Franz Liszt

Detail of a photo by Franz Hanfstaengl, 1858

Franz Liszt (Hungarian: Liszt Ferenc; pronounced [ˈlɪst ˈfɛrɛnts]) (October 22, 1811 – July 31, 1886) was a Hungarian^[1][2][3] composer, virtuoso pianist and teacher.

Liszt became renowned throughout Europe for his great skill as a performer; during the 1800s, many considered him to be the greatest pianist in history.^[4] He was also an important and influential composer, a notable piano teacher, a conductor who contributed significantly to the modern development of the art, and a benefactor to other composers and performers, notably Richard Wagner and Hector Berlioz.

As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind a huge and diverse oeuvre, in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony.^[5]

Life

Main article: Life of Franz Liszt

Early life

Franz Liszt was born on October 22, 1811, in the village of Raiding (Hungarian: Doborján) in the Kingdom of Hungary, then part of the Habsburg Empire (and today also part of Austria), in the comitat Oedenburg (Hungarian: Sopron). Every attempt to describe Liszt's development during his childhood and early youth has met with the difficulties of terribly sparse information. It had been his father Adam Liszt's own dream to become a musician. He played piano, violin, violoncello, and guitar, was in the services of Prince Nikolaus II Esterházy and knew Haydn, Hummel and Beethoven personally.

A memorial tablet in Bratislava at building of Leopold de Pauli Palace telling about his concert in this building in 1820 at age 9

At age six, Franz began listening attentively to his father's piano playing as well as to show an interest in both sacred and gypsy music. Adam recognized his son's musical talent early. He began teaching Franz the piano at age seven and Franz began composing in an elementary manner when he was eight. He may have also first played in public at Baden at age eight; he definitely appeared in concerts at Sopron and Pozsony (present Bratislava) in October and November 1820 at age 9. After these concerts, a group of Hungarian magnates offered to finance Franz's musical education abroad.^[6]

In Vienna, Liszt received piano lessons from Carl Czerny, who in his own youth had been a student of Beethoven and Hummel. He also received lessons in composition from Antonio Salieri, who was then music director of the Viennese court. His public debut in Vienna on December 1, 1822, at a concert at the "Landständischer Saal," was a great success. He was greeted in Austrian and Hungarian aristocratic circles and also met Beethoven and Schubert. At a second concert on April 13, 1823, Beethoven was reputed to have kissed Liszt on the forehead. While Liszt himself told this story later in life, this incident may have occurred on a different occasion. Regardless, Liszt regarded it as a form of artistic christening. He was asked by the publisher Diabelli to contribute a variation on a waltz of the publisher's own invention — the same waltz to which Beethoven would write his noted set of 33 variations.^[6]

In spring 1823, when the one year's leave of absence came to an end, Adam Liszt asked Prince Esterházy in vain for two more years. Adam Liszt therefore took his leave of the Prince's services. At the end of April 1823, the family for the last time returned to Hungary. At end of May 1823, the family went to Vienna again.

Adolescence in Paris

After his father's death Liszt returned to Paris; for the next five years he was to live with his mother in a small apartment. He gave up touring. To earn money, Liszt gave lessons in piano playing and composition, often from early morning until late at night. His students were scattered across the city and he often had to cross long distances. Because of this, Liszt kept uncertain hours and also took up smoking and drinking—all habits he would continue throughout his life.^[7][8]

The following year he fell in love with one of his pupils, Caroline de Saint-Cricq, the daughter of Charles X's minister of commerce. However, her father insisted that the affair be broken off. Liszt again fell ill (there was even an obituary notice of him printed in a Paris newspaper), and he underwent a long period of religious doubts and pessimism. He again stated a wish to join the Church but was dissuaded this time by his mother. He had many discussions with the Abbe de Lamennais, who acted as his spiritual father, and also with Chrétien Urhan, a German-born violinist who introduced him to the Saint-Simonists.^[7] Urhan also wrote music that was anti-classical and highly subjective, with titles such as Elle et moi, La Salvation angélique and Les Regrets, and may have whetted the young Liszt's taste for musical romanticism. Equally important for Liszt was Urhan's earnest championship of Schubert, which may have stimulated his own lifelong devotion to that composer's music.^[9]

During this period Liszt read widely to overcome his lack of a general education, and he soon came into contact with many of the leading authors and artists of his day, including Victor Hugo, Lamartine and Heine. He composed practically nothing in these years. Nevertheless, the July Revolution of 1830 inspired him to sketch a Revolutionary Symphony based on the events of the "three glorious days," and he took a greater interest in events surrounding him. He met Hector Berlioz on December 4, 1830, the day before the premiere of the Symphonie fantastique. Berlioz's music made a strong impression on Liszt, especially later when he was writing for orchestra. He also inherited from Berlioz the diabolic quality of many of his works.^[7]

Niccolò Paganini. His playing inspired Liszt to become as great a virtuoso.

After attending an April 20, 1832 charity concert, for the victims of a Parisian cholera epidemic, by Niccolò Paganini,^[10] Liszt became determined to become as great a virtuoso on the piano as Paganini was on the violin. Nor was Liszt alone in developing his technique. Paris in the 1830s had become the nexus for pianistic activities, with dozens of steel-fingered pianists dedicated to perfection at the keyboard. Some, such as Sigismond Thalberg and Alexander Dreyschock, focused on specific aspects of technique (eg the "three-hand effect" and octaves, respectively). While it was called the "flying trapeze" school of piano playing, this generation also solved some of the most intractable problems of piano technique, raising the general level of performance to previously unimagined heights. Liszt's strength and ability to stand out in this company was in mastering all the aspects of piano technique cultivated singly and assiduously by his rivals.^[11]

In 1833 he made transcriptions of several works by Berlioz, including the Symphonie fantastique. His chief motive in doing so, especially with the Symphonie, was to help the poverty-stricken Berlioz, whose symphony remained unknown and unpublished. Liszt bore the expense of publishing the transcription himself and played it many times to help popularise the original score.^[12] He was also forming a friendship with a third composer who influenced him, Frederic Chopin; under his influence Liszt's poetic and romantic side began to develop.^[7]

With Countess Marie d'Agoult

In 1833, Liszt began his relationship with the Countess Marie d'Agoult. In addition to this, at the end of April 1834 he made the acquaintance of Felicité de Lamennais. Under the influence of both, Liszt's creative output exploded. In 1834 Liszt debuted as a mature and original composer with his piano compositions Harmonies poetiques et religieuses and the set of three Apparitions. These were all poetic works which contrasted strongly with the fantasies he had written earlier.^[7]

In 1835 the countess left her husband and family to join Liszt in Geneva; their daughter Blandine was born there on December 18. Liszt taught at the newly-founded Geneva Conservatory, wrote a manual of piano technique (later lost)^[13] and contributed essays for the Paris Revue et gazette musicale. In these essays, he argued for the raising of the artist from the status of a servant to a respected member of the community.^[7]

