Part 14

He now began to realize he needed to know something besides music, and set to work by himself to read, study and write. He also had great opportunity, through his noble Hungarian patrons, to meet the aristocracy of Vienna. His talents, vivacity and grace, his attractive personality, all helped to win the notice of ladies--even in those early days of his career.

After eighteen busy months in Vienna, father Liszt decided to bring his boy out in a public concert. The Town Hall was placed at his disposal and a number of fine artists assisted. With beaming face and sparkling eyes, the boy played with more skill, fire and confidence than he had ever done before. The concert took place December 1, 1822. On January 12, 1823, Franz repeated his success in another concert, again at the Town Hall.

It was after this second concert that Franz's reputation reached the ears of Beethoven, always the object of the boy's warmest admiration. Several times Franz and his father had tried to see the great master, but without success. Schindler was appealed to and promised to do his best. He wrote in Beethoven's diary, as the master was quite deaf:

"Little Liszt has entreated me to beg you to write him a theme for to-morrow's concert. He will not break the seal till the concert begins. Czerny is his teacher--the boy is only eleven years old. Do come to his concert, it will encourage the child. Promise me you will come."

It was the thirteenth of April, 1823. A very large audience filled the Redouten Saal. When Franz stepped upon the platform, he perceived the great Beethoven seated near. A great joy filled him. Now he was to play for the great man, whom all his young life he had worshiped from afar. He put forth every effort to be worthy of such an honor. Never had he played with such fire; his whole being seemed thrilled--never had he achieved such success. In the admiration which followed, Beethoven rose, came upon the platform, clasped the boy in his arms and kissed him repeatedly, to the frantic cheers of the audience.

The boy Franz Liszt had now demonstrated that already at eleven years old, he was one of the leading virtuosi of the time; indeed his great reputation as a pianist dates from this third Vienna concert. The press praised him highly, and many compared him to the wonderful genius, Mozart. Adam Liszt wished him now to see more of the world, and make known his great talents, also to study further. He decided to take the boy to Paris, for there lived the celebrated composer, Cherubini, at that time Director of the Paris Conservatoire.

On the way to Paris, concerts were given in various cities. In Munich he was acclaimed "a second Mozart." In Strassburg and Stuttgart he had great success.

Arrived in Paris, father and son visited the Conservatoire at once, for it would have been a fine thing for the boy to study there for a time, as it was the best known school for counterpoint and composition. Cherubini, however, refused to even read the letters of recommendation, saying no foreigner, however talented, could be admitted to the French National School of Music. Franz was deeply hurt by this refusal, and begged with tears to be allowed to come, but Cherubini was immovable.

However they soon made the acquaintance of Ferdinand Paër, who offered to give the child lessons in composition.

Franz made wonderful progress, both in this new line of study, and in becoming known as a piano virtuoso. Having played in a few of the great houses, he soon found himself the fashion; everybody was anxious for "le petit Litz" as he was called, to attend and play at their soirées. Franz thus met the most distinguished musicians of the day. When he played in public the press indulged in extravagant praise, calling him "the eighth wonder of the world," "another Mozart," and the like. Of course the father was overjoyed that his fondest hopes were being realized. Franz stood at the head of the virtuosi, and in composition he was making rapid strides. He even attempted an operetta, "Don Sancho," which later had several performances.

The eminent piano maker, Erard, who had a branch business in London and was about to start for that city, invited Liszt to accompany him and bring Franz. They accepted this plan, but in order to save expense, it was decided that mother Liszt, who had joined them in Paris, should return to Austria and stay with a sister till the projected tours were over.

Franz was saddened by this decision, but his entreaties were useless; his father was stern. The separation was a cruel one for the boy. For a long time thereafter the mere mention of his mother's name would bring tears.

In May, 1824, father and son, with Erard, started for England, and on June 21 Franz gave his first public concert in London. He had already played for the aristocracy in private homes, and had appeared at Court by command of King George IV. The concert won him great success, though the English were more reserved in their demonstrations, and not like the impulsive, open-hearted French people. He was happy to return to Paris, after the London season, and to resume his playing in the French salons.

The next spring, accompanied by his father, he made a tour of the French provinces, and then set out for a second trip to England. He was now fourteen; a mere boy in years, but called the greatest pianist of the day. He had developed so quickly and was so precocious that already he disliked being called "le petit Litz," for he felt himself full grown. He wished to be free to act as he wished. 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.

Returning to Paris, Franz devoted much of his time to ardent study of counterpoint, under Anton Reicha. In six months' study he had mastered the difficulties of this intricate art.

