Wikipedysta:Sqbell/brudnopis2

 Osobny artykuł: Życie Franciszka Liszta.

Dzieciństwo i lata młodzieńcze (1811-1830) edytuj

Franciszek Liszt urodził się 22 października 1811 roku w małej wiosce Doborján (obecnie Raiding) nieopodal miasta Sopron, ówcześnie znajdującej się na terytorium Królestwa Węgierskiego (obecnie terytorium Austrii). Był synem Węgra, Adama Liszta, zarządcy w Dolorján i Austriaczki Anny Lager, córki kramarza. Marzeniem ojca było zostać muzykiem. Umiał grać na gitarze, fortepianie i wielu instrumentach smyczkowych, otrzymał podstawowe wykształcenie muzyczne, znał również osobiście Haydna, Cherubiniego i Hummla, powody natury finansowej uniemożliwiły mu jednak całkowite poświęcenie się muzyce.

Franciszek od najmłodszych lat wykazywał zainteresowanie muzyką. Już w wieku 6 lat uważnie słuchał gry ojca na pianinie. Adam wcześnie rozpoznał talent muzyczny syna i zaczął go uczyć gry na pianinie gdy ten miał lat 7^[2]. Dwa lata później Franciszek Liszt wystąpił w pierwszym publicznym koncercie w Sopron. Zagrał wtedy z orkiestrą koncert Es-dur Riesa^[3]. 26 listopada 1820 roku odbył się koncert w pałacu księcia Michała Esterházy w Preszburgu, dzięki któremu młody wirtuoz uzyskał od węgierskich magnatów środki na dalszą naukę zagranicą.

Wiedeń edytuj

Z całą rodziną, Liszt wyruszył do Wiednia, gdzie pobierał nauki u Karola Czerny'ego, ucznia Beethovena i Hummla. Kompozycji uczył Franciszka Antonio Salieri, autor ponad 40 oper. 1 grudnia 1822 odbył się wiedeński debiut Liszta w "Landständischer Saal" wraz ze skrzypkiem Leonem de St. Lubin i śpiewaczką Karoliną Unger. W programie koncertu zawarte były: Uwertura Clementiego, Koncert fortepianowy a-moll Hummla, Wariacie Rodego, Aria z Demetrio e Polybio Rossiniego, dowolna improwizacja na fortepianie. Koncert spotkał się z gorącym przyjęciem, zachwalano go również w styczniowym wydaniu Allgemeine Musikzeitung z roku 1823. Koncert otworzył drzwi do kręgów arystokracji austriackiej i węgierskiej. 13 kwietnia 1823 roku odbył się drugi koncert Fanciszka. Dzięki zabiegom jego ojca, na koncert przyszedł Beethoven, który po koncercie pocałował młodego Liszta w czoło. ^[4][5]

Paryż edytuj

Jesienią (20 września) 1823 roku Liszt wyruszył z rodziną do Paryża, dając po drodze koncerty w Monachium, Augsburgu, Stuttgarcie i Strassburgu. W Paryżu, do którego dotarł 11 grudnia, chciał pobierać nauki w Konserwatorium Paryskim. Pianista spotkał się z odpowiedzią odmowną z powodu przepisu, który zabraniał cudzoziemcom uczęszczać do tego konserwatorium. Franciszek kontynuował swą naukę kompozycji u Ferdinanda Paera, autora ponad 40 oper, a fortepianu u Antoniego Reichy, nauczyciela Berlioza, Gounoda i Francka.

8 marca 1824 roku, w sali Opery Włoskiej odbył się pierwszy publiczny koncert Liszta w Paryżu. Wydarzenie to przyniosło młodemu artyście sławę i uznanie w stolicy Francji, a przez jednego z recenzentów (A. Martainville'a, w Drapeau Blanc, z 9 marca 1824 roku), "w skutek szczęśliwej wędrówki dusz" został nazwany "wcieleniem Mozarta". ^[6]. Po tym sukcesie, Paer zaczął namawiać swojego ucznia do napisania muzyki do operowego libretta. Wybór Liszta padł na Theaulina, autora ponad trzystu librett operowych. Tytuł libretta brzmiał: Don Sancho ou Le château d'amour (Don Sancho, czyli zamek miłości), a prapremiera opery odbyła się 10 października 1825 roku w Operze w Paryżu.

