In contrast with our practice in the previous biographies, let us, this time, as the master has also done in his greatest oratorio, disclose the life of the hero in his deeds, which display themselves before us in regular succession.
First of all appears his early youth with its incomprehensible virtuosity. It is the actual strangling of the serpents in the cradle, so utterly does this power defy every obstacle and difficulty in the revelation of its art. Then appears a new germ of the ever fruitful life of Nature, as specially manifested in the weird gypsy world. And now the great man rises resplendent in the great artist, in strong contrast with a kindred genius, we mean the great violinist, Paganini, in whom, so different from Liszt himself, the essential principle which lies at the very root of artistic creation, namely, the genius of humanity, was not apparent. It proved its power in the recognition of the one artist of equal rank whom he encountered and whom he unceasingly helped to realize that grand consummation which we possess to-day in Baireuth.
Still further, there appears in its wonderful versatility his active sympathy with all the momentous intellectual questions of the time and of humanity. We recognize it with astonishment in his imposing series of “Collected Writings” which rises up before us. Then follows the new epoch in art-development, the creation of the Symphonic Poem, growing, as it were, spontaneously out of his association with all that is comprised in poetry and life. Then comes the crown of all, the latest and grandest work he has accomplished, the renovation of church music. We beseech the laymen at least to recognize the importance of this great accomplishment.
In a sketch of such a richly exuberant life it is essential that we fail not to recognize the personality of this genius in his creations as “Master.” How much of loving kindliness it manifests! It is not like Ludwig Richter’s genial and gentle “Beemaster.” It is like Michel Angelo’s majestic “Lord” to whom the newly created Eve meekly bows. It is like Prometheus among his loved creations which his breath will first inspire with life. And to what extent this reaches, the world knows by the great number of his master-scholars whose eminent names enframe the complete picture.
Thus we wander here, as it were amid a new creation, and discover that in the pure art of music our time is not inferior to any other; nay, more, that it has added to the great possessions of the past many an enduring and noble work.
CONTENTS.
| CHAPTER I. | |
|---|---|
| LES PRELUDES. | |
| Liszt’s Childish Characteristics—The Home at Raiding—The Father and his musical Abilities—His Ambition for his Son—Selections from his Diary—Young Liszt’s first Appearances—Peculiarities of his Playing—The Gypsies—The Influence of their Life and Music upon him—Paganini and Bihary—Generosity of Counts Amadee and Szapary—His studies with Czerny—Old artists’ astonished—Plays before Beethoven—The great Master kisses the Boy—The Journey to Paris—Cherubini’s Churlishness—Liszt’s immense Success—Ovations and Triumphs—A great Favorite among the Ladies—French and German tributes. | [ 11]-[35] |
| CHAPTER II. | |
| DIVERTISSEMENTS HONGROIS. | |
| The Power of Music—Its Origin and Influence—Relations to Nature—Bach, Mozart and Beethoven—Sources of their Inspiration—Autobiographical Sketch—Liszt as a Lad—His Voluntary Exile—Revival of the Home Feeling—His Love of Nature—Religious Feeling—The Gypsies—A Famous Visit to them—Picturesque Surroundings—Wild Dances—Talks with the Old Men—The Gypsy Hags—An Impromptu Orchestra and Wonderful Music—A Weird Night Scene—Salvator Rosa Effects—Grotesque Cavalcade—The Concert at the Inn—A Demoniac Symphony—Wild Revel in a Thunder Storm—Liszt’s Hungarian Music. | [ 36]-[60] |
| CHAPTER III. | |
| CAPRICCIOSO. | |
| Untamable Animals and Men—An Interesting Test—Attempt to refine a Gypsy—The Boy Josy—Bought from the Gypsies—His Advent into Liszt’s Salon—Thalberg’s Astonishment—Adopted by the Master—Attempts to Educate him—A Hopeless Task—Josy becomes a Fop—His Insolence and Conceit—Liszt despondent—Josy goes to the Conservatory—Worse and Worse—Sent to the Black Forest—No Better—Liszt’s Encounter with a traveling Band—Josy’s Brother intercedes for his Return—Liszt consents—Great Joy—Josy settles at Debrezin—Violinist in a Gypsy Band—Letter to Liszt—His Love and Devotion. | [ 61]-[75] |