For the next four years Liszt and the countess lived together, mainly in Switzerland and Italy with occasional visits to Paris. During one of these visits in the winter of 1836-7, Liszt participated in a Berlioz concert, gave chamber music concerts and, on March 31, played at Princess Belgiojoso's home in a celebrated pianistic duel with Thalberg. Thalberg's reputation was beginning to eclipse Liszt's, but Liszt was easily his match.^[14] Critic Jules Janin wrote a detailed description of the duel, commenting,

Never was Liszt more controlled, more thoughtful, more energetic, more passionate; never has Thalberg played with greater verve and tenderness. Each of them prudently stayed within his harmonic domain, but each used every one of his resources. It was an admirable joust. The most profound silence fell over that noble arena. And finally Liszt and Thalberg were both proclaimed victors by this glittering and intelligent assembly. It is clear that such a contest could only take place in the presence of such an Areopagus. Thus two victors and no vanquished; it is fitting to say with the poet ET AD HUC SUB JUDICE LIS EST.^[15]

When the princess herself was asked to summarise the event, she gave the diplomatic aphorism, "Thalberg is the first pianist in the world — Liszt is the only one."^[15]

Liszt also composed the Album d'un voyager for piano; these were lyrical evocations of Swiss scenes which he later reworked for his first book of Années de Pèlerinage. He wrote the second book of Années in 1837 while in Italy with the countess; he also composed the first version of the Paganini Studies Grandes Etudes de Paganini and the 12 Grandes Etudes, a greatly revised and expanded and revised version of the Etude en douze exercises (1826). On Christmas Eve their second daughter, Cosima, was born at Bellagio, on Lake Como. In 1838 Liszt gave concerts in Vienna and various Italian cities. He also began what would become a long series of Schubert transcriptions as well as the initial version of the Totentanz.^[7]

On May 9, 1839 Liszt and the countess's only son, Daniel, was born, but that autumn relations between them became strained. Liszt heard that plans for a Beethoven monument in Bonn were in danger of collapse for lack of funds, and pledged his support. Doing so meant returning to the life of a touring virtuoso. The countess returned to Paris with the children while Liszt gave six concerts in Vienna then toured Hungary.^[7]

Touring virtuoso

For the next eight years Liszt continued to tour Europe; spending summer holidays with the countess and their children on the island of Nonnenwerth on the Rhine until 1844, when the couple finally separated and Liszt took the children to Paris to see about their education. This was Liszt's most brilliant period as a concert pianist. Honours were showered on him and he was adulated everywhere he went.^[7] Since Liszt often appeared three or four times a week in concert, it could be safe to assume that he appeared in public well over a thousand times during this eight-year period. Moreover, his great fame as a pianist, which he would continue to enjoy long after he had officially retired from the concert stage, was based mainly on his accomplishments during this time.^[16]

After 1842 "Lisztomania" swept across Europe. The reception Liszt enjoyed as a result can only be described as hysterical. Women fought over his silk handkerchiefs and velvet gloves, which they ripped to shreds as souvenirs. Helping fuel this atmosphere was the artist's mesmeric personality and stage presence. Many witnesses later testified that Liszt's playing raised the mood of audiences to a level of mystical ecstasy.^[17]

Adding to his reputation was the fact that Liszt gave away much of his proceeds to charity and humanitarian causes. While his work for the Beethoven monument and the Hungarian National School of Music are well known, he also gave generously to the building fund of Cologne Cathedral, the establishment of a Gymnasium at Dortmund, and the construction of the Leopold Church in Pest. There were also private donations to hospitals, schools and charitable organisations such as the Leipzig Musicians Pension Fund. When he found out about the Great Fire of Hamburg, which raged for three weeks during May 1842 and destroyed much of the city, he gave concerts in aid of the thousands of homeless there.^[18]

Liszt in Weimar

A statue of Liszt

In February 1847, Liszt played in Kiev. There he met the Princess Carolyne zu Sayn-Wittgenstein, who dominated most of the rest of his life. She persuaded him to concentrate on composition, which meant giving up his career as a travelling virtuoso. After a tour of the Balkans, Turkey and Russia that summer, Liszt gave his final concert for pay at Elisavetgrad in September. He spent the winter with the princess at her estate in Worononce.^[19] By retiring from concertising at age 35, while still at the height of his powers, Liszt succeeded in keeping the legend of his playing untarnished.^[20]

The following year, Liszt took up a long-standing invitation of Grand Duchess Maria Pavlovna of Russia to settle at Weimar, where he had been appointed Kapellmeister Extraordinaire in 1842, remaining there until 1861. During this period he acted as conductor at court concerts and on special occasions at the theatre. He gave lessons to a number of pianists, including the great virtuoso Hans von Bülow, who married Liszt's daughter Cosima in 1857 (before she later married Wagner). He also wrote articles championing Berlioz and Wagner. Finally, Liszt had ample time to compose and during the next 12 years revised or produced those orchestral and choral pieces upon which his reputation as a composer mainly rests. His efforts on behalf of Wagner, who was then an exile in Switzerland, culminated in the first performance of Lohengrin in 1850.

Princess Carolyne lived with Liszt during his years in Weimar. She eventually wished to marry Liszt, but since she had been previously married and her husband, Russian military officer Prince Nikolaus zu Sayn-Wittgenstein-Ludwigsburg (1812-1864), was still alive, she had to convince the Roman Catholic authorities that her marriage to him had been invalid. After huge efforts and a monstrously intricate process, she was temporarily successful (September 1860). It was planned that the couple would marry in Rome, on October 22, 1861, Liszt's 50th birthday. Liszt having arrived in Rome on October 21, 1861, the Princess nevertheless declined, by the late evening, to marry him. It appears that both her husband and the Czar of Russia had managed to quash permission for the marriage at the Vatican. The Russian government also impounded her several estates in the Polish Ukraine, which made her later marriage to anybody unfeasible.

Liszt in Rome

Liszt, photo by Franz Hanfstaengl, June 1867.

The 1860s were a period of severe catastrophes of Liszt's private life. On December 13, 1859, he had lost his son Daniel, and on September 11, 1862, his daughter Blandine also died. In letters to friends Liszt afterwards announced, he would retreat to a solitary living. He found it at the monastery Madonna del Rosario, just outside Rome, where on June 20, 1863, he took up quarters in a small, Spartan apartment. He had on June 23, 1857, already joined a Franciscan order.^[21] On April 25, 1865, he received from Gustav Hohenlohe the tonsure and a first one of the minor orders of the Catholic Church. Three further minor orders followed on July 30, 1865. Until then, Liszt was Porter, Lector, Exorcist, and Acolyte. While Princess Wittgenstein tried to persuade him to proceed in order to become priest, he did not follow her. In his later years he explained that he had wanted to preserve the rest of his freedom.^[22]

At some occasions, Liszt took part in Rome's musical life. On March 26, 1863, at a concert at the Palazzo Altieri, he directed a programme of sacred music. The "Seligkeiten" of his "Christus-Oratorio" and his "Cantico del Sol di Francesco d'Assisi", as well as Haydn's "Die Schöpfung" and works by J. S. Bach, Beethoven, Jornelli, Mendelssohn and Palestrina were performed. On January 4, 1866, Liszt directed the "Stabat mater" of his "Christus-Oratorio", and on February 26, 1866, his "Dante Symphony". There were several further occasions of similar kind, but in comparison with the duration of Liszt's stay in Rome, they were exceptions. Bódog Pichler, who visited Liszt in 1864 and asked him for his future plans, had the impression that Rome's musical life was not satisfying for Liszt.^[23]

Threefold life

Liszt was invited back to Weimar in 1869 to give master classes in piano playing. Two years later he was asked to do the same in Budapest at the Hungarian Music Academy. From then until the end of his life he made regular journeys between Rome, Weimar and Budapest, continuing what he called his "vie trifurquée" or threefold existence. It is estimated that Liszt travelled at least 4000 miles a year during this period in his life—an exceptional figure given his advancing age and the rigours of road and rail in the 1870s.^[24]

Last years

Liszt at the piano, an engraving based on a photograph by Louis Held, Weimar, 1885.

