Liszt – Posted by Robert Schumann


Liszt in Leipzig – The first concert that took place on March 17 was an extraordinary and remarkable event.

The spectators had filled the hall in the form of crowds and in great haste. Seats were also reserved for the audience in the orchestra area. In the middle was Liszt.

He started the recital with the final part of Scherzo and Beethoven-Pastoral Symphony. It was an odd choice. For many, it may not even be a happy choice.

You can play in your private room, with a few of your friends, forgetting the orchestra in transcription, but it was a very meager experience to play the symphony with the piano in this hall where people listen to the symphony orchestra many times. A simpler and more thought-provoking arrangement would have been much more effective.

Of course, this choice was a step that served the excitement of seeing the great master live on his own instrument, the piano. At least the crowd was able to watch the lion shake its mane!

This noble animal still had some pretty ambitious abilities to display. His next piece was a fantasy on Pacini's themes. He played with truly extraordinary merit and style.

I can honestly say that I would prefer the elegance of the following study interpretation to the admirable and courageous execution of this piece! With the exception of Chopin, no one can approach him in this style!

Although he ended his recital with the famous chromatic galop, he still played the well-known bravura waltz in response to the unceasing applause.

Liszt looked too tired and exhausted to go to the concert that was announced the next day. But meanwhile, a festival is approaching that neither Liszt nor the audience will forget.

The owner of the festival, Mendelssohn, has clearly chosen a program that his guests do not know!

Schubert's Symphony in C Major, his own hymn – “As pants the Hart”, Meerestille Overture, “St. Paul” and Bach's concerto for three pianos that Liszt, Hiller and himself will play to bring the excitement to the top.

Witnessing such a festival again is a possibility that is hard to imagine.

This whole organization consisted of three hours, every second of which was filled with music and joy. At the end of the festival, we listened to a great Liszt solo.

The gratitude to the organizer could be seen on the faces of all the audience who left the festival.

Liszt's most entertaining performance has yet to happen. This performance will be Weber's “Concertstück” in which his second concert is inaugurated.

He made a strong start to the concerto. By increasing this power in every measure, it reached beyond the orchestra. He was like a really great commander during the performance. So much so that with the excitement of applause, "Long live the Emperor!" could take shape.

After the Concerto, he played fantasies on the themes of “Hugenots” and Schubert's “Ave Maria & Serenade”. Finally, "Erl King" was under the master's fingers at the insistent demands of the audience. The only moment when the whole performance turned into a victory was “Concertstück”.

The end of the concert flowers were given by a famous singer I do not know.

Dear friends, for those of you who don't know, I must remind you; Liszt is a magnificent artist who has sacrificed years for his art. He gave you the best he could.

Liszt, of course, is no longer in debt. After the series of two concerts in which he experienced this warm and sincere enthusiasm, he found it appropriate to organize the third concert as a charity for an institution to be selected.

Liszt, who had given a concert for the poor in Dresden the day before, played for poor musicians in financial difficulties on Monday, as promised.

There was no room to step in the hall. When the purpose of the concert was combined with the excitement of those who wanted to see Liszt, a great social sympathy arose.

He had arrived the day before Dresden and, although very tired, had started rehearsing immediately.

He had chosen three composers for this concert; Mendelssohn, Hiller and me. The concerto in D minor by Mendelssohn, several works by Hiller and one of my early compositions, “Carnival”, filled the program.

The astonishing part is that Liszt saw most of these works for the first time.

He might have known little of Hiller and my works, but it was unlikely that he could have obtained and studied Mendelssohn's new concerto.

I conveyed my uneasiness, albeit implicitly, to him that my work might leave an overpowering impression on the general audience. However, as if to eliminate all bad possibilities, he replied, "I think the opposite will happen." However, I think he cheated himself.

I need to talk a little bit about my carnival composition. It contains many elements that will impress individual listeners, but the colors change too often for an audience to follow. Works that present a different mood each time may not be suitable for the masses.

Although I explained this situation to him before the concert, I observed that my close friend Liszt did not take this concern into consideration.

Even though he played my piece very selflessly and with impressive ups and downs, it failed to make an impression on the crowd. Hiller's works, on the other hand, owe their impact to their familiar forms.

As I said before, Liszt played the concerto in D minor that he saw on the day of the concert like no one else could. It was great!

As a result, I only regretted one thing. He didn't give the audience a chance to listen to Chopin. However, Liszt is an incomparable Chopin interpreter. He played all the works requested in his own room, and I listened to him three times.

He left town on Thursday morning.


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