"I think it was in 1840 or 1841, in Manchester, that I first heard
Liszt, then a young man of twenty-eight," wrote the late Richard Hoffman
in _Scribner's Magazine_. "At that time he played only bravura piano
compositions, such as the Hexameron and Hungarian March of Schubert, in
C minor, arranged by himself. I recollect his curious appearance, his
tall, lank figure, buttoned up in a frock coat, very much embroidered
with braid, and his long, light hair brushed straight down below his
collar. He was not at that time a general favourite in England, and I
remember that on this occasion there was rather a poor house. A
criticism of this concert which I have preserved from the _Manchester
Morning Post_ will give an idea of his wonderful playing. After some
introduction it goes on to say: 'He played with velocity and impetuosity
indescribable, and yet with a facile grace and pliancy that made his
efforts seem rather like the flight of thought than the result of
mechanical exertion, thus investing his execution with a character more
mental than physical, and making genius give elevation to art. One of
the most electrifying points of his performance was the introduction of
a sequence of thirds in scales, descending with unexampled rapidity; and
another, the volume of tone which he rolled forth in the execution of a
double shake. The rapture of the audience knew no bounds,' etc. I
fancied I saw the piano shake and tremble under the force of his blows
in the Hungarian March. I regret that I never had an opportunity of
hearing him later in life, when I am sure I should have had more
pleasure both in his playing and his programmes. He had appeared some
sixteen years before in Manchester, in 1824, as a youthful phenomenon,
in an engagement made for him by Mr. Andrew Ward, my father's partner.
He stayed at his house while there, as the following letter specifies;
both letters form part of a correspondence between Mr. Ward and the
elder Liszt on this matter.
"'LONDON, _July 29, 1824_.
"'DEAR SIR: In answer to your letter of the 27th inst. I beg to
inform you that I wish my Son to play as follows: viz:--At the
first concert, a grand Concerto for the Piano Forte with orchestral
accompaniment composed by Hummel, and the Fall of Paris also with
grand orchestral accompaniment composed by Moscheles.
"'At the 2d Concert--Variations with orchestral accompaniments
composed by Charles Czerni, and afterwards an Extempore Fantasia on
a written Thema which Master Liszt will respectfully request any
person of the Company to give him.
"'We intend to start to-morrow afternoon at three o'clock by the
Telegraph Coach from the White Horse Fetter lane, and as we are
entire strangers to Manchester it will be very agreeable to us if
you will send some one to meet us.
"'M. Erard's pianoforte will be in your town on Sunday morning as I
shall be glad for my son to play upon that instrument.
"'I remain, Dear Sir,
"'Yr. very humble Servant,
"'LISZT.'
"'15 GT. MARLBOROUGH STREET,
"'_July 22, 1824._
"'Mr. Liszt presents his compliments to Mr. Roe and begs to say,
that the terms upon which he will take his son to Manchester to
play at the concerts of the second and fourth of August next will
be as follows:
"'Mr. Liszt is to receive one hundred pounds and be provided with
board and lodgings in Mr. Ward's house during his stay in
Manchester for his son and himself, and Mr. Liszt will pay the
travelling expenses to and from Manchester.'"