Londyn edytuj

Do Anglii Liszt pojechał za namową znanego fabrykanta fortepianów, Sebastiana Erarda. Franciszek wraz z ojcem w Londynie pojawili się w maju 1824 roku. 21 czerwca odbył się recital L. w Argyll Rooms, składający się z koncertu Hummla i improwizacji na dowolne tematy. Wokół fortepianu zasiedli, znani mu z granych utworów, Ferdynand Ries, Jan Cramer, Fryderyk Kalkbrenner oraz Clementi, który stwierdził, że "mały Węgier nie ma w danej chwili równego sobie w grze na fortepianie". ^[7]. Po ukończeniu Don Sancho, wczesną jesienią, Franciszek wrócił do Paryża, gdzie odbył turnée m. in. po Francji (Bordeaux, Tuluza, Montpellier, Lyon, Marsylia).

W czerwcu 1825 roku panowie Liszt ponownie wyruszyli do Anglii, tym razem występując nie tylko na zamku w Windsorze, przed królem Jerzym IV ale i w Manchesterze i na prowincji. Jesienią wracają do Paryża, na premierę Don Sancho, która odbyć się miała w Académie Royale de Musique. Utwór przez publiczność przyjęty został z dystansem, recenzje zaś poddawały pod wątpliwość talenty kompozytorskie czternastoletniego muzyka.

Na początku 1826 roku Liszt wyrusza w kolejne turnee po Francji. W Marsylli wydaje swoich 12 etiud na fortepian (Etudes en douze Exercises - opus 1) u Boisselota. Na przełomie 1826 i 1827 wyruszają na turnee po Szwajcarii (Genewa, Brno, Lucerna, Bazylea).

W maju 1827 roku ma miejsce trzecia wyprawa do Anglii, podczas której Liszt, zmęczony życiem w wielkim świecie, przejawia chęć poświęcenia się stanowi duchownemu. W drodze powrotnej, w Boulogne sur Mer, 28 sierpnia 1827 roku zmarł ojciec Liszta.

Paryż edytuj

Dojrzewanie w Paryżu edytuj

Po śmierci ojca, Liszt powrócił do Paryża; przez kolejnych pięć lat mieszkał z matką w małym mieszkaniu przy rue Montholon 7, nieopodal kościoła Saint Vincent de Paul. Zarzucił tournée. By zarabiać na życie, uczył gry na fortepianie i kompozycji, częstokroć od wczesnego rana do późnej nocy. Jego studenci porozrzucani byli po całym mieście co zmuszało Liszta do przemierzania znacznych odległości. Zaczął palić i pić, nałogi te miały mu towarzyszyć przez całe życie^[8][9]

W następnym roku, zakochał się w jednej ze swoich uczennic, Karolinie de Saint-Cricq, córce ministra handlu gabinetu Charlesa X. Romans ten został przerwany przez ojca Karoliny. Liszt ponownie zachorował (opublikowano nawet informację o jego śmierci w gazecie), przeszedł przez okres rozterek duchownych, religijnych i pesymizmu. Ponownie chciał dołączyć do Kościoła, ale został od tego odwiedziony tym razem przez matkę. Postanowił uzupełnić braki w wykształceniu. Czytał rozprawy religijne księdza de Lamennais, dzieła Chateaubrianda, Saint-Simona, Byrona i innych. Wkrótce nawiązał znajomości z wieloma pisarzami i artystami ruchu romantycznego, takich jak na przykład Wiktor Hugo, Lamartine czy Heine.

Lipcowa Rewolucja roku 1830 zainspirowała go do naszkicowania Symfonii Rewolucyjnej, opartej na wydarzeniach tych "trzech wspaniałych dni". Podstawą muzyczną tego nieukończonego nigdy utworu są trzy tematy: słowiańska pieśń husycka, niemiecki chorał i francuska Marsylianka. Manuskrypt zaginął.

