At this first lesson I must have played for two or three hours. For some reason or other Raff was not present, but Klindworth and Pruckner were there. They lounged on a sofa and smoked, and I remember wondering if they appreciated the nice time they were having at my ordeal. However, not many days afterward came my opportunity to light a cigar and lounge about the room while Liszt put them through their paces.
Two or three hours is not a long time for a professional musician to practise, and I had often spent many more hours at the piano, but never under such strong incitement. I was exceedingly tired afterward, and actually felt stiff the next day, as if I had performed some very arduous physical work. Liszt heard of this, and turned it into a joke, telling people that at the time set for the next lesson I appeared at the Altenburg with my hand in a sling, and said that I had strained my wrist while hunting, and would be unable to play. I think this is non è ver e ben trovato, as I have no recollection of it.
LISZT IN 1854
THE best impression of Liszt's appearance at that time is conveyed by the picture which shows him approaching the Altenburg. His back is turned; nevertheless, there is a certain something which shows the man as he was better even than those portraits in which his features are clearly reproduced. The picture gives his gait, his figure, and his general appearance. There is his tall, lank form, his high hat set a little to one side, and his arm a trifle akimbo. He had piercing eyes. His hair was very dark, but not black. He wore it long, just as he did in his older days. It came almost down to his shoulders, and was cut off square at the bottom. He had it cut frequently, so as to keep it at about the same length. That was a point about which he was very particular.
HIS FASCINATION
AS I remember his hands, his fingers were lean and thin, but they did not impress me as being very long, and he did not have such a remarkable stretch on the keyboard as one might imagine. He was always neatly dressed, generally appearing in a long frock-coat, until he became the Abbé Liszt, after which he wore the distinctive black gown. His general manner and his face were most expressive of his feelings, and his features lighted up when he spoke. His smile was simply charming. His face was peculiar. One could hardly call it handsome, yet there was in it a subtle something that was most attractive, and his whole manner had a fascination which it is impossible to describe.
I remember little incidents which are in themselves trivial, but which illustrate some character-trait. One day Liszt was reading a letter in which a musician was referred to as a certain Mr. So-and-so. He read that phrase over two or three times, and then substituted his own name for that of the musician mentioned, and repeated several times, "A certain Mr. Liszt, a certain Mr. Liszt, a certain Mr. Liszt," adding: "I don't know that that would offend me. I don't know that I should object to being called 'a certain Mr. Liszt.'" As he said this his face had an expression of curiosity, as though he were wondering whether he really would be offended or not. But at the same time there was in his face that look of kindness I saw there so often, and I really believe he would not have felt injured by such a reference to himself. There was nothing petty in his feelings.
LISZT'S INDIGNATION
ON one occasion, however, I saw Liszt grow very much excited over what he considered an imposition. One evening he said to us: "Boys, there is a young man coming here to-morrow who says he can play Beethoven's 'Sonata in B Flat, Op. 106.' I want you all three to be here." We were there at the appointed hour. The pianist proved to be a Hungarian, whose name I have forgotten.
He sat down and began to play in a conveniently slow tempo the bold chords with which the sonata opens. He had not progressed more than half a page when Liszt stopped him, and seating himself at the piano, played in the correct tempo, which was much faster, to show him how the work should be interpreted. "It's nonsense for you to go through this sonata in that fashion," said Liszt, as he rose from the piano and left the room.