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A Venetian piano-teacher, Tessarin by name, was more successful than Winterberger in winning favour with me. He was a typical handsome Venetian, with a curious impediment in his speech; he had a passion for German music, and was well acquainted with Liszt's new compositions, and also with my own operas. He admitted that having regard to his surroundings he was a 'white raven' in matters musical.
Schumann on Liszt as Man and Artist. He ranks the Hungarian Virtuoso as the Superior of Thalberg. Liszt's Generosity to his own Countrymen. The Honors paid to him in Pesth. Incidents of his Musical Wanderings. He loses the Proceeds of Three Hundred Concerts. Contributes to the Completion of the Cologne Cathedral.
Adam, however, kept a strict watch on all his movements, and this became irksome to the boy, who felt he was already a man. But father Liszt's health became somewhat precarious; constant traveling had undermined it. They remained in Paris quietly, till the year 1826, when they started on a second tour of French cities till Marseilles was reached, where the young pianist's success was overwhelming.
Liszt's preparations in the late summer of the previous year for the production in Weimar of my Lohengrin had met with more success than, with such limited resources, had hitherto seemed possible. This result could naturally only have been obtained by the zeal of a friend endowed with such rich and varied gifts as Liszt.
Liszt's Credo was received with a storm of hisses, while Cherubini's was praised to the skies. I could not help thinking I was somewhat unjust, for Cherubini's work has merit of the people of Jerusalem who acclaimed Barrabas and demanded the crucifixion of Jesus. To-day Liszt's Credo is received with wild applause Victor Hugo did his part-while Cherubini's is never revived.
Liszt, in speaking to me on this subject, simply remarked: "Chopin was unfortunate in his pupils none of them has become a player of any importance, although some of his noble pupils played very well." If we compare Liszt's pianistic offspring with Chopin's, the difference is indeed striking.
At last she played Liszt's brilliant Hungarian Rhapsody, her slender hands taking the tremendous chords and octave runs with a precision and rapidity that seemed inspired. The final crash came in a shower of liquid jewels of sound, and then she turned to look at him, her one friend in that company of strangers. He could see that she had been playing under a heavy strain.
Wagner's favorable opinion of Hans and Cosima underwent a great change during their sojourn with him. In a letter, after speaking of Von Bülow's depression owing to poor health, he writes: "Add to this a tragic marriage; a young woman of extraordinary, quite unprecedented, endowment, Liszt's wonderful image, but of superior intellect."
"I would not have changed a note in one of them for untold gold, and inside I had the greatest love for them; but the idea that any one else might take them seriously had never occurred to me." A year later, upon Liszt's recommendation, the suite and its successor, the "Second Modern Suite," op. 14, were published at Leipzig by the famous house of Breitkopf and Härtel.
"He is the man," said Mrs. Gray. "He is a wonderful musician. I heard him in New York City. I shall never forget the way he played one of Liszt's 'Hungarian Rhapsodies. I must caution you, girls, never to mention Eleanor's father to her. She has been kept in absolute ignorance of him. When she is twenty-one her aunt will tell her about him.
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