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He was one of those who expect a great soul to accompany great gifts, and what he did know of the Boy's shortcomings he condoned. He believed the young tone-poet's power was in itself an indication of high aspirations, and those he thought were only temporarily suppressed by a boyish affectation of cynicism. But the Boy did not give the Tenor much time to think.
With Liszt she remained two years, devoting herself chiefly to piano, and composing a sonata only as a diversion. She speaks warmly in praise of the great tone-poet's influence. "His guidance," she says, "prevented me from being one-sided in art, and the example of his wonderful nature taught me to seek and absorb the beautiful in music everywhere, no matter what school its composer belonged to."
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