spent together in Weimar that name excites! D'Albert left there before my time, and though I met him on his flying visits to Weimar, I generally think of him as I first saw him, seated at a piano on the concert platform.
"One late afternoon in August, 1885, Liszt stood before a wide-open window of his salon on the second floor of the court gardener's residence in Weimar, and his thoughtful gaze wandered out beyond the long row of hothouses and narrow beds of rare shrubs to the rich leafy growth which shaded the glorious park inclosing this modest home. He was in a serene state of mind after an hour at whist in which he had won the rubber, and now, while his young companions were putting the card-tables and chairs back into their accustomed places about the room, he stood silent and alone. Any one of us would have given more than 'a penny for his thoughts,' a fact which he probably divined, for, without turning his head, he said; 'Friedheim did indeed play beautifully!' referring to the young pianist's performance of his A major concerto that afternoon in the class lesson.
"'And the accompaniment was magnificently done, too!' added one of the small party.
"'Ah!' exclaimed the master, with an animated look and gesture which implied, 'that goes without saying.' 'Friedheim,' said he, and lifted his hand with a proud sweep to indicate his estimation of his favourite pupil, who had supplied the orchestral part on a second piano. After Friedheim's triumphal début at Leipsic in the spring of 1884, Liszt was so much gratified that he expressed with unwonted warmth his belief that the young man would yet become the greatest piano virtuoso of the age. He was then just twenty-four years old, and his career since that event points toward the fulfilment of the prophecy.
"Arthur Friedheim is the most individual performer I have ever heard. A very few executants equal him in mere finger dexterity, but he surpasses them all in his gigantic strength at the instrument and in marvellous clearness and brilliancy. At times he plays with the unbridled impetuosity of a cyclone; and even while apparently dealing the piano mighty blows, which from other hands would sound forced and discordant, they never cease to be melodious. This musical, penetrating quality of touch is the chief charm of Friedheim's playing. He makes the piano sing, but its voice is full and sonorous. If he plays a pianissimo passage the effect is as clear and sweet as a perfectly attuned silver bell, and his graduated increase or diminution of tone is the acme of artistic finish. No living pianist performs Liszt's compositions so well as Friedheim. This fact was unanimously mentioned by the critics upon his first appearance in Berlin in a 'Liszt concert,' in conjunction with the fear that he would not succeed as an interpreter of Beethoven and Chopin; which, however, the new virtuoso has since proved groundless. Friedheim is one of the most enjoyable and inspiriting of the great pianists. His playing of Liszt's second rhapsody produces an electric shock; and once heard from him La Campanella remains in the memory an ineffaceable tone poem. To me he has made likewise indelible Chopin's lovely D-flat major prelude.
"Friedheim is of medium height and weight; has regular, clear-cut features, dark brown eyes, and hair pushed straight back from a high, broad forehead and falling over his coat collar, artist fashion. In his street dress, with a bronze velvet jacket, great soft felt hat and a gold medallion portrait of Liszt worn as a scarf pin, he is the typical musician. His resemblance to the early pictures of Liszt is as marked as that of D'Albert to Tausig. He was born and bred in St. Petersburg, though his parents are German. I know nothing of his early instructors, but it is sufficient to say that he was at least nine years with Liszt. Fortune favoured him with a relative of unusual mental power who has made his advancement her life work. To these zealous mothers of musicians the world is indebted for some of the greatest artistic achievements of every time and period. There are many celebrated instances where application is almost entirely lacking or fluctuating in the child of genius, and the mother supplied the deficiency of character until the artist was fully developed, and steadiness of purpose had become routine with him. One evening I was sitting with Friedheim and his mother in one of those charming restaurant gardens which abound in Weimar when we were joined by two of the Lisztianer, convivial spirits who led a happy-go-lucky existence. 'Come, Arthur,' said one, 'we will go to the "Armbrust" for a few minutes—music there to-night. Will be right back, Mrs. Friedheim.' 'No,' replied the mother, pleasantly, 'Arthur remains with me this evening.' 'But, mother, we will be gone only a few minutes, and I have already practiced seven hours to-day,' entreated the son. 'Yes, dear child, and you must practice seven more to-morrow. I think you had better remain with me,' responded his parent. Friedheim good-naturedly assented to his mother's speech, for the nocturnal merry-makings of a certain clique of divers artists at the 'Hotel zum Elephanten' were too well-known to risk denial."
JOSEFFY
Descent counts for much in matters artistic as well as in the breeding of racehorses. "Tell me who the master is and I will describe for you the pupil," cry some theorists who might be called extremists. How many to-day know the name of Anton Rubinstein's master? Yet the pedagogue Villoing laid the foundation of the great Russian pianist's musical education, an education completed by the genial Franz Liszt. In the case, however, of Rafael Joseffy he was a famous pupil of a famous master. There are some critics who claim that Karl Tausig represents the highest development of piano playing in this century of piano-playing heroes. His musical temperament so finely fibred, his muscular system like steel thrice tempered is duplicated in his pupil, who, at an age when boys are gazing at the world across the threshold of Toy-land, was an accredited artist, a virtuoso in knee-breeches!