Adam Liszt and Franz spent the winter of 1826-7 in Switzerland, the boy playing in all important cities. They returned to Paris in the spring, and in May, set out again for England on a third visit. Franz gave his first concert in London on June ninth and proved how much he had gained in power and brilliancy. Moscheles, who was present, wrote: "Franz Liszt's playing surpasses in power and the overcoming of difficulties anything that has yet been heard."

The strain of constant travel and concert playing was seriously telling on the boy's sensitive, excitable nature. He lost his sunny gaiety, grew quiet, sometimes almost morose. He went much to church, and wanted to take orders, but his father prevented this step. Indeed the father became alarmed at the boy's pale face and changed condition, and took him to the French watering place of Boulogne-sur-Mer. Here both father and son were benefited by the sea baths and absolute rest. Franz recovered his genial spirits and constantly gained in health and strength.

But with Adam Liszt the gain was only temporary. He was attacked with a fever, succumbed in a few days and was buried at Boulogne. The loss of his father was a great blow to Franz. He was prostrated for days, but youth at last conquered. Aroused to his responsibilities, he began to think for the future. He at once wrote his mother, telling her what had happened, saying he would give up his concert tours and make a home for her in Paris, by giving piano lessons.

Looking closer into his finances, of which he had no care before, Franz found the expenses of his father's illness and death had exhausted their little savings, and he was really in debt. He decided to sell his grand piano, so that he should be in debt to no one. This was done, every one was paid off and on his arrival in Paris his old friend Erard invited him to his own home till the mother came.

It was a sweet and happy meeting of mother and son, after such a long separation. The two soon found a modest apartment in the Rue Montholon.

As soon as his intention to give lessons became known, many aristocratic pupils came and found him a remarkable teacher. Among his new pupils was Caroline Saint Cricq, youngest daughter of Count Saint Cricq, then Minister of the Interior, and Madame his wife.

Caroline, scarcely seventeen, the same age as her young teacher, was a beautiful girl, as pure and refined as she was talented. Under the eyes of the Countess, the lessons went on from month to month, and the mother did not fail to see the growing attachment between the young people. But love's young dream was of short duration. The Countess fell ill and the lessons had to be discontinued. Caroline did not see her devoted teacher till all was over.

There was now another bond between them, the sympathy over the loss of their dear ones. The Count had requested that the lessons should be resumed. But when the young teacher remained too long in converse with his pupil after the lessons, he was dismissed by the Count, and all their sweet intercourse came to an abrupt end.

Mme. Liszt did all she could to soothe the grief and despair of her son. For days and weeks he remained at home, neglecting his piano and his work. He again thought of the church with renewed ardor and told his mother he now had decided to become a monk. His spirits sank very low; he became ill, unable to leave the house and it was reported everywhere he had passed away.

Again he rallied and his strong constitution conquered. As strength slowly returned, so also did his activity and love of life.

During his long convalescence he was seized with a great desire for knowledge, and read everything he could lay hands on. He would often sit at the piano, busying his fingers with technic while reading a book on the desk before him. He had formerly given all his time to music and languages; now he must know literature, politics, history and exact sciences. A word casually dropped in conversation, would start him on a new line of reading. Then came the revolution of 1830. Everybody talked politics, and Franz, with his excitable spirits, would have rushed into the conflict if his mother had not restrained him.

With all this awakening he sought to broaden his art, to make his instrument speak of higher things. Indeed the spirit must speak through the form. This he realized the more as he listened to the thrilling performances of that wizard of the violin, Paganini, who appeared in Paris in 1831. This style of playing made a deep impression on Liszt. He now tried to do on the piano what Paganini accomplished on the violin, in the matter of tone quality and intensity. He procured the newly published Caprices for violin and tried to learn their tonal secrets, also transcribing the pieces for piano.

Liszt became fast friends with the young composer, Hector Berlioz, and much influenced by his compositions, which were along new harmonic lines. Chopin, the young Polish artist, now appeared in Paris, playing his E minor Concerto, his Mazurkas and Nocturnes, revealing new phases of art. Chopin's calm composure tranquilized Liszt's excitable nature. From Chopin, Liszt learned to "express in music the poetry of the aristocratic salon." Liszt ever remained a true and admiring friend of the Pole, and wrote the poetic study sketch of him in 1849.