4 grudnia 1830 roku, dzień przed premierą Symfonię fantastyczną, poznał Hectora Berlioza, którego muzyka wywarła na nim silne wrażenie. Berlioz, swoją symfonią próbował połączyć ówczesną muzykę z poezją. Tą kompozycją, Berlioz zapoczątkował okres rozwoju muzyki programowej w XIX wieku, poprzez gwałtowne spory na temat zasadniczych zagadnień muzycznych.

W tym czasie wiele rozmawiał z Abbe de Lamennais, który zachowywał się jak jego duchowny ojciec, jak również z Chrétienem Urhanen, wiolonczelistą niemieckiego pochodzenia, który z kolei przedstawił Liszta Saint-Simonists.^[8] Urhan tworzył muzykę, która była anty-klasyczna i wysoce subiektywna(?), z tytułami takimi jak Elle et moi, La Salvation angélique i Les Regrets co mogło przyczynić się do zainteresowania Liszta muzyką romantyczną. Równie ważnym dla niego był mistrz Urhana, Shubert, którego muzyką Liszt darzył oddaniem przez całe życie.^[10]

Paganini edytuj

Po charytatywnym koncercie Niccolò Paganininiego dla ofiar perskiej epidemii cholery, 20 kwietnia 1832 roku Liszt postanowił zostać tak wielkim wirtuozem fortepianu jak Paganini skrzypiec. Paryż lat 30 XIX wieku był niejako centrum pianistów, z wieloma pianistami chcącymi osiągnąć perfekcję i mistrzostwo przy klawiaturze. Jedni, jak Sigismond Thalberg czy Alexander Dreyschock, skupili się na konkretnym aspekcie techniki (w tym przypadku odpowiednio "efektu trzech rąk" i oktaw). Podczas gdy nazywano taką szkołę gry na pianinie "latającymi trapezami", to pokolenie pianistów rozwiązało najtrudniejsze do rozwiązania problemy gry, podnosząc poziom występów do wcześniej niewyobrażalnych poziomów. Siła Liszta i umiejętność wyróżnienia się z tej grupy była w opanowaniu wszystkich aspektów gry na fortepianie, które inni wyrabiali pojedynczo i wytrwale(?).^[11]

W roku 1833 napisał kilka transkryptów dzieł Berlioza, włączając w to Symphonie fantastique. Chciał tym samym pomóc ubogiemu Berliozowi, którego symfonie pozostawały nieznane i nieopublikowane. Liszt samodzielnie pokrył koszty publikacji transkryptów i grał je wielokrotnie, by pomóc spopularyzować oryginalne partytury. ^[12] Zawarł również znajomość z trzecim kompozytorem, który wywarł duży wpływ na twórczość Liszta - Fryderykiem Chopinem; pod jego wpływem, romantyczna i poetycka strona Liszta zaczęła się rozwijać. ^[8]

Hrabina Marie d'Agoult edytuj

W 1833 roku, Liszt poznał Hrabinę d'Agoult. W kwietniu 1834 z kolei poznał Felicité de Lamennais. Pod wpływem obu, kreatywność młodego pianisty rozkwitła. W 1834 roku, zadebiutował jako dojrzały i oryginalny kompozytor z własnymi kompozycjami fortepianowymi Harmonies poetiques et religieuses i zestaw trzech Apparitions. Wszystkie były poetyckie i silnie kontrastowały z jego wcześniejszymi dziełami. ^[8]

W 1835 roku hrabina porzuciła swojego męża i rodzinę a dołączyła do Liszta w Genewie; ich córka, Blandine, urodziła się tam 18 grudnia. Liszt wykładał tam na nowo powstłym genewskim konserwatorium, napisał podręcznik gry na pianinie (który później zaginął)^[13] i pisał eseje dla paryskiej gazety Revue et gazette musicale. W tychże argumentował za powstawaniem artysty ze sługi do szacownego członka społeczeństwa. ^[8]

