III.

Soon after Liszt's connection with Mme. D'Agoult began, he retired with his devoted companion to Geneva, Switzerland, a city always celebrated in the annals of European literature and art. In the quiet and charming atmosphere of this city our artist spent two years, busy for the most

## part in composing. He had already attained a superb rank as a pianist,

and of those virtuosos who had then exhibited their talents in Paris no one was considered at all worthy to be compared with Liszt except Chopin. Aside from the great mental grasp, the opulent imagination, the fire and passion, the dazzling technical skill of the player, there was a vivid personality in Liszt as a man which captivated audiences. This element dominated his slightest action. He strode over the concert stage with the haughty step of a despot who ruled with a sway not to be contested. Tearing his gloves from his fingers and hurling them on the piano, he would seat himself with a proud gesture, run his fingers through his waving blonde locks, and then attack the piano with the vehemence of a conqueror taking his army into action. Much of this manner was probably the outcome of natural temperament, something the result of affectation; but it helped to add to the glamour with which Liszt always held his audiences captive. When he left Paris for a studious retirement at Geneva, the throne became vacant. By and by there came a contestant for the seat, a player no less remarkable in many respects than Liszt himself, Sigismond Thalberg, whose performances aroused Paris, alert for a new sensation, into an enthusiasm which quickly mounted to boiling heat. Humors of the danger threatened to his hitherto acknowledged ascendancy reached Liszt in his Swiss retreat. The artist's ambition was stirred to the quick; he could not sleep at night with the thought of this victorious rival who was snatching his laurels, and he hastened back to Paris to meet Thalberg on his own ground. The latter, however, had already left Paris, and Liszt only felt the ground-swell of the storm he had raised. There was a hot division of opinion among the Parisians, as there had been in the days of Gluck and Piccini. Society was divided into Lisztians and Thalbergians, and to indulge in this strife was the favorite amusement of the fashionable world. Liszt proceeded to reestablish his place by a series of remarkable concerts, in which he introduced to the public some of the works wrought out during his retirement, among them transcriptions from the songs of Schubert and the symphonies of Beethoven, in which the most free and passionate poetic spirit was expressed through the medium of technical difficulties in the scoring before unknown to the art of the piano-forte. There can be no doubt that the influence of Thalberg's rivalry on Liszt's mind was a strong force, and suggested new combinations. 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. Hitherto he had resisted the impulsion to such a course, all his desires rushing toward composition, but the extraordinary rewards promised cooperated with the spur of rivalry to overcome all scruples. The first year of these art travels was made memorable by the great inundation of the Danube, which caused so much suffering at Pesth. Thousands of people were rendered homeless, and the scene was one that appealed piteously to the humanitarian mind. The heart of Franz Liszt burned with sympathy, and he devoted the proceeds of his concerts for nearly two months to the alleviation of the woes of his countrymen. A princely sum was contributed by the artist, which went far to assist the sufferers. The number of occasions on which Liszt gave his services to charity was legion. It is credibly stated that the amount of benefactions contributed by his benefit concerts, added to the immense sums which he directly disbursed, would have made him several times a millionaire.