On July 2, 1881, Liszt fell down the stairs of the Hotel in Weimar. Though friends and colleagues had noted swelling in Liszt's feet and legs when he had arrived in Weimar the previous month, Liszt had up to this point been in reasonably good health, and his body retained the slimness and suppleness of earlier years. The accident, which immobilised him for eight weeks, changed this. A number of ailments manifested—dropsy, asthma, insomnia, a cataract of the left eye and chronic heart disease. The last-mentioned eventually contributed to Liszt's death. He became increasingly plagued with feelings of desolation, despair and death—feelings which he expressed in his works from this period. As he told Lina Ramann, "I carry a deep sadness of the heart which must now and then break out in sound."^[25]

He died in Bayreuth on July 31, 1886, officially as a result of pneumonia which he may have contracted during the Bayreuth Festival hosted by his daughter Cosima. Questions have been posed as to whether medical malpractice played a direct part in Liszt's demise. ^[26]

Technique and performing style

Piano recital

Liszt as caricatured in 1886 by Vanity Fair's 'Spy'

Liszt has most frequently been credited to have been the first pianist who gave concerts with programmes consisting only of solo pieces. An example is a concert he gave on March 9, 1839, at the Palazzo Poli in Rome. Since Liszt could not find singers who — following the usual habit of the time — should have completed the programme, he played four numbers all alone.^[27] Also famous is a concert on June 9, 1840, in London. For this occasion, the publisher Frederic Beale suggested the term "recital"^[28] which is still in use today.

During the following years of his tours, Liszt gave concerts of different types. He gave solo concerts as well as concerts at which other artists joined him. In parts of his tours he was accompanied by the singer Rubini, later by the singer Ciabatta, with whom he shared the stage. At occasions, also other singers or instrumentalists took part in Liszt's concerts. For the case that an orchestra was available, Liszt had made accompanied versions of some of his pieces, among them the "Hexameron". Most frequently he also played Weber's "Konzertstück" in F Minor as well as Beethoven's concerto in E-Flat Major ("Emperor") and the Choral Fantasy for piano, chorus and orchestra op.80. Besides, he played some chamber music, including Hummel's Septet, and Beethoven's "Kreutzer-Sonata" op.47, Quintet in E-flat op.16, and "Archduke" Trio op.97.

Repertoire

Regarding Liszt's solo repertoire, his own catalogue of the works he had played in public during 1838-48^[29] is strongly exaggerated. Taking the transcriptions of Schubert songs as examples, no less than 50 pieces are mentioned. In reality Liszt had in the vast majority of all his concerts only played the pieces "Erlkönig", "Ständchen (Serenade)" and "Ave Maria". Since spring 1846 he had added one of his two transcriptions of the "Forelle" to his regular repertoire.^[30] Another example can be found under the headline "Symphonies". While Beethoven's fifth, sixth and seventh symphonies are listed, Liszt had in public only played the last three movements of his arrangement of the sixth symphony. He did it for the last time on January 16, 1842, in Berlin, and afterwards dropped it since it was not successful.

Liszt's legendary reputation as "transcendental virtuoso" was based primarily on repeated performances of fewer than two dozen compositions written or arranged by himself or by Beethoven, Chopin, Hummel, Rossini, Schubert, or Weber.^[31] Among the most frequently-played pieces of this primary repertoire were the Grand Galop chromatique, the Hexameron, the arrangement of the Overture "Guillaume Tell", the Andante final de Lucia di Lammermoor, and the Sonnambula-fantasy. In many of Liszt's programs also the "Réminiscences des Puritains" can be found. In this case it is uncertain whether he actually played the entire fantasy or only a part of it. The last part was in 1841 separately published as "Introduction et Polonaise". When playing this, Liszt used to take a Mazurka by Chopin or his transcription of the Tarantelle from Rossini's "Soirées musicales", in some cases both, as introduction.

Liszt's most frequently played solo pieces by Beethoven were the Sonatas op.27/2 ("Moonlight") and op.26, of which he usually only played the first movement "Andante con variazione". His repertoire of Baroque music was very small. Of Scarlatti, for example, he played for all of his life just a single piece, the "Katzenfuge". His Handel repertoire was restricted to two, and his Bach repertoire to a handful of pieces. The piano works of Haydn and Mozart did not exist in his concerts. While in letters to Schumann Liszt assured him that Schumann's and Chopin's piano works were the only ones of interest for him, but he only ever played a single piano work by Schumann in public, and this only once. It was on March 30, 1840, in Leipzig, when he played a selection of 10 pieces of the Carnaval.^[32]

Performing style

Early years

Liszt's career as concert pianist can be divided into several periods of different characteristics. There was a first period, his time as child prodigy, ending in 1827 with his father's death. Liszt's playing during this period was in reviews described as very brilliant and very precise, like a living metronome. While he was frequently criticised for a lack of expressiveness, it was hoped he would improve later. His repertoire consisted of pieces in the style of the brilliant Viennese school, concertos by Hummel and brilliant works by his former teacher Czerny. It was exactly in this style in which also his own published works of the time were written. Liszt's Bride fantasy, composed in the beginning of 1829, can be regarded as his last work of that style.

The virtuoso years

In 1832, Liszt started piano practising and composing again. According to a letter to Princess Belgiojoso of October 1839, it had been his plan to grow as artist so that in the beginning of 1840 he could start a musical career.^[33] While much happened which Liszt could not predict, such as the development of his relation with Marie d'Agoult and the Thalberg encounter, his guess concerning his own development turned out to be correct. During winter 1839-40 he began a career as a travelling virtuoso. In a letter to Marie d'Agoult of December 9, 1839, he wrote that he had made an admirable start.^[34]

During the early 1830s, some of Liszt's contemporaries called him a charlatan performer, a poor actor from the provinces who wanted to achieve an effect at any cost.^[35] He would contort his face pretending to feel emotions; looking to heaven, he tried to act as if seeking inspiration from above.^[36] When playing the first movement of Beethoven's Sonata op.27/2 ("Moonlight"), he added cadenzas, tremolos and trills. By changing the tempo between Largo and Presto, he turned Beethoven's Adagio into a dramatic scene.^[37] In his Baccalaureus letter to George Sand from the beginning of 1837, Liszt admitted that he had done so for the purpose of gaining applause. He promised he would from now on follow both the letter and the spirit of a score.^[38] However, as soon as he had left Paris, it turned out that not much had changed. Especially in Vienna he was praised for the "creativity" with which he "interpreted" the music he played, finding effects of which the composer himself had had no idea.^[39]

