Scan 7
Musical Courier 1894-08-29: Vol 29 Iss 755, 1894
114 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 8. See the scan on archive.org.
1way. Anyhow, no pianist, in the thorough sense of the word, will agree with Mr. Lang. Of course everybody knows that it is not possible for anyone to change the material sound of a piano, for instance, into a trumpet-like sound, but the propagation of the sounding waves may be modified by the manner in which the percussion is made on the keyboard to set in motion the hammer striking the strings with an amount of elasticity which decides at once the quality of sound. Indeed, it is a difficult art, that one of touch. Touch means phrasing, which is obtained by a fourth of perfect mechanism and three fourths of feeling. An artistic hand will produce a round, velvet-like, telling quality of tone; but, on the contrary, an acrobatic hand will merely produce a hollow, piercing, thin and angular tone. Also the question of coaxing poetical tones by "gliding," "pressing" or "caressing" is not properly understood by some of the musicians that have taken part in the discussion. Admitting that the aesthetic rendition of a piece (I am speaking only of a master of the keyboard) is merely caused by the power of sentiment which vibrates the nervous system of the performer, the "gliding" of the hand over the ivories, the "coaxing," "pressing" or caressing" may become for certain persons an absolute necessity to facilitate the percussion and produce the artistic result, to which also concurs the proper treatment of the pedals.
3This letter from Mr. Sonnekalb also deserves publicity:
5Editors The Musical Courier:
6A propos to "Touch" and piano mechanism:
7There are two kinds of touch—the inborn touch of the poet-artist possessed by Joseffy, Paderewsky, Liszt and Rubinstein, and the mechanical touch appertaining to the correct mode of blending tones and attributes. The inborn or "heaven anointed" touch distinguishes a Joseffy from a mechanical high backing Stulgartner soul from clay—emotion from stone breaking. Feeling—some have it, some have it not. "He plays with feeling" because "his" fingers touch (not strike—that is the blacksmith's vocation) the keys in a manner impelled by "his" emotions; and as temperament differs, so does touch. Hence the tone brought forth by a Joseffy, Liszt or Paderewsky differs from a human automaton in that an artist has vital fingers and heart, while a mechanical player has hammer fingers and cold blood. The automaton piano will serve as an excellent illustration of the difference between a soulless and soulful mechanism. It makes all the difference in the world in the way you touch the keys and wish to evoke sweet tones. But only the gifted can grasp this, for poetic minds alone conceive the beautiful, and therefore piano mechanics should stick to their trade and not "rush in where angels fear to tread." Very truly yours,
8FRANKLIN SONNEKALB.
9August 25, 1894.
11All of which seems to indicate that the true pianist, like the true poet, is born, not made. We still expect to hear more on this subject from men like Carl Barrmann, Rafael Joseffy, Charles H. Jarvis, W. S. B. Mathews, William Mason, A. K. Virgil and others. The theme is a fruitful one.
13LETTERS OF FRANZ LISZT.
15XI.
17HERE is an interesting letter to Alfred Dörfel in which the story of the publication of Liszt's early études is told. Copies are rare of these twelve piano studies which Liszt afterward transformed into his famous "Études Transcendantes":
19"DEAR SIR—Allow me to express to you direct my most cordial thanks for the conscientious and careful pains you have taken in regard to my catalogue. I am really quite astonished at the exactitude of your researches, and intend to repeat my warm thanks to you in person in Leipsic, and to discuss with you still more fully the motives which lead me not entirely to agree with your proposal, and only to use a part of your new elaboration of my catalogue. To avoid diffuseness, I can for to-day state only a couple of points. The standpoint of your new arrangement is, if I have rightly understood you, as follows: There are still being circulated in the music shops a certain number of copies of my works, especially of the studies, Hungarian rhapsodies and several Fantasiestücke (under the collective title of 'Album d'un Voyageur'), &c., that I have not concluded in my catalogue, which I gave into Dr. Härtel's hands for printing—and you have taken upon yourself the troublesome task of arranging these different and somewhat numerous works in what would be, under other circumstances, a most judicious manner.
