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Updated: May 19, 2025
I could not on any account consent to adopt any of these, and was glad to find this really capable man safe under the eagle-wing of Liszt's 'ascendency. Liszt took him everywhere where there was a possibility of a fortune being found. Whether this helped him into anything or not, I never knew. I only heard that he died a short time afterwards, certainly not from an excess of good fortune.
The following authentic account of the last hours of Chopin appears here for the first time in English, translated by Mr. Hugh Craig. In Liszt's well-known work on Chopin, second edition, 1879, mention is made of a conversation that he had held with the Abbe Jelowicki respecting Chopin's death; and in Niecks' biography of Chopin some sentences from letters by the Abbe are quoted.
There, too, open at the page that narrated the death-struggle, lay Liszt's "Life of Chopin," pressed face downwards, with two purple pansies crushed and staining the leaves; and a small gold thimble peeping out of a crevice in the damask tattled of the careless feminine fingers that had left these traces of disorder.
The piano next door took up, where it had been dropped, the jota from Liszt's Rhapsody Espagnol. It rippled and sang for a moment and then ended definitely for the night. Other dancers, Charles reasonably supposed, continued the passionate art of that lyric passage; he read of them, coming from Spain to the United States for no other purpose.
For he was prompted far less by his devotion to the dramatic muse than by his desire to secure a good position in some important German city, when, as already hinted, through Liszt's recommendation he was appointed musical director of Cologne Cathedral.
They belong in the realm of modern music quite as much as Wagner's music-dramas and Liszt's symphonic poems. He was as boldly original as Schubert, and as great a magician in the art of arousing deep emotion by means of novel, unexpected modulations. As an originator of new harmonic progressions he has had only three equals, Bach, Schubert, and Wagner.
The comtesse had a personal income of four thousand dollars a year, which was as nothing. According to Liszt's secretary, during the time of her stay with Liszt, she spent sixty thousand dollars, the most of which Liszt earned himself by his concerts.
The many letters which passed between Wagner and Liszt, which fill two large volumes, show how Liszt clearly recognized the brilliant genius of his friend, and stood ready to help him over financial difficulties, and how Wagner came to lean more and more on Liszt's generosity. Just what part Wagner played in the revolution of 1848 is not quite clear.
Without having heard Thalberg, our artist had already divined the secret of his effects, and borrowed from them enough to give a new impulse to an inventive faculty which was fertile in expedients and quick to assimilate all things of value to the uses of its own insatiable ambition. Franz Liszt's career as a traveling virtuoso commenced in 1837, and lasted for twelve years.
Besides these indications of Liszt's enthusiastic and friendly sympathy, other deeply touching testimonies appeared from different quarters.
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