During the tours of the 1840s, Liszt's heyday as a performer, his technical skills were never in dispute. But he was merely considered a fashionable virtuoso entertainer lacking inspiration. While Thalberg's fame as a composer was very strong and even Theodor Döhler was quite well recognized, nothing of this kind can be said of Liszt. An example is a review in London's Musical world of Liszt's Fantasy on "Robert le Diable": "We can conceive no other utility in the publication of this piece, than as a diagram in black and white of M. Liszt's extraordinary digital dexterity."^[40] The Leipziger Allgemeine musikalische Zeitung, in a review of the Sonnambula-fantasy, opined that it was at least not to be feared that any other artist would follow Liszt on his adventurous path.^[41]

Later years

As soon as Liszt's career as a traveling virtuoso had ended, he himself took a critical point of view regarding his former concert activities. Much of his critique can be found in his book about Chopin. According to this, persons had not attended his concerts for the purpose of listening to his music, but in order to have attended them and to be able to talk about them as social events. A couple of measures of a waltz and a furtive hint at an emotion had been enough for them.

Consequently, Liszt's interpretive approach became more severe. He still played virtuoso works and smaller character pieces with a great deal of freedom. However, he now played major masterworks, particularly those of Beethoven and Chopin, with a sincere fidelity - in sharp contrast with his previous approach. Moreover, he insisted upon this fidelity in his masterclasses, as well.^[42]

For example, on one occasion, Liszt performed Beethoven's Hammerklavier Sonata, and Berlioz followed from the audience with the score on his lap. Berlioz declared that Liszt had not added or altered a single note.

Liszt's virtuosity and technical innovations

Perhaps the best indication of Liszt's piano-playing abilities comes from his Douze Grandes Etudes and early Paganini Studies, written in 1837 and 1838 respectively, and described by Schumann as "studies in storm and dread designed to be performed by, at most, ten or twelve players in the world". To play these pieces, a pianist must connect with the piano as an extension of his own body (Walker, 1987).

Liszt claimed to have spent ten or twelve hours each day practising scales, arpeggios, trills and repeated notes to improve his technique and endurance. All of these piano techniques were frequently applied in his compositions, often resulting in music of extreme technical difficulty (his Transcendental Etude No.5 "Feux follets" is an example). He would challenge himself and his immaculate fingering by presenting random problems to his playing.

Perhaps a large contributing factor to Liszt's affinity for extreme technical difficulty was the structure of his own hands. An original 19th century plaster cast of Liszt's right hand has been reproduced, and is now held in the Liszt House at Marienstrasse 17 (also known as the Liszt Museum). The plaster cast reveals that while Liszt's fingers were undoubtedly slender, they were of no exceptionally abnormal length. However, the small "webbing" connectors found between the fingers of any normal hand were practically nonexistent for Liszt. This allowed the composer to cover a much wider span of notes than the average pianist, perhaps even up to 12 whole steps.

During the 1830s and 1840s — the years of Liszt's "transcendental execution" — he revolutionised piano technique in almost every sector. Figures like Anton Rubinstein, Paderewski and Rachmaninoff turned to Liszt's music to discover the laws which govern the keyboard.

While revolutionary and famously spectacular, Liszt's playing was far from mere flash and acrobatics. He also was reported to have played with a depth and nobility of feeling that would move sturdy men to tears. It seems that this quality to his playing may have continued to develop during his life, overtaking the youthful fire and bravura. Indeed, reports of his playing in old age include observations that it was surprisingly and distinctly subtle and poetic, with great purity of tone and effortlessness of execution; in contrast to the more tumultuous so-called "Liszt school" of playing, which by then had already started to become traditional in Europe. Examination of the late piano works seems to back up this expressive requirement, where the composer deliberately rejects the showiness of his earlier works.

Liszt was also a brilliant sight reader and stunned Edvard Grieg in the 1870s by playing his Piano Concerto perfectly by sight from manuscript. The year before, Liszt played Grieg's violin sonata from sight. Decades earlier Liszt had played Chopin's studies at sight, again from manuscript, prompting Chopin to write that he was consumed by envy, and wished to steal from Liszt his manner of playing his own pieces.

Musical works

Main article: Musical works of Franz Liszt

See also: List of compositions by Franz Liszt (S.1 - S.350) and List of compositions by Franz Liszt (S.351 - S.999)

The sound of the fountains of the famous garden of Villa d'Este inspired Liszt to write a piano piece called "Jeux d'eau à la Villa d'Este". The villa and the portrait of the composer can be seen in the same image made by István Orosz

Liszt was a prolific composer. Most of his music is for the piano and much of it requires formidable technique. His thoroughly revised masterwork, Années de Pèlerinage ("Years of Pilgrimage") includes arguably his most provocative and stirring pieces. This set of three suites ranges from the virtuosity of the Suisse Orage (Storm) to the subtle and imaginative visualisations of artworks by Michaelangelo and Raphael in the second set. Années contains some pieces which are loose transcriptions of Liszt's own earlier compositions; the first "year" recreates his early pieces of Album d'un voyageur, while the second book includes a resetting of his own song transcriptions once separately published as Tre sonetti di Petrarca ("Three sonnets of Petrarch"). The relative obscurity of the vast majority of his works may be explained by the immense number of pieces he composed. (Leslie Howard has recorded Liszt's entire output for solo piano for Hyperion Records. The project entails 95 full-length CDs, and is the longest in recording history.)

In his most famous and virtuosic works, he is the archetypal Romantic composer. Liszt pioneered the technique of thematic transformation, a method of development which was related to both the existing variation technique and to the new use of the Leitmotif by Richard Wagner.

Liszt's piano works are usually divided into two classes. On the one hand, there are "original works", and on the other hand "transcriptions", "paraphrases" or "fantasies" on works by other composers. Examples for the first class are works such as the piece Harmonies poétiques et religieuses of May 1833 and the Piano Sonata in B minor. Liszt's transcriptions of Schubert songs, his fantasies on operatic melodies, and his piano arrangements of symphonies by Berlioz and Beethoven are examples for the second class. As special case, Liszt also made piano arrangements of own instrumental and vocal works. Examples of this kind are the arrangement of the second movement "Gretchen" of his Faust Symphony and the first "Mephisto Waltz" as well as the "Liebesträume" and the two volumes of his "Buch der Lieder".

Transcriptions

Liszt's composing music on music, being taken as such, was nothing new. Nevertheless, Liszt invested a particular kind of creativity. Instead of just overtaking original melodies and harmonies, he ameliorated them. In case of his fantasies and transcriptions in Italian style, there was a problem which was by Wagner addressed as "Klappern im Geschirr der Perioden".^[43] Composers such as Bellini and Donizetti knew that certain forms, usually periods of eight measures, were to be filled with music. Occasionally, while the first half of a period was composed with inspiration, the second half was added with mechanical routine. Liszt corrected this by modifying the melody, the bass and - in cases - the harmonies.

