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Updated: June 19, 2025
In Boston I was authoritatively informed that the finest painting in the whole world was at that moment being done by a group of Boston artists in Boston. But as I had no opportunity to see their work, I cannot offer an opinion on the proud claim. My gloom was becoming permanent, when one wet day I invaded, not easily, the Macdowell Club, and, while listening to a chorus rehearsal of Liszt's "St.
He was the organizer and conductor of the Church Choral Society, which gave various important religious works their first production in New York, and, in some cases, their first hearing in America, notably, Dvôrák's Requiem Mass, Gounod's "Mors et Vita," Liszt's Thirteenth Psalm, Saint-Saëns' "The Heavens Declare," Villiers Stanford's "God is Our Hope and Strength," and Mackenzie's "Veni, Creator Spiritus."
It was interesting to observe that he played the Rhapsodies with various extensions and modifications, the result of which is the glorification of Liszt's own spirit.
His works make one keenly aware of the rhythmical, the formalistic limitations of Chopin's piano pieces, of the steeliness of much of Brahms', of the shallow brilliancy, the theatricality, of Liszt's. They even make us feel at moments as though in them had been realized the definitive pianistic style, that the hour of transition to the new keyboard of quarter tones was nigh.
But the foot-stamping of Strauss and his remarks reminded me of Gumprecht's description of Liszt's B-minor Sonata as the Invitation to Hissing and Stamping. Zerbinetta's vocal flower-garden must be shorn of many roses and lilies before it will be shapely. In addition to being heartbroken over the perfidy of Theseus she was scared to death.
In 1846, among Liszt's other musical experiences, he played in concerts with Berlioz throughout Austria and Southern Germany. The impetuous Osechs and Magyars showed their hot Tartar blood in the passion of enthusiasm they displayed.
Just as the sonata was begun a voice from the audience called out "Robert le Diable," referring to Liszt's brilliant fantasia on themes from that opera, which he had recently composed, and had played several times with immense success. The call was taken up by other voices, and the sonata was drowned.
The extra length of finger is only so much dead weight that the hand has to lift. This is another disadvantage I have had to work against. Yes, as you say, it is a rather remarkable hand in regard to size and suppleness. But I hardly agree that it is like Liszt's; more like Chopin's, judging from the casts I have seen of his hand.
And the agility of the cymbalom player, his great height, clear skin, and piercing eyes, quite enthralled her. "It is the gypsy dulcimer, Lora; I read all about it in Liszt's book on gypsy music," said Aunt Lucas, in an airy soprano. Mr. Steyle was impressed.
Friederike Meyer as the Princess and Herr Schneider as Tasso appealed to us greatly, but Hans could not get over the shameful execution of Liszt's work by the conductor, Ignaz Lachner. Before going to the theatre Friedrike gave us a luncheon at the restaurant in the Botanical Gardens. In the end the mysterious Herr von Guaita also joined us there.
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