Przez następne cztery lata Liszt i hrabina żyli razem, głównie w Szwajcarii i Włoszech, gdzie urodziła się im w Como córka, Cosima, z okazjonalnymi wizytami w Paryżu. 9 maja 1939 urodził się jedyny syn Liszta i hrabiny, Daniel ale stosunki pomiędzy dwojgiem rodziców stały się napięte. Liszt słyszał o planach wzniesienia pomnika Beethovena w Bonn. Jednakże z powodu braku funduszy były one zagrożone. Liszt postanowił pomóc a to oznaczało powrót do koncertowania. Hrabina wróciła z dziećmi do Paryża podczas gdy Liszt dawał sześć koncertów w Wiedniu a później wybrał się w turnee po Węgrzech. ^[8]

Koncertujący wirtuoz edytuj

W czasie kolejnych ośmiu lat, Liszt kontynuował turnee po Europie; spędzając wakacje z hrabiną i dziećmi na wyspie Nonnenwerth na Renie. Na wiosnę 1844 rozstali się. Był to najznamienitszy okres Liszta jako pianisty. Jako że koncertował trzy, cztery razy w tygodniu, można określić, że w tym ośmioletnim okresie występował publicznie ponad tysiąckrotnie. Zyskał dużą sławę i był chwalony wszędzie tam, gdzie pojechał. Jego sława jako wirtuoza fortepianu opierała się głównie właśnie na tym okresie. ^[14]

Po 1842, "Lisztomania" przeszła całą Europę. Przyjęcie, z jakim się spotykał można jedynie określić histerycznym. Kobiety walczyło o jego jedwabne chusteczki i aksamite rękawiczki, które rozdzierały na kawałki jako pamiątki. Mesmeryczna osobowość artysty i jego sceniczna postawa tylko podsycały tą atmosferę. Wielu świadków później zeznawało, że gra Liszta przyprawiała publiczność o nastrój niemalże równy mistycznej ekstazie. ^[15]

Na korzyść jego reputacji działał również fakt, że Liszt większość swoich zarobków przekazywał na cele charytatywne. Podczas gdy jego wkład w pomnik Beethovena i Węgierskiej Narodowej Szkoły Muzycznej są powszechnie znane, hojnie przekazywał fundusze również na budowę katedry w Kolonii, założenia gimnazjum w Dortmundzie i Kościoła Leopolda w Pest. Miały również miejsce prywatne datki na szpitale, szkoły i organizacje charytatywne, jak Leipzig Musicians Pension Fund. Kiedy dowiedział się o wielkim pożarze w Hamburgu, który szalał przez trzy tygodnie maja 1842 roku i zniszczył większość miasta, dawał koncerty by pomóc tysiącom bezdomnych hamburczyków. ^[16]

Liszt w Weimarze edytuj

W lutym 1847, Liszt grał w Kijowie. Tam poznał księżną Karolinę Sayn-Wittgenstein, która zdominowała reszt jego życia. Zmusiła go do skupienia się na kompozcji, co znaczyło koniec kariery podróżującego wirtuoza. Po turnee po Bałkanach, Turcji i Rosji, Liszt dał swój finalny koncert w Elisavetgard we wrześniu. Zimę spędził z księżną w jej posiadłości w Woronińcach. ^[17] Rezygnując z koncertowania w wieku 35, w czasie gdy był u wyżyn swoich możliwości, Liszt udanie utrzymał legendy krążąco o jego grze. ^[18]

W nastpnym roku, Liszt przyjął zaproszenie wielkiej księżny Marii Pawłowny by osiąść w Weimarze, gdzie w roku 1842 otrzymał tytuł Kapellmeister Extraordinaire. Pozostali tam do 1861. W czasie tego okresu, był dyrygentem podczas koncertów i specjalych okazji w teatrze. Dawał lekcje wielu pianistom, włączając w to Hansa von Bülowa, który później poślubił córkę Liszta Cosimę w roku 1857 (przed jej późniejszym ślubem z Wagnerem). Pisał również artykuły opowiadające się za Berliozem i Wagnerem. W końcu Liszt miał dostatecznie dużo czasu by komponować i podczas kolejnych 12 lat stworzył bądź poprawił orkiestrowe i chóralne dzieła, z których dziś słynie. Jego starania w imieniu Wagnera, który był wtedy wygnany ze Szwajcarii, skumulowały się w pierwszym wystąpieniu opery Lohengrin w 1850 roku.