Liszt was now twenty-three. Broadened and chastened by all he had passed through, he resumed his playing in aristocratic homes. He also appeared in public and was found to be quite a different artist from what the Parisians had previously known. His bold new harmonies in his own compositions, the rich effects, showed a deep knowledge of his art. He had transcribed a number of Berlioz's most striking compositions to the piano and performed them with great effect.

The handsome and gifted young artist was everywhere the object of admiration. He also met George Sand, and was soon numbered among that wonderful and dangerous woman's best friends. Later he met the young and beautiful Countess Laprunarède, and a mutual attraction ensued. The elderly Count, her husband, pleased with the dashing young musician, invited him to spend the winter at his chateau, in Switzerland, where the witty Countess virtually kept him prisoner.

The following winter, 1833-34, when the salons opened again, Liszt frequented them as before. He was in the bloom of youth and fame, when he met the woman who was to be linked with his destiny for the next ten years.

We have sketched the childhood and youth of this wonderful artist up to this point. We will pass lightly over this decade of his career, merely stating briefly that the lady--the beautiful Countess d'Agoult, captivated by the brilliant talents of the Hungarian virtuoso, left her husband and child, and became for ten years the faithful companion of his travels and tours over Europe. Many writers agree that Liszt endeavored to dissuade her from this attraction, and behaved as honorably as he could under the circumstances. A part of the time they lived in Switzerland, and it was there that many of Liszt's compositions were written.

Of their three children, the boy died very young. Of the girls, Blandine became the wife of Émile Ollivier, a French literary man and statesman. Her sister, Cosima, married first Hans von Bülow and later Richard Wagner.

In 1843 Liszt intended to take Madame with him to Russia, but instead, left her and her children in Paris, with his mother, as the Countess was in failing health. His first concert, in St. Petersburg, realized the enormous sum of fifty thousand francs--ten thousand dollars. Instead of giving one concert in Moscow, he gave six. Later he played in Bavaria, Saxony and other parts of Germany. He then settled in Weimar for a time, being made Grand Ducal Capellmeister. Then, in 1844-45, longing for more success, he toured Spain and Portugal.

A generous act was his labor in behalf of the Beethoven monument, to be erected in the master's birthplace, Bonn. The monument was to be given by subscriptions from the various Princes of Germany. Liszt helped make up the deficit and came to Bonn to organize a Festival in honor of the event. He also composed a Cantata for the opening day of the Festival, and in his enthusiasm nearly ruined himself by paying the heavy expenses of the Festival out of his own pocket.

The political events of 1848 brought him back to Weimar, and he resumed his post of Court Music Director. He now directed his energies toward making Weimar the first musical city of Germany. Greatly admiring Wagner's genius, he undertook to perform his works in Weimar, and to spread his name and fame. Indeed it is not too much to say that without Liszt's devoted efforts, Wagner would never have attained his vogue and fame. Wagner himself testified to this.

While living in Weimar, Liszt made frequent journeys to Rome and to Paris. In 1861 there was a rumor that the object of his visits to Rome was to gain Papal consent to his marriage with the Princess Sayn-Wittgenstein. During a visit to Rome in 1864, the musician was unable to resist longer the mysticism of the church. He decided to take orders and was made an Abbé.

Since that time, Abbé Franz Liszt did much composing. He also continued to teach the piano to great numbers of pupils, who flocked to him from all parts of the world. Many of the greatest artists now before the public were numbered among his students, and owe much of their success to his artistic guidance.

In 1871, the Hungarian Cabinet created him a noble, with a yearly pension of three thousand dollars. In 1875, he was made Director of the Academy at Budapest. In addition, Liszt was a member of nearly all the European Orders of Chivalry.

Franz Liszt passed away August 1, 1886, in the house of his friend, Herr Frohlich, near Wagner's Villa Wahnfried, Bayreuth, at the age of seventy-five. As was his custom every summer, Liszt was in Bayreuth, assisting in the production of Wagner's masterpieces, when he succumbed to pneumonia. Thus passed a great composer, a world famous piano virtuoso, and a noble and kindly spirit.

For the piano, his chosen instrument, Liszt wrote much that was beautiful and inspiring. He created a new epoch for the virtuoso. His fifteen Hungarian Rhapsodies, B minor Sonata, Concert Études and many transcriptions, appear on all modern programs, and there are many pieces yet to be made known. He is the originator of the Symphonic Poem, for orchestra; while his sacred music, such as the Oratorio "Christus," and the beautiful "Saint Elizabeth," a sacred opera, are monuments to his great genius.