21"However gratifying to me this interest of yours in the production of a suitable catalogue can but be, yet I must declare myself decidedly for the non-acceptance of the portions added by you (with certain exceptions).
23"The Hofmeister edition of the twelve studies (with a lithograph of a cradle and the publisher's addition, 'Travail de jeunesse,' is simply a piracy of the book of studies which was published at Frankfort when I was thirteen years old. I have long disowned this edition, and replaced it by a second, under the title, 'Études d'Exécution Transcendantes,' published by Haslinger in Vienna, Schlesinger in Paris, and Mori and Lavener in London. But this second edition has now been annulled several years ago, and Haslinger has, by my desire, put aside my copyright and plates, and bound himself by contract not to publish any more copies of this work henceforth. After a complete agreement with him I set to work and produced a third edition of my twelve studies (very materially improved and transformed), and begged Messrs. Härtel to publish it with the note, 'Seule édition authentique, revue par l'auteur, etc.,' which they did. Consequently I recognize only the Härtel edition of the twelve studies as the sole legitimate one, which I also clearly express by a note in the catalogue, and I therefore wish that the catalogue should make no mention of the earlier ones. I think I have found the simplest means of making my views and intentions clear by the addition of the sign X.
25"It is the same case with the Paganini Études and the Rhapsodies Hongroises; and after settling matters with Haslinger I completely gained the legal right to disavow the earlier editions of these works, and to protest against eventual piracy of them, as I am once more in possession both of the copyright and the entire engraving plates.
27"These circumstances will explain to you the reappearance (in a very much altered conception and form) of many of my compositions, on which I, as piano player and piano composer, am obliged to lay some stress, as they form, to a certain extent the expression of a closed period of my artist-individuality. In literature the production of very much altered, increased and improved conditions is no uncommon thing. In works both important and trivial alterations, additions, varying divisions of periods, &c., are a common experience of an author. In the domain of music such a thing is more minute and more difficult, and therefore it is seldom done. None the less do I consider it very profitable to correct one's mistakes as far as possible, and to make use of the experiences one gains by the editions of the works themselves. I, for my part, have striven to do this, and if I have not succeeded it at least testifies to my earnest endeavor.
29"In the 'Années de Pèlerinage' (Schott, Mainz) several of the pieces are again taken from the 'Album d'un Voyageur.' The album brought out by Haslinger must not be quoted in the catalogue, because the work has not been carried out according to its original plan, and Haslinger has given me back in this case also the copyright and plates.
31"As the natural consequence of what I have said I beg you therefore, dear sir, not to undertake any alteration in the disposition and arrangement of my catalogue, and only to add the various enlargements and improvements, for which I have to thank your overlooking and corrections, as I have now given them and marked them. The title of the catalogue might sound better thus in German: 'F. Liszt, "Thematischer Catalog."'
33"And the letters of the headings 'Études—Harmonies—Années de Pèlerinage—Ungarische Rhapsodien—Fantasies on Airs from Operas,' &c., must be rather large, and these headings separated from the special title of the works. one of two readings
34"And the letters of the headings 'Études—Harmonies—Années de Pèlerinage—Ungarische Rhapsodie—Fantasies on Airs from Operas,' &c., must be rather large, and these headings separated from the special title of the works. one of two readings
36"I cannot agree with the admission of a supplementary opus number, but it is of consequence to me that the catalogue should come out speedily in order to get as clear a survey as possible of my works up to the present time (which, however, are by no means sufficient for me). Accept once more my best thanks, dear sir, as also the assurance of high esteem of
38"Yours most truly,
39F. LISZT.
40"January 17, 1855.
42"P. S.—I take the liberty of keeping your edition of the catalogue here meanwhile, as it cannot be used for the arrangement of the Härtel edition."
