Raff had composed a sonata for violin and pianoforte in which there were ever-varying changes in measure and rhythm; measures of 7/8, 7/4, 5/4, alternated with common and triple time, and seemed to mix together promiscuously and without regard to order. Notwithstanding this apparent disorder, there was an undercurrent, so to speak, of the ordinary 3/4 or 4/4 time, and to the player who could penetrate the rhythmic mask the difficulty of performance quickly vanished. Raff had arranged with Laub and Pruckner that they should practise the sonata together, and then, on a favorable occasion, play it in Liszt's presence. So on one of the musical mornings at the Altenburg these gentlemen began to play the sonata. Pruckner, of sensitive and nervous organization, found the changes of measure too confusing, especially when played before company, and broke down at the first page. Another and yet a third attempt was made, but with the like result. Liszt, whose interest was aroused, exclaimed: "I wonder if I can play that!" Then, taking his place at the instrument, he played it through at sight in rapid tempo and without the slightest hesitation. He had intuitively divined the regularity of movement which lay beneath the surface. LISZT'S MOMENTS OF CONTRITION Deep beneath the surface there was in Liszt's organization a religions trend which manifested itself openly now and then, and there were occasions upon which his contrition displayed itself to an inordinate degree. Joachim Raff, long his intimate friend and associate, told me that these periods were sometimes of considerable duration, and while they lasted he would seek solitude, and going frequently to church, would throw himself upon the flagstones before a _Muttergottesbild_, and remain for hours, as Raff expressed it, so deeply absorbed as to be utterly unconscious of events occurring in his presence. [Illustration: AUTOGRAPH OF VIEUXTEMPS] Rubinstein also told me that on one occasion he had been a witness of such an act on the part of Liszt. One afternoon at dusk they were walking together in the cathedral at Cologne, and quite suddenly Rubinstein missed Liszt, who had disappeared in a mysterious way. He searched for quite a while through the many secluded nooks and corners of the immense building, and finally found Liszt kneeling before a _prie-dieu_, so deeply engrossed that Rubinstein had not the heart to disturb him, and so left the building alone. PETER CORNELIUS