| CHAPTER IV. | |
| IMPROMPTU. | |
| General Characteristics of Liszt—Earnestness of his Art—Its genial Character—His Interest In Life—His Loving Nature—Affection for his Parents—Remorse of a Capellmeister—Richard Wagner’s Testimony—A Helping Hand in time of Need—His Generosity to Wagner—Secures him a Hearing—The Letter to Herr B.—Plans to bring out Wagner’s Works in London—Wagner in Despair—Misunderstanding of Liszt—A Personal Appeal and prompt Reply—A Success made in Weimar—Urges Wagner to create a new Work—“The Nibelungen”—Wagner’s Tribute at Baireuth. | [ 76]-[90] |
| CHAPTER V. | |
| REFLEXIONS. | |
| Goethe’s Criticism on Winckelmann—The Poetical Necessity—Winckelmann and the Plastic Art—Has Music a Language?—Musicians and Musical Writers—Gluck’s Writings—His War in Paris—A fierce Struggle with the Theorists—Luther’s Indebtedness to Bach—Heinse and his Writings—His Italian Visit—Reichardt, Rochlitz and Schubart—Their literary Characteristics—A Criticism of Marx—Liszt’s Contributions to Literature—His great literary Ability—The Place of Artists—List of his Works—Goethe and Beethoven—Bettina’s Phantasies—Liszt’s Criticism of the “Swan Song”—Tribute from the “Gazette Musicale”—Selections from his Writings. | [ 91]-[112] |
| CHAPTER VI. | |
| HARMONIES POETIQUES. | |
| Liszt’s Tribute to Wagner—A new Form of Instrumental Music—Liszt’s new Departure—The Symphonic Poem—Its Essence and Characteristics—The Union of Poetry and Music—Programme Music—How Liszt developed his new Forms—Analysis of Individual Works—Liszt’s Tribute to Beethoven—His Notice of “Egmont”—Beethoven as a Pioneer—Fulfillment of Haydn’s Prophecy. | [ 113]-[120] |
| CHAPTER VII. | |
| CONSOLATION. | |
| Liszt’s Great Resolve—Reply to a Scoffer—Religion and Music—Religion at the Foundation of Culture—George Sand’s Testimony—Relations of Religion and Music—Music in the Catholic and Protestant Churches—Peculiarities of the Musical Services—Influence of the Catholic Church on Music—A Gradual Lowering of the Standard—Opera Music in the Church—Liszt’s Ambition to Reform it—His early Piety—Views on Church Music—The Religious Element in his Compositions—The Hungarian Coronation Mass—The Choral Mass—Departure to Rome—Takes Orders—Why he did not remain—Germany his Field for Work. | [ 121]-[135] |
| CHAPTER VIII. | |
| HARMONIES RELIGIEUSES. | |
| The Oratorio of “Christus”—Its Title—The Origin of Oratorios—Their Relation to Opera—Gradual Changes in Style—The Dramatic Element in them—Liszt’s Original Treatment—A Wide Departure from Old Forms—Events Pictured in Music—Groupings of Materials—What it did for the Church—General Divisions of the Oratorio—The Motto of “Christus”—The Christmas Music—Introduction of the Stabat Mater—The Shepherds at the Manger—The Kings’ March—The “Seligkeit”—Entrance to Jerusalem—The Scene at Gethsemane—The Inflammatus—Skillful treatment of Motifs. | [ 136]-[148] |
| CHAPTER IX. | |
| PROMETHEUS. | |
| Liszt’s letter to George Sand—Happiness of the Wanderer—Allusions to Wagner—The Artist as an Exile—Sorrowful Character of his Lot—His Solitude—His Creative Moments and Inspirations—No Sympathy between the Artist and Society—Degradation of Art—Artisans, not Artists—Letter to Adolph Pictet—Why he devoted himself to the Piano—His love for it—Estimate of its Capabilities—Miss Fay’s “Music Study in Germany”—A Critical Notice—The Author’s first Meeting with Liszt—Personal Description—Grace of his Manner—Peculiarities of his Playing—His Home—Pleasant Gatherings—Personal Incidents—Liszt and Tausig—The Loss of “Faust”—Happily Recovered—The Final Tribute. | [ 149]-[177] |
| APPENDIX. | |
| A Letter from Liszt’s Father. | [ 179] |
| Liszt’s one Opera. | [ 183] |
| Bihary. | [ 187] |
| The Hungarian Gypsy Music. | [ 189] |
| Heine on Liszt. | [ 192] |
| A Letter from Berlioz to Liszt. | [ 194] |
| Hesse’s Criticism of Liszt. | [ 196] |
| List of Liszt’s Principal Scholars. | [ 198] |
THE LIFE OF LISZT.