escapement action, which permitted a note to be repeated even if the key had not yet risen
to its maximum vertical position. This facilitated rapid repetition of notes and rapid
playing generally. When the invention became public, as revised by Henri Herz, the
double escapement action gradually became standard in all pianos.
FREUND
Róbert Freund (1852-1936) studied with Moscheles, and for two summers with
Schumann’s friend Wensel who may have provided an introduction to Brahms. In 1869
Freund studied in Berlin under Tausig.
When Freund was in Budapest in 1870 Liszt arrived in December for a stay of several
months. Freund writes in his unpublished memoirs:
‘After having stood in vain several times below [Liszt’s] window [Liszt stayed in the old
parish house – now gone], I finally mustered enough courage, entered the house where I
ran into his servant in the stairwell, and was promptly received. I requested permission to
play something for him and in reply to his question as to what I would play, I said “the B
minor Sonata” – a piece rather unknown at the time. He didn’t even seem remotely to
think of his own sonata for he asked me again “What Sonata?” He listened to the first
part without comment. Only in the D major ‘Grandioso’ section did he urge me on.
Before the ‘Andante’ he interrupted me and asked whether I would be willing to play the
Sonata next Sunday in his residence at a matinée. I left, overjoyed, and saw the world
lying at my feet. [The performance of Liszt’s Sonata by the eighteen year old Freund
took place on Sunday 8 January 1871 at one of Liszt’s musical mornings in the hall of the
Presbytery of the Inner City Parish Church, Budapest. Liszt himself played some of his
arrangements.]
From then on I had permission to visit him every Tuesday and Friday afternoon. I always
had the good fortune to see him alone. In the salons Liszt gave the impression of a
sophisticated, perhaps even an affected, man of the world; in small company or when
alone with him, however, you felt the total impact of the greatness of his imposing,
venerable, incredibly ingenious personality. The gentle calm and the sublime clarity of
his judgment, the universality of his mind, the simplicity and innate nobility of his
comportment were incomparable.’
Freund immersed himself in Liszt’s piano works, symphonic poems, oratorios:
‘everything fell prey to my fervor.’ Once he and Liszt played through the entire ‘Faust’
Symphony in the composer’s arrangement for two pianos. ‘When we finished, he
embraced me and said “I see, you understand it.” ’ Liszt arranged for the publication of
Freund’s own transcription of Liszt’s ‘Der Nachtliche Zug’ (from the two scenes from
‘Faust’, the other being the ‘Mephisto’ Valse no. 1).
Freund accepted a position in Zurich, where he established himself as an eminent concert
pianist and teacher. His presence attracted many prominent artists to visit the city. In
1881 Freund met and spent time with Brahms. Freund performed Liszt’s A major piano