Guide Correspondance de Liszt et de Madame dAgoult 1840-1864 (Littérature) (French Edition)

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Since he himself had been applauded in prior concerts in Milan, this could only be considered as proof of the Italian public's lack of education. There were much stronger reactions besides. As consequence, a charity concert which Liszt wanted to give on September 8 had to be cancelled. A concert which he gave on September 10 was boycotted by the leading members of the society.

After those experiences, Liszt never gave a concert in Milan again. Liszt in by Henri Lehmann. In the beginning of Liszt received new invitations for concerts in Vienna. As first reaction he told Marie d'Agoult in furious manners that he had lost all interest in that disgusting virtuoso job. However, a couple of days later he disclosed that he had already made negotiations, reaching far into the year , for concerts in Vienna, in London and in several towns of Germany.

Though Marie d'Agoult's first reaction was fury, the two nevertheless came to a peaceful resolution. Until autumn they made the plan that, commencing in winter , Liszt would for a time of one and a half years give concerts at different places in Europe. He would try to gain as much money as he could. After those one and a half years had ended, he would return with Marie to Italy.

They would settle there, and Liszt would continue composing his masterworks. On May 9, , Liszt's son Daniel was born in Rome, and he started his virtuoso career as father of three children. Daniel had been left behind in Italy where the painter Henri Lehmann took care of him. Liszt first travelled to Venice. Since Marie d'Agoult had given her diary to him, he took his chance and read in full details about her love adventure of spring with Emilio Malazzoni.

From Venice he went to Trieste where he gave concerts on November 5 and During his stay in Trieste, Liszt met Malazzoni again. After they had in friendly terms been talking about the past, Liszt gave Marie d'Agoult's Parisian address to the Count. Malazzoni wrote a letter to her with expressions like, "You have been admirable and admired", which she found even more stupid than the usual custom.

In Trieste, Liszt also met the singer Caroline Ungher. In former times, she had taken part in a concert which Liszt as a boy had on December 1, , given in Vienna. Marie d'Agoult, in letters of winter , suspected that Liszt had had a love affair with the singer. She had shortly before married the French writer Sabatier. On November 19, , Liszt gave a first concert in Vienna. He was afterwards ill for about a week. On and after November 27, Liszt gave further concerts in Vienna. They were huge successes. On December 5, , Liszt performed at an own concert, playing for the first time his Sonnambula-fantasy , and at a " Concert Spirituel " at which he played Beethoven's Concerto in C Minor.

He had learnt both works during the previous night. Liszt also took part in concerts of other artists, among them Camilla Pleyel with whom he had had a love affair several years before. They played a brilliant fantasy for four hands on Rossini's "Wilhelm Tell" by Herz. On December 18 Liszt arrived in Pressburg where he was received as a kind of Hungarian national hero.

After concerts on December 18 and 22 in Pressburg, he proceeded on December 23 to Pest. At a famous event on January 4, , in the theatre of Pest, a group of Hungarian noblemen offered a "sabre of honour" to Liszt. Liszt gave a speech, expressing his deep patriotic emotions. Since German was forbidden in the theatre of Pest, Liszt spoke in French.


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During his stay in Hungary he gave several concerts. One of those concerts was a charity concert in favour of a National Hungarian Conservatory which was to be founded later. Liszt also visited Raiding. On February 1, , Liszt returned to Vienna where he gave further concerts. During the first half of March , he played in Prague. Although until now the success of Liszt's concerts been sensational, his successes decreased after he left the city, travelling to Dresden and Leipzig. Especially in Leipzig, Liszt found an atmosphere of strong hostility.

Schumann , who had met Liszt in Dresden, wrote reviews praising Liszt's concerts. Mendelssohn also tried to save the situation. To help Liszt, he organized a concert on March 30 in the Gewandhaus. Together with Liszt and Ferdinand Hiller , he played a concerto for three pianos by J.

But when Liszt left Leipzig, he had still many enemies there. In the beginning of April , Liszt travelled via Metz to Paris. In letters to Marie d'Agoult he had imagined his return as the triumphant beginning of a new period of his life. As a point of honour, he would give a series of concerts in Paris, earning at least 20, Francs from them.

But after his arrival Liszt learnt that his successes in Vienna, Pest and Prague counted as nearly nothing in Paris. The "sabre of honour" brought less pleasure than pain to him. It evoked a flood of caricatures, sarcastic comments and polemical attacks in the press. Berlioz wrote in an article in the Journal des Debates , "We let Mozart and Beethoven starve to death, while giving a sabre of honour to Mr.

Instead of giving a series of concerts, Liszt gave only a single matinee on April 20 at the Salons Erard. Besides he took part in a concert of sacral music, given by the Princess Belgiojoso. The matinee had had the character of a private concert, since Liszt himself had invited his audience. The sum he had earned in Paris was therefore zero. Even worse, Liszt was in reviews compared with his rival Thalberg , who had arrived in Paris a couple of weeks before Liszt.

Although Thalberg gave no concert he was nevertheless regarded as leading piano virtuoso of the time. In contrast to Liszt, Thalberg was also praised as composer of genius. Marie d'Agoult had the impression that Liszt's personality had changed.

Had he in former times, with words, despised social rankings, his letters of winter had been full of boasting with social successes. It was now his pride that he on his own expenses was dining together with Barons and Princes. The highest standing persons were anxiously waiting whether they were allowed to listen to his divine playing. After his return to Paris he could no longer stand a conversation when he was not praised in most ridiculous exaggerations. Liszt, in a word, had turned into a social climber and was - at moment - behaving like the worst kind of a snob.

