was simply grand – the lips compressed and the head thrown a little backward. When the
music expressed quiet rapture or devotion, a sweet smile flitted over his features; when it
was triumphant, the nostrils dilated. There was nothing petty or egotistic to mar the
picture.’
Was George Eliot referring to a private performance by Liszt of his Sonata? It is known
that Liszt gave the following private performances of his Sonata during his Altenburg
years:
7 May 1853 Mason, Klindworth
4 June 1853 Mason
15 June 1853 Mason, Brahms, Reményi, Klindworth
23 Oct1854 Cornelius, Pohl
21 July 1855 Bulow, Tausig, Bronsart
Liszt pupil Alexander Siloti wrote:
‘It is impossible to recount how Liszt played. In spite of the fact that I myself am a
pianist, I can neither demonstrate nor describe his way of playing. He did not produce a
large volume of sound, but when he played the piano sound simply did not exist. He
played on the same unequal instrument on which we pupils had played, but as soon as he
had sat down at this worn-out instrument he played in such a way that anyone who never
heard him could not imagine what it sounded like. I am a great admirer of the playing of
Anton Rubinstein, and I find that we living pianists are pitiful pygmies next to him. I
know that Anton Rubinstein used to say that as a pianist he was insignificant compared to
Liszt.’
Liszt pupil Moritz Rosenthal wrote:
‘How did he play? Like no one before him, and probably like no one after him. When I
was still a boy and went to see him in Rome for the first time, he used to play for me in
the evening for hours on end – nocturnes by Chopin, his own études – everything he
played had a gentle dreamlike quality, and I was astounded at the fabulous delicacy and
perfection of his touch. The ornaments were as delicate as a spider’s web or the veins in
precious lace. After what I heard in Vienna I thought no fingerwork could surprise me
any longer, since I had, after all, studied with Joseffy, the greatest master of this art. But
Liszt was more marvellous than anyone else I have heard, and there were other surprises
too which he had up his sleeve.’
‘I spent ten years with him and flatter myself that I really got to know him. I may say
that I have never met so noble and kind-hearted a man. The whole world knows of his
willingness to help struggling and aspiring artists, and of his inclination to work for
charitable ends. And when has there ever been a friend like him? ... For Liszt the
composer my love is just as great. Even in his less significant works the stamp of genius
is evident.’