Many of Liszt's results were remarkable. The Sonnambula-fantasy for example, a concert piece full of charming melodies, could certainly not have been composed either by Bellini or by Liszt alone. Outstanding examples are also the Rigoletto-Paraphrase and the Faust-Walzer. The most delicate harmonies in parts of those pieces were not invented by Verdi and Gounod, but by Liszt. Hans von Bülow admitted, that Liszt's transcription of his Dante Sonett "Tanto gentile" was much more refined than the original he himself had composed.^[44]

Original songs

Franz Liszt composed about six dozen original songs with piano accompaniment. In most cases the lyrics were in German or French, but there are also some songs in Italian and Hungarian and one song in English. Lizst began with the song "Angiolin dal biondo crin" in 1839, and by 1844 had composed about two dozen songs. Some of them had been published as single pieces. In addition, there was a 1843-1844 series "Buch der Lieder" which had been projected for three volumes, consisting of six songs each.

Although Liszt's early songs are seldom sung, they show him in much better light than works such as the paraphrase "Gaudeamus igitur" and the Galop after Bulhakow, both composed in 1843. The transcriptions of the two volumes of the "Buch der Lieder" can be counted among Liszt's finest piano works.^[45] However, the contemporaries had much to criticise with regard of the style of the songs. Further critical remarks can be found in Peter Raabe's Liszts Schaffen.

Today, Liszt's songs are nearly entirely forgotten. As an exception, most frequently the song "Ich möchte hingehen" is cited. It is because of a single bar, most resembling the opening motif of Wagner's "Tristan und Isolde". While it is commonly claimed that Liszt wrote that motif ten years before Wagner started work on his masterpiece^[46], it has turned out that this is not true: the original version of "Ich möchte hingehn" was composed in 1844 or 1845. There are four manuscripts, and only a single one, a copy by August Conradi, contains the said bar with the Tristan motif. It is on a paste-over in Liszt's hand. Since Liszt was in the second half of 1858 preparing his songs for publication, and he just at that time received the first act of Wagner's Tristan, it is most likely that the version on the paste-over was a quotation from Wagner.^[47]. This is not to say, the motif was originally invented by Wagner. An earlier example can be found in bar 100 of Liszt's Ballade No.2 in B Minor for piano, composed in 1853.^[48]

Programme music

Liszt, in some of his works, supported the idea of programme music - that is, music intended to evoke extra-musical ideas. By contrast, absolute music (a radical new idea in the 19th century world of music) stands for itself and is intended to be appreciated without any particular reference to the outside world.

Liszt's own point of view regarding programme music can for the time of his youth been taken from the preface of the Album d'un voyageur (1837). According to this, a landscape could evoke a certain kind of mood. Since a piece of music could also evoke a mood, a mysterious resemblance with the landscape could be imagined. In this sense the music would not paint the landscape, but it would match the landscape in a third category, the mood.

In July 1854 Liszt wrote his essay about Berlioz and the Harold-Symphony that stated that not all music was programme music. If, in the heat of a debate, a person would go so far as to claim the contrary, it would be better to put all ideas of programme music aside. But it would be possible to take means like harmony, modulation, rhythm, instrumentation and others in order to let a musical motif endure a fate.^[49] In any case, a program should only be added to a piece of music if it was necessarily needed for an adequate understanding of that piece.

Still later, in a letter to Marie d'Agoult of November 15, 1864, Liszt wrote:

Without any reserve I completely subscribe the rule of which you so kindly want to remind me, that those musical works which are in a general sense following a programme must take effect on imagination and emotion, independent of any programme. In other words: All beautiful music must be first rate and always satisfy the absolute rules of music which are not to be violated or prescribed.^[50]

Late works

See also: Late works (Liszt)

With some works from the end of the Weimar years Liszt drifted more and more away from the musical taste of his time. An early example is the melodrama "Der traurige Mönch" ("The sad monk") after a poem by Nikolaus Lenau, composed in the beginning of October 1860. While in the 19th century harmonies were usually considered as major or minor triads to which dissonances could be added, Liszt took the augmented triad as central chord.

More examples can be found in the third volume of Liszt's Années de Pèlerinage. "Les Jeux d'Eaux à la Villa d'Este" ("The Fountains of the Villa d'Este"), composed in September 1877, foreshadows the impressionism of pieces on similar subjects by Debussy and Ravel. However, other pieces such as the "Marche funèbre, En mémoire de Maximilian I, Empereur du Mexique" ("Funeral march, In memory of Maximilian I, Emperor of Mexico")^[51] composed in 1867 are without stylistic parallel in the 19th and 20th centuries.

At a later stage Liszt experimented with "forbidden" things such as parallel 5ths in the "Csárdás macabre"^[52] and atonality in the Bagatelle sans tonalité ("Bagatelle without Tonality"). In the last part of his "2de Valse oubliée" ("2nd Forgotten waltz") Liszt composed that he could not find a lyrical melody. Pieces like the "2nd Mephisto-Waltz" are shocking with nearly endless repetitions of short motives. Also characteristic are the "Via crucis" of 1878 as well as pieces such as the two Lugubre Gondola pieces, Unstern! and Nuages Gris of the 1880s.

Literary works

Besides his musical works, Liszt wrote essays about many subjects. Most important for an understanding of his development is the article series "De la situation des artistes" ("On the situation of the artists") which 1835 was published in the Parisian Gazette musicale. In winter 1835-36, during Liszt's stay in Geneva, about half a dozen further essays followed. One of them which should have been published under the name "Emm Prym" was about Liszt's own works. It was sent to Maurice Schlesinger, editor of the Gazette musicale. Schlesinger, however, following an advice of Berlioz, did not publish it.^[53] In the beginning of 1837, Liszt published a review of some piano works of Sigismond Thalberg. The review evoked a huge scandal^[54]. Liszt also published a series of writings titled "Baccalaureus letters", ending in 1841.

During the Weimar years, Liszt wrote a series of essays about operas, leading from Gluck to Wagner. Besides, Liszt wrote essays about Berlioz and the symphony "Harold in Italy", Robert and Clara Schumann, John Field's nocturnes, songs of Robert Franz, a planned Goethe foundation at Weimar, and other subjects. In addition to these essays, Liszt wrote a book about Chopin as well as a book about the Gypsies and their music in Hungary.

While all of those literary works were published under Liszt's name, it is not quite clear which parts of them he had written himself. It is known from his letters that during the time of his youth there had been collaboration with Marie d'Agoult. During the Weimar years it was the Princess Wittgenstein who helped him. In most cases the manuscripts have disappeared so that it is difficult to decide which of Liszt's literary works actually were works of his own. However, until the end of his life it was Liszt's point of view that it was he who was responsible for the contents of those literary works.

Liszt also worked until at least 1885 on a treatise for modern harmony. Pianist Arthur Friedheim, who also served as Liszt's personal secretary, remembered seeing it among Liszt's papers at Weimar. Liszt told Friedheim that the time was not yet ripe to publish the manuscript, titled Sketches for a Harmony of the Future. Unfortunately, this treatise has been lost.

