The recording figures of 1822, when the Paris Conservatory, under the direction of Cherubini, trained pianists like a factory, are quite impressive; forty-one female, thirty-two male piano students. In his letter to the relevant minister, Viscount de la Rochefoucauld, the director described this massive demand as 'exploitative and dangerous' and promised to lower the figures. But things didn't go as planned, with demand increasing and multiplying over the next decade. Among the leading teachers of the conservatory were Pierre Zimmerman and Louis Adam (who also wrote the conservatory's official method). The expression that best describes all this turmoil is found in Antoine François Marmontel's book 'Les Pianistes celebres'; “Paris was a pianist revolt, and their sound was heard all over the world.”
One of the people who observed this confusion was Heinrich Heine. Writing in Musikalische Bericht aus Paris, Heine was famous for the sharpness of his pen, nicknamed 'Europe's Whip'. His wit, wit, and humor were his greatest weapons. He pointed this weapon at the Paris Virtuoso School. Finding the famous octaves of the famous pianist Dreyschock as 'noisy', Heine pins the artist with the following sentence; “You don't hear a single pianist Dreyschock, it's like drei schock [Drei (German): Three] pianists playing!” This was nothing more than making fun of himself using the pianist's name. Not content with this, Heine wrote, “If the wind blows from the southwest on the evening of his concert, you can hear Dreyschock from Augsburg” to emphasize the noise (!). Another famous pianist who got his share from Heine is Kalkbrenner. He comments on the famous pianist as follows; “It's like candy in the mud. There's nothing wrong with it being like that, but everybody just leaves it where it is."
Another target, Heine, based on Meyerbeer's cat phobia, wrote about the artist, “Because he had a mouse in his previous life…”. Heine is very happy to be living in Paris. “If someone asks how I am, you can say I am like a fish in water,” he wrote in a letter to Hiller. Instead, an analogy can be made as follows; When a fish asks the other how he is, he gets the answer: “Like Heine in Paris.” In the later years of his life, Heine, whose witty humor turned into poison and his satirical talent turned into anger, has spent the last seven years as a bedridden patient. The relationship between Liszt and Heine was never an easy one. has not been moderate. He liked Liszt's pianist personality and disliked the human Liszt at all. Liszt's deep Catholic faith and Heine's atheist personality were the basis of this hostility.
The main issue between the two was that he demanded money (bribe) from Liszt in exchange for writing positive comments before his concert. The events begin with Heine's letter to Liszt in April 1844. Heine writes to Liszt that he has prepared an article about himself, that he plans to publish it before his second concert, that the content is not very pleasant and will let him read it before publishing. (“…I expect you between two and three tomorrow” – La Mara, ed. Briefe hervorragender Zeitgenossen an Franz Liszt. Leipzig, 1895-1904, Vol 1, p. 68).
Liszt does not bow to this threat and, as expected, does not go to Heine. Heine's article is published on April 25 in Musikalische Bericht aus Paris. Heine wrote that Liszt owed his success to the socialite events he spent a lot of money on, and to his crazy female fans. After reading this article, Liszt ended her relationship with Heine.
Liszt wasn't the only artist blackmailed for not paying Heine the 'appreciation price'. Meyebeer paid many times according to the demands of the blackmailer Heine, and when he did not pay his last demand of five hundred francs, “Die Menge tut es.” In his poetry, he was called the person who destroyed the music. His banker uncle Salamon said to Heine, who was constantly in financial trouble, “If you're short of money, why don't you threaten your friends? He has the means to do this.” (Devrient, Theresa. Jugenderinnerungen, p.330-31) It would not be an exaggeration to say that Heine made this advice his philosophy of life and carried it to Paris in his pocket. Although Heine was an important poet, he destroyed himself in the field of musical criticism and became an affordable item.
Source: Walker, Field: Franz Liszt: The Virtuoso Years, 1811-1847, Vol. 1, p. 163-4