Liszt's Languages

From Budapest: Portrait of a City Between East and West, by Victor Sebestyen (Knopf Doubleday, 2023), Kindle pp. 130-131:

The concert at the Pesti Vigadó (House of Merriment), a splendid Baroque building that had miraculously survived the [1838] flood, on 12 February 1839 was a huge success; tickets changed hands for fantastical prices and an enormous sum was raised for flood victims. Liszt played for an hour and a half without a break – Beethoven, Schumann, some of his own pieces – and then conducted the orchestra until late into the night....

From then on he returned frequently to Hungary and eventually he was made the first head of the Hungarian Academy of Music, where for years he wielded vast influence in music and the arts generally in Hungary. He was given a grand mansion on Pest’s principal avenue, Andrássy út, where he lived for around three months of the year during the winter. The civic authorities and ambitious politicians from the Reform Movement were using him cynically, and Liszt was willing to be used. The height of his national acclaim – or of absurd hypocrisy, depending on one’s view – was a ceremony in January 1840 when he was made an honorary citizen of Pest and with great solemnity ‘was presented with a sword [a sabre] of honour: a souvenir from the martial race to its noble-hearted and world-famous son’, as the official programme for the event portentously declared. Many people had not yet realized it – neither his admirers nor his few critics – but Liszt could barely speak a word of Hungarian. This became obvious to everyone during the sword ceremony. He could have spoken German, which would at least have been understood by almost everyone in the Pest of those days. But the point about the event – and the National Theatre itself, where at that time German was not allowed to be spoken on stage during a performance – was to emphasize the critical importance of Hungarians speaking Hungarian. He ended up making an impassioned Hungarian nationalist speech in French. ‘At the very climax of his Hungarianization…his alien reality was revealed most fully,’ one of his critics wrote angrily.

Liszt had tried a few times to learn Hungarian and employed as language tutor a young academic reputed to be a brilliant teacher who had managed to get several dignitaries from the court in Vienna to at least utter a few sentences in Magyar. But, as he once admitted, he gave up the effort after five lessons when he encountered the word for unshakeability – tántorithatatlanság. Many of those trying to learn the language would have lost the will to carry on well before then. Liszt wrote to a newspaper after the National Theatre debacle: ‘Notwithstanding my lamentable ignorance of the Hungarian language, I am and shall remain until my end, a Magyar heart and soul.’

And he meant it. To a Hungarian friend in 1842, while on a Europe-wide concert tour, he wrote: ‘Sometimes my heart beats faster even at the sight of a postal stamp from Pest. It gives me such pleasure to be in your company. What is loud applause and endless acclaim worth compared to what all of you give me? Everywhere else I play for the audience, but in Hungary I play for the nation. And this is a noble and great thing, to make emotional contact in this manner with a nation such as ours.’