The blaze of enthusiasm which Liszt kindled made his track luminous throughout the musical centers of Europe. Cæsar-like, his very arrival was a victory, for it aroused an indescribable ferment of agitation, which rose at his concerts to wild excesses. Ladies of the highest rank tore their gloves to strips in the ardor of their applause, flung their jewels on the stage instead of bouquets, shrieked in ecstasy and sometimes fainted, and made a wild rush for the stage at the close of the music to see Liszt, and obtain some of the broken strings of the piano, which the artist had ruined in the heat of his play, as precious relics of the occasion. The stories told of the Liszt craze among the ladies of Germany and Russia are highly amusing, and have a value as registering the degree of the effect he produced on impressible minds. Even sober and judicious critics who knew well whereof they spoke yielded to the contagion. Schumann writes of him, _apropos_ of his Dresden and Leipzig concerts in 1840: "The whole audience greeted his appearance with an enthusiastic storm of applause, and then he began to play. I had heard him before, but an artist is a different thing in the presence of the public compared with what he appears in the presence of a few. The fine open space, the glitter of light, the elegantly dressed audience--all this elevates the frame of mind in the giver and receiver. And now the demon's power began to awake; he first played with the public as if to try it, then gave it something more profound, until every single member was enveloped in his art; and then the whole mass began to rise and fall precisely as he willed it. I never found any artist except Paga-nini to possess in so high a degree this power of subjecting, elevating, and leading the public. It is an instantaneous variety of wildness, tenderness, boldness, and airy grace; the instrument glows under the hand of its master.... It is most easy to speak of his outward appearance. People have often tried to picture this by comparing Liszt's head to Schiller's or Napoleon's; and the comparison so far holds good, in that extraordinary men possess certain traits in common, such as an expression of energy and strength of will in the eyes and mouth. He has some resemblance to the portraits of Napoleon as a young general, pale, thin, with a remarkable profile, the whole significance of his appearance culminating in his head. While listening to Liszt's playing, I have often almost imagined myself as listening to one I heard long before. But this art is scarcely to be described. It is not this or that style of piano-forte playing; it is rather the outward expression of a daring character, to whom Fate has given as instruments of victory and command, not the dangerous weapon of war, but the peaceful ones of art. No matter how many and great artists we possess or have seen pass before us of recent years, though some of them equal him in single points, all must yield to him in energy and boldness. People have been very fond of placing Thalberg in the lists beside him, and then drawing comparisons. But it is only necessary to look at both heads to come to a conclusion. I remember the remark of a Viennese designer who said, not inaptly, that his countryman's head resembled that of a handsome countess with a man's nose, while of Liszt he observed that he might sit to every painter for a Grecian god. There is a similar difference in their art. Chopin stands nearer to Liszt as a player, for at least he loses nothing beside him in fairy-like grace and tenderness; next to him Paganini, and, among women, Mme. Malibran; from these Liszt himself says he has learned the most.... Liszt's most genial performance was yet to come, Weber's 'Concert-stuck,' which he played at the second performance. Virtuoso and public seemed to be in the freshest mood possible on that evening, and the enthusiasm during and after his playing almost exceeded anything hitherto known here. Although Liszt grasped the piece from the begin-ing with such force and grandeur that an attack on the battle-field seemed to be in question, yet he carried this on with continually increasing power, until the passage where the player seems to stand at the summit of the orchestra, leading it forward in triumph. Here, indeed, he resembled that great commander to whom he has been compared, and the tempestuous applause that greeted him was not unlike an adoring 'Vive l'Empereur.'"

Flattering to his pride, however, as were the universal honors bestowed on the artist, none were so grateful as those from his own countrymen. The philanthropy of his conduct had made a deep impression on the Hungarians. Two cities, Pesth and Odenburg, created him an honorary citizen; a patent of nobility was solicited for him by the _comitat_ of Odenburg; and the "sword of honor," according to Hungarian custom, was presented to him with due solemnities. A brief account from an Hungarian journal of the time is of interest.

"The national feeling of the Magyars is well known; and proud are they of that star of the first magnitude which arose out of their nation. Over the countries of Europe the fame of the Hungarian Liszt came to them before they had as yet an opportunity of admiring him. The Danube was swollen by rains, Pesth was inundated, thousands were mourning the loss of friends and relations or of all their property. During his absence in Milan Liszt learned that many of his countrymen were suffering from absolute want. His resolution was taken. The smiling heaven of Italy, the _dolce far niente_ of Southern life, could not detain him. The following morning he had quitted Milan and was on his way to Vienna. He performed for the benefit of those who had suffered by the inundation at Pesth. His art was the horn of plenty from which streamed forth blessings for the afflicted. Eighteen months afterward he came to Pesth, not as the artist in search of pecuniary advantage, but as a Magyar. He played for the Hungarian national theatre, for the musical society, for the poor of Pesth and of Odenburg, always before crowded houses, and the proceeds, fully one hundred thousand francs, were appropriated for these purposes. Who can wonder that admiration and pride should arise to enthusiasm in the breasts of his grateful countrymen? He was complimented by serenades, garlands were thrown to him; in short, the whole population of Pesth neglected nothing to manifest their respect, gratitude, and affection. But these honors, which might have been paid to any other artist of high distinction, did not satisfy them. They resolved to bind him for ever to the Hungarian nation from which he sprang. The token of manly honor in Hungary is a sword, for every Magyar has the right to wear a sword, and avails himself of that right. It was determined that their celebrated countryman should be presented with the Hungarian sword of honor. The noblemen appeared at the theatre, in the rich costume they usually wear before the emperor, and presented Liszt, midst thunders of applause from the whole assembled people, with a costly sword of honor." It was also proposed to erect a bronze statue of him in Pesth, but Liszt persuaded his countrymen to give the money to a struggling young artist instead.