480 



LISZT, FRANZ. 



of Liszt's youth that have become known are, 

 in chronological order, as follow: 1823 (eleven 

 years old), "Tantum ergo," for choir, manu- 

 script lost; 1823, "Variation No. 2, of 50," etc. ; 

 1824, " Impromptu for Piano-forte," printed in 

 1824; 1824, "Operetta, Don Sancho," manu- 

 script lost; 1825, ''Grand Overture," manu- 

 script lost ; 1825, " Allegro di Bravoura," 

 printed in 1825 ; 1825, three sonatas for piano- 

 forte, manuscript lost; 1826, "Etudes en deux 

 Exercices," printed in 1826 ; 1827, " Concerto 

 for Piano-forte," manuscript lost. 



In May, 1827, a third journey to England 

 was undertaken ; but while there the health 

 of both father and son became precarious, and 

 the phvsicians recommended sea-bathing at 

 Boulogne-sur-Mer, and a complete cessation 

 from all exertion. The life in Boulogne, the 

 baths, the freedom from the former exhausting 

 life, benefited the son visibly; but the father 

 died on Aug. 28, 1827, in his forty-seventh year. 

 The child had known death only by name, and 

 the horror that seized him, while he witnessed 

 the last struggles of his father, produced a 

 physical torpor that lasted many days. But 

 life and a good constitution triumphed. Set- 

 ting out for Paris, he sent to Vienna for his 

 mother, took a modest dwelling, and began the 

 labor of teaching. 



When his father died, Franz had worked 

 through every branch of musical theory and 

 practice that can be classed under the expres- 

 sion "artistic schooling and education." At 

 the age of twelve he read the scores, as well 

 as the most difficult piano-forte pieces, at sight ; 

 at fourteen, besides several pieces for the piano, 

 he had composed an operetta ; at sixteen he had 

 acquired double counterpoint, and was classed 

 as a virtuoso by his artistic contemporaries. At 

 the age of seventeen he was engaged as teach- 

 er to the daughter of the Count and Countess 

 Cricq, one of the first of the aristocratic fami- 

 lies that intrusted the musical education of 

 their daughters to the young master. The pu- 

 pil and teacher were of the same age, and a ten- 

 der affection sprang up between them, which 

 was approved by the Countess, who, how- 

 ever, was in a short time seized with a fatal ill- 

 ness. The music-lessons were interrupted by 

 her death, and not resumed until the days of 

 mourning were over. The first meeting after 

 her death was deeply affecting for both. The 

 lesson was begun in the usual manner, but, as 

 the harmonies resounded, his composure for- 

 sook him, and both wept bitterly. They were 

 very frequently together from this time, and 

 their friendship ripened into a warm affection, 

 until his visits were abruptly terminated by 

 the Count. Summoning the youth before him, 

 he pointed out that the difference of rank 

 would forbid any closer connection than that 

 which had existed. Lbzt stood before the 

 Count, as pale as death, but silent. The blow 

 fell more heavily on the daughter. A long ill- 

 ness was the immediate consequence of their 

 separation, and, when she was at last given 



back to life, all feeling for the world was dead. 

 Her father obliged her to become the wife of 

 M. d'Artigau, a man of his own rank, and she 

 obeyed ; but Liszt's image never faded from 

 her heart. Meanwhile troubled times came 

 into Liszt's home. The son shunned the world, 

 and the mother suffered in his unhappiness. 

 The greater part of his time was spent in the 

 church, his life became extremely irregular, a 

 nervous crisis came on, and he fell ill. The 

 vital powers appeared to be exhausted, and his 

 strength declined daily. This condition lasted 

 for several months. But a reaction came, and 

 the period of convalescence lasted till the July 

 Revolution. "With returning health his mind 

 underwent a complete change. He began to 

 read, and the more he read the more his desire 

 for knowledge increased. Secular and relig- 

 ious works, the weightiest and the most frivo- 

 lous productions Voltaire, Lamartine, Rous- 

 seau, and Chateaubriand, with scores of others 

 were devoured by him. This change of 

 mood affected his habits. He no longer passed 

 his time so exclusively in church, he chose the 

 theatre instead. He was also attracted to the 

 opera-house, and when, in the winter of 1829- 

 '30, Rossini's " Wilhelm Tell " was first per- 

 formed, he could not find words to express his 

 enthusiasm. 



At this time his music as a study was almost 

 abandoned. His repugnance to exercising it 

 publicly increased violently, and often kept 

 him from it ; but when his ears were saluted 

 with the thunderings of the cannon of the 

 July Revolution, as they resounded through 

 the streets of Paris, a new nature awoke in 

 him, and with difficulty his mother prevented 

 his rushing to the barricades. He shouted 

 with the French youth in praise of the silver- 

 haired Lafayette, and was inspired by the ex- 

 ploits of the heroes who victoriously defh " 

 the guns and bayonets of royalty. In the 

 midst of the clatter of arms he sketched a 

 symphonie revolutionnaire. The ideal plan of 

 the symphony was, to express in music the 

 triumphant shout of nations, not of France 

 alone, but of all mankind. He threw himself 

 into the work of composition with the ardor 

 of inspiration ; but, before the symphony was 

 finished, the days of excitement were over, 

 and nothing but disappointment had arisen 

 from the dust and ashes of the revolutionary 

 conflagration. Then his enthusiasm changed 

 to indignation and scorn, and he left the work 

 unfinished. 



From this memorable July, Liszt's manner 

 of living was changed. He went into society, 

 taught countesses and princesses, and gave free 

 course to his glowing fancy in his fantasias for 

 the piano. He became interested in intellect- 

 ual matters and the occupations of public life, 

 and was frequently seen at the gatherings of 

 artists, poets, and savants. At this time he be- 

 came interested in the society of the St. Simo- 

 nians. He was introduced to them by one of 

 their chiefs, became fascinated, and was a con- 