Księżna Karolina mieszkała z Lisztem gdy on był w Weimarze. Chciała go poślubić, jednakże ponieważ była zamężna a jej mąż, książe Mikołaj Sayn-Wittgenstein (1812-1864) żył, musiała przekonać władze kościelne, że jej małżeństwo było niepoprawne(invalid?). Po wielu próbach i staraniach, częściowo jej się to udało. Para miała zamiar pobrać się w Rzymie, 22 października 1861 w 50 urodziny Liszta. Ten przybył do Rzymu 21 października a późnym wieczorem księżna odrzuciła prośbę o małżeństwo. Wszystko wskazuje na to, że jej mążowi oraz carowi rosyjskiemu udało się unieważnić pozwolenie na ślub. Rosyjski rząd skonfiskował również wiele jej posiadłości w polskiej(?) Ukrainie, co uczyniło jej kolejne małżeństwo z kimkolwiek niepraktycznym (unfeasable).

Liszt w Rzymie edytuj

Lata 1860 były okresem kilku poważnych katastrof w prywatnym życiu Liszta. 13 grudnia 1859 roku stracił syna Daniela a 3 lata później, 11 września 1862 umarła również jego córka Blandine. W listach do przyjaciół, Franciszek oświadczył, że zacznie żyć w samotności. Znalazł ją w klasztorze Madonna del Rosario, niedaleko Rzymu, gdzie 20 czerwca 1863 roku wynajął kwaterę w spartańskim mieszkaniu. Wcześniej, 23 czerwca 1857 roku przyłączył się do zakonu Franciszkan ^[19] 25 kwietnia 1865 roku tonsurę of Gustawa Hohenlohe i pierwsze z minor orders Kościoła Katolickiego. Trzy następne przyszły 30 lipca. Wtedy Liszt był Porter, Lector, egzorcystą i akolitą. Księżna Karolina chciała przekonać go aby został księdzem, on jednak nie zgodził się. W późniejszych latach wyjaśnił, że chciał zachować resztę jego wolności. ^[20]

Podczas niektórych okazji, Liszt brał udział w życiu muzycznym Rzymu. 26 marca 1863, na koncercie Palazzo Altieri, przewodniczył programowi muzyki kościelnej. "Seligkeiten" jego "Christus-Oratorio" oraz jego "Cantico del Sol di Francesco d'Assisi", jak i "Die Schöpfung" Haydna i dzieła J. S. Bacha, Beethovena, Jornelliego, Mendelssohna i Palestrina były wykonywane. 4 Stycznia 1866 Liszt kierował "Stabat mater" jego "Christus-Oratorio" a 26 lutego 1866 swoją "Symfonię Dantego".

Potrójne życie edytuj

Liszta zaproszono z powrotem do Weimaru w 1869 roku, by wykładać grę na pianinie. Dwa lata później został poproszony o to samo przez Węgierską Akademię Muzyczną w Budapeszcie. Odtąd do końca życia regularnie podróżował pomiędzy Rzymem, Weimarem i Budapesztem, kontynuując "vie trifurquée" lub "potrójne życie", jak to sam nazywał.