XV

GIUSEPPE VERDI

In the little hamlet of Le Roncole, at the foot of the Apeninnes, a place that can hardly be found on the map, because it is just a cluster of workmen's houses, Giuseppe Verdi, one of the greatest operatic composers, was born, October 9, 1813.

There were great wars going on in Europe during that time. When Giuseppe was a year old, the Russian and Austrian soldiers marched through Italy, killing and destroying everywhere. Some of them came to Le Roncole for a few hours. All the women and children ran to the church and locked themselves in for safety. But these savage men had no respect for the house of God. They took the hinges off the doors and rushing in murdered and wounded the helpless ones. Luigia Verdi, with the baby Giuseppe in her arms, escaped, ran up a narrow staircase to the belfry, and hid herself and child among some old lumber. Here she stayed in her hiding place, until the drunken troops were far away from the little village.

The babe Giuseppe was born among very poor, ignorant working people, though his father's house was one of the best known and most frequented among the cluster of cottages. His parents Carlo Verdi and Luigia his wife, kept a small inn at Le Roncole and also a little shop, where they sold sugar, coffee, matches, spirits, tobacco and clay pipes. Once a week the good Carlo would walk up to Busseto, three miles away, with two empty baskets and would return with them filled with articles for his store, carrying them slung across his strong shoulders.

Giuseppe Verdi who was to produce such streams of beautiful, sparkling music,--needing an Act of Parliament to stop them, as once happened,--was a very quiet, thoughtful little fellow, always good and obedient; sometimes almost sad, and seldom joined in the boisterous games of other children. That serious expression found in all of Verdi's portraits as a man was even noticeable in the child. The only time he would rouse up, was when a hand organ would come through the village street; then he would follow it as far as his little legs would carry him, and nothing could keep him in the house, when he heard this music. Intelligent, reserved and quiet, every one loved him.

In 1820, when Giuseppe was seven years old, Carlo Verdi committed a great extravagance for an innkeeper; he bought a spinet for his son, something very unheard of for so poor a man to do.

Little Giuseppe practised very diligently on his spinet. At first he could only play the first five notes of the scale. Next he tried very hard to find out chords, and one day was made perfectly happy at having sounded the major third and fifth of C. But the next day he could not find the chord again, and began to fret and fume and got into such a temper, that he took a hammer and tried to break the spinet in pieces. This made such a commotion that it brought his father into the room. When he saw what the child was doing, he gave a blow on Giuseppe's ear that brought the little fellow to his senses at once. He saw he could not punish the good spinet because he did not know enough to strike a common chord.

His love of music early showed itself in many ways. One day he was assisting the parish priest at mass in the little church of Le Roncole. At the moment of the elevation of the Host, such sweet harmonies were sounding from the organ, that the child stood perfectly motionless, listening to the beautiful music, all unconscious of everything else about him.

"Water," said the priest to the altar boy. Giuseppe, not hearing him, the priest repeated the call. Still the child, who was listening to the music, did not hear. "Water," said the priest a third time and gave Giuseppe such a sharp kick that he fell down the steps of the altar, hitting his head on the stone floor, and was taken unconscious into the sacristy.

After this Giuseppe was allowed to have music lessons with Baistrocchi, the organist of the village church. At the end of a year Baistrocchi said there was nothing more he could teach his young pupil, so the lessons came to an end.

Two years later, when old Baistrocchi died, Giuseppe, who was then only ten, was made organist in his place. This pleased his parents very much, but his father felt the boy should be sent to school, where he could learn to read and write and know something of arithmetic. This would have been quite impossible had not Carlo Verdi had a good friend living at Busseto, a shoemaker, named Pugnatta.

Pugnatta agreed to give Giuseppe board and lodging and send him to the best school in the town, all for a small sum of three pence a day. Giuseppe went to Pugnatta's; and while he was always in his place in school and studied diligently, he still kept his situation as organist of Le Roncole, walking there every Sunday morning and back again to Busseto after the evening service.

His pay as organist was very small, but he also made a little money playing for weddings, christenings and funerals. He also gained a few lire from a collection which it was the habit of artists to make at harvest time, for which he had to trudge from door to door, with a sack upon his back. The poor boy's life had few comforts, and this custom of collections brought him into much danger. One night while he was walking toward Le Roncole, very tired and hungry, he did not notice he had taken a wrong path, when suddenly, missing his footing, he fell into a deep canal. It was very dark and very cold and his limbs were so stiff he could not use them. Had it not been for an old woman who was passing by the place and heard his cries, the exhausted and chilled boy would have been carried away by the current.