Legacy

Liszt's students

Early students

Liszt was one of the most noted teachers of the 19th century. This part of his career commenced after in August 1827 his father had died. For the purpose of earning his own and his mother's living, Liszt gave lessons in composition and piano playing. According to a letter to Monsieur de Mancy of December 23, 1829, he was so full of lessons that each day, from half-past eight in the morning till 10 at night, he had scarcely breathing time.^[55] Most of Liszt's students of this period were amateurs, but there were also some who made a professional career. An example for the first kind is Valerie Boissier, the later Comtesse de Gasparin. Examples for the second kind are Pierre Wolff and Hermann Cohen. During winter 1835-36 they were Liszt's colleagues at the Conservatoire at Geneva. Wolff then went to St. Petersburg.

Cohen, who from George Sand received the nickname "Puzzi", developped to a very successful pianist. Of Jewish origin, he was baptized on August 28, 1847. On this day he experienced what he called an "apparition" of Christ, Mary and the saints in an "ecstasy of love". A year later he became novice of a Carmelite convent. When on October 7, 1850, he was professed, he took the name Père Augstin-Marie du Très Saint Sacrament ("Pater Augustin-Mary of the Holiest Sacrament"). On April 19, 1851, he was ordained as priest. In spring 1862 he met Liszt in Rome. After colloquies with Pater Augustin, Liszt decided that he would himself become ecclesiastic.^[56]

During the years of his tours Liszt gave only few lessons. Examples for students of this period are Johann Nepumuk Dunkl and Wilhelm von Lenz. Dunkl received lessons from Liszt during winter 1839-40. He had introduced him himself with playing Thalberg's Fantasy op.6 on melodies from Meyerbeer's opera "Robert le diable". Liszt later called him a "Halbschüler" ("half-student"). Lenz, from St. Petersburg, had met Liszt already at end of 1828. In summer 1842 he was in Paris again where he received further lessons from Liszt. He was merely an amateur with an repertoire of pieces such as Chopin's Nocturne op.9/2. In spring 1844, in Dresden, Liszt met the young Hans von Bülow, his later son in law. Bülow's repertoire included Thalberg's Fantasy "La Donna del Lago" op.40 and Liszt's Sonnambula-Fantasy.

Later students

Since Liszt had settled in Weimar, the number of those who received lessons from him was steadily increasing. Until his death in 1886 there will have been several hundreds of persons who in this or that sense may have been regarded as his students. August Göllerich published a voluminous catalogue of them.^[57] In a note he added the remark that he had taken the connotation "student" in its widest sense. As consequence, his catalogue includes names of pianists, violinists, cellists, harpists, organists, composers, conductors, singers and even writers. Another catalogue was prepared by Carl Lachmund. In Lachmund's catalogue his own wife's name, missing in Göllerich's catalogue, is included. She had sucessfully persuaded Liszt to listen to her playing the harp. After she had played a single piece, without Liszt had said a word to it, she was by her husband nominated as Liszt's student.

The following catalogue by Ludwig Nohl, headed with "Die Hauptschüler Liszts" ("Liszt's main students"), was in September 1881 approved and, with regard to the order of the names, corrected, by Liszt.^[58]

In 1886 a similar catalogue would have been much longer, including names such as Eugen d'Albert, Walter Bache, Carl Lachmund, Moriz Rosenthal, Emil Sauer, Alexander Siloti, Conrad Ansorge, William Dayas, August Göllerich, Bernhard Stavenhagen, August Stradal, István Thomán and further ones.

Nohl's catalogue was by far not complete, and this even when the restriction to the period since the Weimar years is neglected. Of Liszt's Hungarian students, for example, only Antal Siposs and Ilonka Ravasz were mentioned. Siposs had become Liszt's student in 1858 in Weimar, after Liszt had heard him playing at a concert and invited him. In 1861 Siposs returned to Budapest, where in 1875 he founded a music school.^[59] Ilonka Ravasz was since winter 1875-76 one of Liszt's most gifted students at the newly founded Royal Academy for Music at Budapest. Astonishingly, the names of Aladár Juhász and Károly Aggházy are missing in Nohl's catalogue, although both had been among Liszt's favourite students at the Hungarian Academy.

Also missing are the names of Agnes Street-Klindworth and Olga Janina. Agnes Street-Klindworth had in 1853 arrived in Weimar, where she received lessons in piano playing from Liszt and lessons in composition from Peter Cornelius. Until 1861 she was Liszt's secret mistress. Olga Janina had joined the circle around Liszt in 1869 in Rome. According to Liszt's impression, she had rare and admirable musical talents.^[60] In his presence, she performed his piano concertos in E-flat and A Major as well as further ones of his works.

Unfortunately, Olga Janina fell in love for Liszt. They had a short affaire, until in spring 1871 - on Liszt's initiative - they separated. Olga went to America, but in spring 1873 returned to Budapest. In a telegram to Liszt she had announced that she would kill him. After three adventurous days together with Liszt in an apartment in Budapest she left.^[61] Together with Liszt's student Franz Servais she first went to Belgium where she gave concerts which were brilliant successes. She then, together with Servais, went to Italy.

During the 1870s Olga Janina wrote several scandal books about Liszt, among them the novel Souvenirs d'une Cosaque, published under the pseudonym "Robert Franz". In Göllerich's catalogue of Liszt's students she is registered as "Janina, Olga, Gräfin (Marquise Cezano) (Genf)". Thus she may have changed her name and moved to Geneva. Taking the preface of her Souvenirs d'üne Cosaque literally, she had first moved from Italy to Paris where she had lived in poverty. The last paragraph of the preface can be read as dedication to Liszt.

Besides Liszt's master students there was a crowd of those who could at best reach only moderate abilities.^[62] In such cases, Liszt's lessons changed nothing.^[63] However, also several of Liszt's master students were disappointed of him.^[64] An example is Eugen d'Albert, who in the end was on nearly hostile terms with Liszt.^[65] The same must be said of Felix Draeseke who had joined the circle around Liszt at Weimar in 1857, and who during the first half of the 1860s had been one of the most prominent representatives of the New German School. In Nohl's catalogue he is not even mentioned. Also Hans von Bülow, since the 1860s, had more and more drifted towards a direction which was not only different from Liszt's, but opposite to it

According to August Stradal, some of Liszt's master students had claimed that Anton Rubinstein was a better teacher than Liszt.^[66] It might have been meant as allusion to Emil Sauer, who had in Moscow studied with Nikolai Rubinstein. During a couple of months in summers 1884 and 1885 he studied with Liszt at Weimar. When he for the first time arrived, he already was a virtuoso of strongest calibre who shortly before had made a concert tour through Spain. The question whether there was any change in his playing after he had studied with Liszt, remains open. According to his autobiography Meine Welt, he had found it imposing when Arthur Friedheim was thundering Liszt's Lucrezia-Fantasy. Regarding Liszt's playing a Beethoven Sonata, however, he wrote, Liszt had at least given a good performance as actor. As his opinion, Sauer had told his fellow students that Anton Rubinstein was a greater composer than Liszt.^[67] In Sauer's own compositions, a piano concerto, two sonatas, about two and a half dozens of Etudes and several concert pieces, no influence of Liszt as composer of the 1880s can be recognized.