Ostatnie lata edytuj

2 lipca 1881 roku Liszt upadł ze schodów hotelu weimarskiego. Pomimo tego, że przyjaciele i znajomi zauważyli opuchlizny na rękach i nogach Liszta, do momentu wypadku był w dobrym zdrowiu. Upadek, który unieruchomił go na osiem tygodni, zmienił to. Wiele dolegliwości dało o sobie znać: puchlina wodna, astma, bezsenność, katarakta lewego oka i chroniczna choroba serca. To ostatnie było powodem śmierci Liszta. Dręczyły go narastające uczucia odosobnienia, rozpaczy i śmierci - uczucia, które wyrażał w pracach z tego okresu. Jak powiedział Linie Ramann: "Noszę w sercu głęboki smutek, który muszę czasami wydobyć(?) muzyką".^[21]

Umarł w Bayreuth, 31 lipca 1886 roku. Oficjalną przyczyną śmierci było zapalenie płuc. Kompozytor Camille Saint-Saens, przyjaciel Liszta, który został kiedyś nazwany przezeń "największym organistą na świecie" zadedykował swoją 3 Symfonię Lisztowi. Jej premiera w Londynie odbyła się ledwie kilka tygodnie przed śmiercią Liszta.

Piano recital edytuj

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.^[22] Also famous is a concert on June 9, 1840, in London. For this occasion, the publisher Frederic Beale suggested the term "recital"^[23] 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 edytuj

Regarding Liszt's solo repertoire, his own catalogue of the works he had played in public during 1838-48^[24] 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.^[25] 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.^[26] 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.^[27]

Performing style edytuj

Early years edytuj

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 edytuj

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.^[28] 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.^[29]

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.^[30] He would contort his face pretending^{[potrzebny przypis]} to feel emotions; looking to heaven, he tried to act as if seeking inspiration from above.^[31] 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.^[32] 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.^[33] 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.^[34]

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."^[35] 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.^[36]

Later years edytuj

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.^[37]

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.

 Osobny artykuł: Musical works of Franz Liszt.

 Zobacz też: List of compositions by Franz Liszt (S.1 - S.350) i List of compositions by Franz Liszt (S.351 - S.999).

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 Michelangelo 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.

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 edytuj

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".^[38] 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.^[39]

Original songs edytuj

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". The series had been projected for three volumes, consisting of six songs each, but only two volumes appeared.

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.^[40] 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^[41], 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.^[42]. 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.^[43]

Programme music edytuj

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.^[44] 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.^[45]

Late works edytuj

 Zobacz też: 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")^[46] 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"^[47] 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.Szablon:Clarifyme 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 Unstern!, Nuages Gris, and the two works entitled La lugubre gondola of the 1880s.

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.^[48] In the beginning of 1837, Liszt published a review of some piano works of Sigismond Thalberg. The review evoked a huge scandal^[49]. 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.

Szablon:Expand-section

Liszt's students edytuj

Early students edytuj

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.^[50] 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", developed 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.^[51]

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 edytuj

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.^[52] 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 successfully 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.^[53]

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.^[54] 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.^[55] 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.^[56] 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.^[57] In such cases, Liszt's lessons changed nothing.^[58] However, also several of Liszt's master students were disappointed of him.^[59] An example is Eugen d'Albert, who in the end was on nearly hostile terms with Liszt.^[60] 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.^[61] 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.^[62] 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 edytuj

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.^[63]

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.^[64]

Royal Academy of Music at Budapest edytuj

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.^[65] 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.^[66]

In 1871 the Hungarian Prime Minister Gyula Andrássy made a new attempt. In a writing of June 4, 1871, to the Hungarian King^[67] 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.^[68] 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.^[69] 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.^[70] 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.^[71] 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.^[72] August Stradal, who visited Budapest in 1885 and 1886, took the same point of view.^[73] In contrast to this, Deszö Legány claimed, much in Stradal's book was nonsense, taken from Stradal's own fantasy.^[74] 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.^[75]

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.^[76] 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 edytuj

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 developed to a conservatory which still exists and is now called "Franz Liszt Hochschule".

Szablon:Multicol

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

• 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).

Zobacz multimedia związane z tematem: Sqbell/brudnopis2

Zobacz kolekcję cytatów {{{dopełniacz}}} w Wikicytatach

• • Franz Liszt – twórczość tego autora dostępna w bibliotece cyfrowej International Music Score Library Project
• Szablon:Gutenberg author
• Lina Ramann's classical Liszt biography at Zeno.org

Szablon:Franz LisztSzablon:Romanticism