ABSTRACT
The transformation of a performing artist of the first rank (there have been but a few examples) into a creative one is not achieved in a moment, for public opinion is slow to move. In Liszt’s case the transition would have lasted longer had not circumstances assisted, rendering touring a practical impossibility. We have it from himself that his last paid engagement was at Elizabethen-grad at the end of 1847, after which his very large income entirely ceased. For the second half of his life the support of his family and an endless horde of hangers-on absorbed a very large annual sum, to which must be added the heavy cost of production of his orchestral compositions. These grew more ambitious and unremunerative every year; and though the songs and pianoforte pieces formed a certain off-set, this did not really amount to much, few, if any, being on a “royalty” basis. But with financial matters Liszt, like a true prince, never troubled his head. Good cousin Edward was the best of bankers, investing the slender incomings and endeavouring gently to check the impetuous stream of outgoings. The extensive correspondence contained in the two volumes collected by Madame La Mara, tell 78us something of this; they make very interesting reading, and form indeed a compendium of German musical history during the period covered. We have, for instance, the whole artistic career of Schumann observed and followed with the utmost sympathy and appreciation. In May, 1838, Liszt wrote:
The Carneval and the Fantasiestücke have interested me exceedingly. I play them really with delight, and God knows that I can’t say as much of many things. To speak frankly and freely, it is only Chopin’s compositions and yours that have a powerful interest for me. … Will you not have what you have sent me printed? Haslinger would have it gladly, I think, and it would be a great pleasure to me to see my name associated with yours.
And in June, 1839:My Dear Monsieur Schumann,
At the risk of appearing very monotonous I must again tell you that the last pieces you were so kind as to send me in Rome appear to me admirable both in inspiration and composition. The Fantaisie dedicated to me is a work of the highest kind—and I am really proud of the honour you have done me in dedicating to me so grand a composition. I mean, therefore, to work at it and penetrate it through and through, so as to make the utmost possible effect with it.