Liszt's teaching approach

Liszt offered his students little technical advice, expecting them to "wash their dirty linen at home," as he phrased it. Instead, he focused on musical interpretation with a combination of anecdote, metaphor and wit. He advised one student tapping out the opening chords of Beethoven's Waldstein Sonata, "Do not chop beefsteak for us." To another who blurred the rhythm in Liszt's Gnomenreigen (usually done by playing the piece too fast in the composer's presence): "There you go, mixing salad again." Liszt also wanted to avoid creating carbon copies of himself; rather, he believed in preserving artistic individuality.^[68]

There were some pieces which Liszt famously refused to hear at his masterclasses. Among them were Carl Tausig's transcription of J. S. Bach's organ Toccata and Fugue in D Minor, and Chopin's Scherzo No. 2 in B-flat minor. Liszt also did not like to hear his own Polonaise No. 2 in E Major, as it was overplayed and frequently badly played.

Liszt did not charge for lessons. He was troubled when German newspapers published details of pedagogue Theodor Kullak's will, revealing that Kullak had generated more than one million marks from teaching. "As an artist, you do not rake in a million marks without performing some sacrifice on the altar of Art," Liszt told his biographer Lina Ramann. He also wrote the Allgemeine musikalische Zeitung, urging Kullak's sons to create an endowment for needy musicians, as Liszt himself frequently did.^[24]

Royal Academy of Music at Budapest

Since the early 1860s there were attempts of some of Liszt's Hungarian contemporaries to have him settled with a position in Hungary. In January 1862, in Rome, Liszt received a letter by Baron Gábor Prónay, since 1850 President of a Conservatory in Pest. Baron Prónay offered Liszt the position as President. When in 1867 the Conservatory became "Ungarisches National Konservatorium" ("Hungarian National Conservatory"), Baron Prónay still tried to persuade Liszt to take the leadership.^[69] Liszt, however, in letters to Baron Prónay and further ones of his Hungarian contemporaries explained that his career as virtuoso and as conductor had finally ended. If he took a position in Hungary, it would be solely for the purpose of spreading his own compositions, his Oratorios and his symphonic works. Besides, as soon as he left Rome, it was his duty to spend some months of the year in Weimar. The Grand Duc had for several times asked for it.^[70]

In 1871 the Hungarian Prime Minister Gyula Andrássy made a new attempt. In a writing of June 4, 1871, to the Hungarian King^[71] he demanded an annual rent of 4,000 Gulden and the rank of a "Königlicher Rat" ("Councellor of the King") for Liszt, who in return would permanently settle in Budapest, directing the orchestra of the National Theatre as well as music schools and further musical institutions. With decision of June 13, 1871, the King agreed.^[72] By that time there were also plans of the foundation of a Royal Academy for Music at Budapest, of which the Hungarian state should be in charge. The Royal Academy is not to be confused with the National Conservatory which still existed. The National Conservatory, of which the city Budapest was in charge, was until his death in 1875 directed by Baron Prónay. His successor was Count Géza Zichy.

The plan of the foundation of the Royal Academy was in 1871 refused by the Hungarian Parliament, but a year later the Parliament agreed. Liszt was ordered to take part in the foundation. In March 1875 he was nominated as President. According to his wishes, the Academy should have been opened not earlier than in late autumn 1876. However, the Academy was officially opened already on November 14, 1875. Since it was Liszt's opinion that his colleagues Franz Erkel, the director, Kornél Ábrányi and Robert Volkmann could quite well do this job without him, he was absent. He arrived on February 15, 1876, in Budapest. On March 2 he started giving lessons, and on March 30 he left. The main purpose of his coming to Budapest had been a charity concert on March 20 in favour of the victims of a flood.

In November 1875, 38 students had passed the entrance examinations. 21 of them wanted to study piano playing, the others composition. Details of the entrance exainations are known from an account by Károly Swoboda (Szabados), one of Liszt's first students at the Royal Academy.^[73] According to this, candidates for a piano class had to play a single piano piece of their own choice. It could be a sonata movement by Mozart, Clementi or Beethoven. The candidates then had to sight read an easy further piece. Candidates for a composition class had to reproduce and continue a given melody of 4, 5 or 8 bars, after Volkmann had played it for about half a dozen times to them. Besides, they had to put harmonies to a given bass which was written on a table.

After Liszt had arrived, he selected 8 students for his class for advanced piano playing. To these came Áladár Juhász as the most outstanding one. As exception, he was to study piano playing only with Liszt.^[74] The others were matriculated as students of Erkel, since it was him from whom they would receive their lessons during Liszt's absence. Erkel also gave lessons in specific matters of Hungarian music. Volkmann gave lessons in composition and instrumentation. Ábrányi gave lessons in music aesthetics and harmony theory. Liszt had wished that there should have been a class for sacral music, leaded by Franz Xaver Witt. He had also wished that Hans von Bülow should take a position as piano professor. However, neither Witt nor Bülow agreed.

In spite of the conditions under which Liszt had in June 1871 been appointed as "Königlicher Rat", he neither directed the orchestra of the National Theatre, nor did he permanently settle in Hungary.^[75] As usual case, he arrived in mid-winter in Budapest. After one or two concerts of his students by the beginning of spring he left. He never took part in the final examinations, which were in summer of every year. Most of his students were still matriculated as students of either Erkel or later Henrik Gobbi. Some of them joined the lessons which he gave in summer in Weimar. In winter, when he was in Budapest, some students of his Weimar circle joined him there.

Judging from the concert programs of Liszt's students at Budapest, the standard resembled that of an advanced masterclass of our days. There was a difference, however, with regard to the repertoire. Most works as played at the concerts were works of composers of the 19th century, and many of the composers are now forgotten. As rare exceptions, occasionally a piece of J. S. Bach or Händel was played. Mozart and Haydn, but also Schubert and Weber, were missing. Of Beethoven only a comparatively small selection of his works was played. In typical cases Liszt himself was merely represented with his transcriptions.

The actual abilities Liszt's students at Budapest and the standard of their playing can only be guessed. Liszt's lessons of winter 1877-78 were in letters to Lina Ramann described by Auguste Rennebaum, herself Liszt's student at the Royal Academy. According to this, there had been some great talents in Liszt's class. However, the abilities of the majority had been very poor.^[76] August Stradal, who visited Budapest in 1885 and 1886, took the same point of view.^[77] In contrast to this, Deszö Legány claimed, much in Stradal's book was nonsense, taken from Stradal's own fantasy.^[78] Legány's own reliability, however, is not beyond doubt since many of his attempts of whitewashing Liszt and - even more - the Hungarian contemporaries are too obvious. Margit Prahács shared and supported Stradal's view. Her quotations from the contemporary Hungarian press show that much of Stradal's critique had been true. Concerning Liszt's relation with his Hungarian contemporaries at the end of his life, for example, in spring 1886 the journal Zenelap wrote:

It is solely in Budapest, where musicians are wandering on such high clouds that they hardly take notice when Liszt is among them.^[79]

In 1873, at the occasion of Liszt's 50th anniversary as performing artist, the city Budapest had installed a "Franz Liszt Stiftung" ("Franz Liszt Foundation"). The foundation was destined to provide stipends of 200 Gulden for three students of the Academy who had shown excellent abilities and especially had achieved progress with regard to Hungarian music. Every year it was Liszt alone who could decide which one of the students should receive the money. He gave the total sum of 600 Gulden either to a single student or to a group of three or more of them, not asking whether they were actually matriculated at the Academy.