44Liszt's letters to Rubinstein are always of unexceptionable interest to the piano student. He writes to "Van II.":
46"Your fugue of this morning, my dear Rubinstein, is very little to my taste, and I much prefer to it the preludes that you wrote at an earlier date in this same room, which, to my great surprise, I found empty when I came to fetch you for the Berlioz rehearsal. Is it a fact that this music works on your nerves? And after the specimen you had of it the other time at the Court, did the resolution to hear more of it seem to you too hard to take? Or have you taken amiss some words I said to you, which, I give you my word, were nothing but a purely friendly proceeding on my part? Whatever it may be, I don't want any explanations in writing, and only send you these few lines to intimate that your nocturnal flight was not a very agreeable surprise to me, and that you would have done better in every way to hear the 'Fuite en Égypte' and the 'Fantaisie sur la Tempête' of Shakespeare.
48"Send me tidings of yourself from Vienna (if not sooner), and whatever rinforzando of 'murrendo' may happen, please don't do a wrong to the sentiments of sincere esteem and cordial friendship invariably maintained toward you by
49F. LISZT.
50"Weymar, February 21, 1855."
52To Louis Koehler Liszt introduced the youthful Von Bülow in the following lines:
54"My Very Dear Friend—Hans von Bülow will bring you these lines. You must enjoy yourself in the artist who, above all other active or dying out virtuosi, is the dearest to me, and who has, so to speak, grown out of my musical heart. When Hummel heard me in Paris more than twenty-five years ago he said, 'Der Busch ist ein eisenfresser.' To this title, which was very flattering to me, Hans von Bülow can with perfect justice lay claim, and I confess that such an extraordinarily gifted, thoroughbred musical organism as his has never come before me.
56"Receive him as an approved and energetic friend, and do all you can to make his stay in Königsberg a pleasant one.
58"Yours in friendship.
59F. LISZT.
60"Weymar, March 16, 1855."
62"The engraving of my Symphonic Poems is in progress, and in the course of this summer five or six of them will be ready. There is a good bit of work in it.
64At the present time I am exclusively engaged in the composition of a Missa Solemnis. You know that I received from the Cardinal Primate of Hungary the commission to write the work for the consecration of the Cathedral at Grau, and to conduct it there (probably on August 15.)."
66(To be continued.)
68RACONTEUR
70Mr. Dobson's Explanation.
72"What is it then," some reader asks,
73"What is it that attaches
74Your fancy so to fans and masks,
75To periwigs and patches?
77"Is Human life to-day so poor,
78So bloodless, you disdain it,
79To 'galvanize' the Past once more?"
80—Permit me. I'll explain it.
82This age I'll grant (and grant with pride),
83Is varied, rich, eventful;
84But, if you touch its weaker side,
85Is prone to be resentful.
87Beland it, and it takes your praise
88With air of calm conviction;
89Condemn it, and at once you raise
90A storm of contradiction.
92Whereas with these old shades of mine,
93Their ways and dress delight me;
94And should I trip by word or line,
95They cannot well indict me.
97Not that I mean them harm; I seek
98To steer 'twixt blame and blindness;
99I strive (as some one said in Greek)
100To speak the truth with kindness.
102But, should I fail to render clear,
103Their title, rank or station,
104I still may sleep secure, nor fear
105A suit for defamation.
107—Austin Dobson, in "Longman's Magazine."
109I HAVE often wondered how many Liszt pupils—favorite pupils—there were. I am just beginning to wonder how many children he bequeathed to the world. It is, I know, considered a delicate subject to talk of a man's offspring after he is dead. That Liszt left a large family seems to be a general impression. They are scattered all over the globe and they all appear to be musical. To be sure I only repeat gossip. For instance there was once a man of our town, a singer, who wore black when his putative father died, and there is a swarm of people in New York who wear their hair Lisztwise and nod their heads significantly when the grand old Magyar's name is mentioned. I have been told that at one time a brick thrown in any given direction in Weimar would fetch up against a child of Liszt or a grandchild of Goethe. O glorious virile men! not feeling the conventions of the polite world they literally fulfilled the old scriptural injunction. You know which one I mean.
111* * *
113The subject is a fascinating one to me. I would like to be appointed a commissioner to travel the highways and byways of mother earth to inquire into this matter. And then to consider the fun of rooting
The computer misreads some letters and numbers. Where a name matters to you, read the scan.