It was also Liszt's habit to declare all students who took part in his lessons as his private students. As consequence, nearly none of them paid any charge at the Academy. Since the Academy needed the money, there was a ministerial order of February 13, 1884, according to which all those who took part in Liszt's lessons had to pay an annual charge of 30 Gulden. However, Liszt did not respect this, and in the end the Minister resigned. In fact, the Academy was still the winner, since Liszt gave much money from his taking part in charity concerts.

The lessons in specific matters of Hungarian music turned out as problematic enterprise, since there were different opinions, exactly what Hungarian music actually was. In 1881 a new edition of Liszt's book about the Gypsies and their music in Hungary appeared. According to this, Hungarian music was identical with the music as played by the Hungarian Gypsies. Liszt had also claimed, Semitic people, among them the Gypsies, had no genuine creativity. For this reason, according to Liszt's book, they only adopted melodies from the country where they lived. After the book had appeared, Liszt was in Budapest accused for a presumed spreading of anti-Semitic ideas.^[80] In the following year no students at all wanted to be matriculated for lessons in Hungarian music. According to the issue of July 1, 1886, of the journal Zenelap, this subject at the Hungarian Academy had already a long time ago been dropped.

In 1886 there was still no class for sacral music, but there were classes for solo and chorus singing, piano, violin, violoncello, organ and composition. The number of students had grown to 91 and the number of professors to 14. Since winter 1879-80 the Academy had an own building. In the first floor there was an apartment where since winter 1880-81 Liszt lived during his stays in Budapest. His last stay was from January 30 to March 12, 1886. After Liszt's death Janós Végh, since 1881 vice-president, bacame president. Not earlier than 40 years later the Academy was renamed as "Franz Liszt Akademie". Until then, due to world war I, Liszt's Europe and also his Hungary had died. As main part, the only connection between Franz Liszt and the "Franz Liszt Akademie" thus was the name.

Liszt School of Music Weimar

On June 24, 1872, the composer and conductor Karl Müller-Hartung founded an "Orchesterschule" ("Orchestra School") at Weimar. Although Liszt and Müller-Hartung were on friendly terms, Liszt took no active part in that foundation. The "Orchesterschule" later developped to a conservatory which still exists and is now called "Franz Liszt Hochschule".

Media

See also

• List of compositions by Franz Liszt (S.1 - S.350)
• List of compositions by Franz Liszt (S.351 - S.999)
• Category:Compositions by Franz Liszt
• Symphonic Poems (Liszt)
• War of the Romantics
• Hungarian wikipedia

References

Bibliography

• Bory, Robert: Une retraite romantique en Suisse, Liszt et la Comtesse d'Agoult, Lausanne 1930.
• Burger, Ernst: Franz Liszt, Eine Lebenschronik in Bildern und Dokumenten, München 1986.
• Franz, Robert (i. e. Janina, Olga): Souvenirs d'une Cosaque, Deuxième édition, Paris 1874.
• Göllerich, August: Musikerbiographien, Achter Band, Liszt, Zweiter Theil, Reclam, Leipzig, without date (1887-88).
• Hamburger, Klara (ed.): Franz Liszt, Beiträge von ungarischen Autoren, Budapest 1978.
• Hamilton, Kenneth (ed.) The Cambridge Companion to Liszt, Cambridge University Press, 2005.
• Jerger, Wilhelm (ed.): The Piano Master Classes of Franz Liszt 1884-1886, Diary Notes of August Göllerich, translated by Richard Louis Zimdars, Indiana University Press 1996.
• Legány, Deszö: Franz Liszt, Unbekannte Presse und Briefe aus Wien 1822-1886, Wien 1984.
• Legány, Dezsö: Ferenc Liszt and His Country, 1869-1873, Occidental Press, Budapest 1983.
• Legány, Dezsö: Ferenc Liszt and His Country, 1874-1886, Occidental Press, Budapest 1992.
• Liszt, Franz: Briefwechsel mit seiner Mutter, edited and annotated by Klara Hamburger, Eisenstadt 2000.
• Liszt, Franz and d'Agoult, Marie: Correspondence, ed. Daniel Ollivier, Tome I: 1833-1840, Paris 1933, Tome II: 1840-1864, Paris 1934.
• Nohl, Ludwig: Musikerbiographien, Vierter Band, Liszt, Erster Theil, Reclam, Leipzig, without date (1881-82).
• Ollivier, Daniel: Autour de Mme d’Agoult et de Liszt, Paris 1941.
• Prahács, Margit (ed.): Franz Liszt, Briefe aus ungarischen Sammlungen, 1835-1886, Budapest 1966.
• Prahács, Margit: Franz Liszt und die Budapester Musikakademie, in: Hamburger (ed.): Franz Liszt, Beiträge von ungarischen Autoren, p.49ff.
• Raabe, Peter: Liszts Schaffen, Cotta, Stuttgart und Berlin 1931.
• Ramann, Lina: Lisztiana, Erinnerungen an Franz Liszt in Tagebuch­blättern, Briefen und Doku­men­ten aus den Jah­ren 1873-1886/87, ed. Arthur Seidl, text revision by Friedrich Schnapp, Mainz 1983.
• Rellstab, Ludwig: Franz Liszt, Berlin 1842.
• Saffle, Michael: Liszt in Germany, 1840-1845, Franz Liszt Studies Series No.2, Pendragon Press, Stuyvesant, NY, 1994.
• Sauer, Emil: Meine Welt, Stuttgart 1901.
• Searle, Humphrey: Article Liszt, Franz, in: Sadie, Stanley (ed.): The New Grove Dictionary of Music and Musicians, First Edition, London 1980.
• Steinbeck, Arne: Franz Liszt's approach to piano playing, Ph.D. dissertation, University of Maryland 1971.
• Stradal, August: Erinnerungen an Franz Liszt, Bern, Leipzig 1929.
• Walker, Alan: Franz Liszt, The Virtuoso Years (1811-1847), revised edition, Cornell University Press 1987.
• Walker, Alan: Franz Liszt, The Final Years (1861-1886), Cornell University Press 1997.
• Walker, Alan: Article Liszt, Franz, in: Sadie, Stanley (ed.), The New Grove Dictionary of Music and Musicians, Second Edition, London 2001).

External links

• Franz Liszt at the Open Directory Project
• Free scores by Franz Liszt in the International Music Score Library Project
• Works by Franz Liszt at Project Gutenberg