Besides, there were rumours of love affairs he had had with innumerable ladies in Vienna and Pest. In the beginning of May Liszt went to London. He had hoped, he could in London gain a victory over Thalberg by earning more money than his rival, but the financial result of his concerts was disappointing. She lived in Richmond , while Liszt was occupied with concerts in London.

During winter , Marie d'Agoult had written an autobiographical manuscript, reflecting her time together with Liszt in Italy. According to the manuscript, after his return from Vienna to Venice in spring Liszt had confessed that he had had love affairs with ladies in Vienna; he had said it would happen again and he couldn't change this. On June 20, , Marie d'Agoult had sent the manuscript together with a letter to Liszt. In the letter she wrote, it would be best for her to live the rest of her life alone. After Liszt had read the letter and the manuscript, he wrote, concerning the manuscript, that Marie had well remembered his words.

But he on his side would never forget, no matter how hard he would try, what she had said to him. With much anger she had called him "Don Juan parvenu". In their previous seven years together they had often experienced like conflicts. After their stay in England they travelled together via Brussels to the Rhineland. For one and a half months, Liszt gave concerts in several towns.

On August 12 Liszt played a charity event in Bonn. On that occasion a committee, responsible for a Beethoven memorial to be erected in summer , received 10, Francs from him. Liszt, who was nominated as an honorary member of the committee, wanted to compose a cantata for the event. As a member of the troupe of Lewis Henry Lavenu he made a tour of England consisting of about 50 concerts covering the length and breadth of the country. Lavenu was the stepson of publisher and violinist Nicolas Mori.

They started on August 17, giving concerts in Chichester and Portsmouth. Six weeks later, the tour ended with concerts on September 25 and 26 in Brighton. The success was only moderate. Lavenu lost a sum worth of 5, - 6, thousand Francs, but he negotiated with Liszt that during winter a second tour would be following. They went for a vacation of two weeks to Fontainebleau and enjoyed another small isle of happiness. In later times both of them claimed, they never had had an idea of a wedding.

But it is known from their letters that during their stay in Fontainebleau they became engaged. Marie d'Agoult, still wedded to her husband Charles, hoped she could follow the recent example of Princess Belgiojoso. The Princess, after several years of living separated from her husband, had just been divorced. Liszt might have thought of still another example. He admired Schumann, who had on September 12, , married Clara Wieck. During the stay in Fontainebleau, Liszt tried to return to his former ideals. He started reading the Bible again and also made new plans concerning his masterworks.

Of the volume "Italie", four pieces on Italian melodies and the "Dante-fragment", an early version of the "Dante-Sonata", had been finished. About two or three additional pieces for the volume "Italie" and the pieces for the volume "Allemagne" were still to be composed. Liszt planned to give concerts from Fontainebleau to Hamburg. After, he would go to Berlin. During the winter he would play in Great Britain, travelling one again with Lavenu's troupe.

In January he would return via Brussels to Paris. Together with Robert and Clara Schumann, they would then play St. In May and June he would give concerts in London. After this last stay, his tours would have ended. Together with Marie d'Agoult he would travel via Geneva to Italy, where a stay with a long fermata would follow. Liszt left on October It was a very fugitive first acquaintance and left no traces.

From Paris, Liszt travelled to Hamburg, arriving on October His first concert was on October The program included some pieces of vocal music, but it turned out that the singers were not allowed to take part in the concert. In a short speech Liszt declared, he would play further solo pieces instead. His second concert, on October 31, was a greater success.

On November 2 he took part in a concert of his pupil Hermann Cohen. While Liszt had planned to leave on November 4 for Berlin, he took his chance in Hamburg, giving an additional "last concert" on November 6. On that day he received a letter by Lavenu according to which he was on November 22 awaited in London.

Por Franz Liszt

Since not enough time was left for a voyage for concerts to Berlin, Liszt gave on November 10 a further "Farewell concert". He afterwards went to Dunkirk where he lived together with Marie d'Agoult for some days. Because of a calm on the Channel , it was not until November 23 that Liszt arrived in Dover. Still another delay occurred, since Liszt missed his train to London. Lavenu's troupe had on November 23 already given a first concert in Reading.

Since Liszt, announced as a superstar, was absent, most of the people in the audience had left in anger. A concert in Newbury , also announced for November 23, was therefore cancelled. Lavenu travelled to London where he met Liszt on November That evening, Liszt arrived in Oxford and took part in his first concert of the tour. During the following months the troupe was with a carriage travelling through ice and snow, usually giving two concerts at different places every day, with Sundays being free.

At large cities such as Dublin they had an easier life. They performed at several concerts and could stay for some days. But this was an exception. After a last concert on January 29, , in Halifax , it turned out that the financial result was catastrophic. Liszt himself had lost a sum of more than 15, Gulden, i. Besides performing at concerts, Liszt had during the tour composed several dozens of pages of music.

In the second half of December, he had remembered Marie d'Agoult's birthday, which was on December For this reason he had made a new version of his transcription of Beethoven's love song "Adelaide". Marie d'Agoult had taken this name five years earlier, after she had in Geneva given birth to her daughter Blandine. During the stay in Hamburg, he had composed the first version of his Lucrezia-fantasy.

The next day he left, travelling to Brussels. Liszt had announced, he would on February 7 or 8 arrive for concerts in Brussels. Liszt had to cross the Channel again and was for a further time late. Much ice was on the sea, and the captain of Liszt's ship had to wait until he could dare to enter the harbour of Ostend. When in the late evening of February 9 Liszt arrived in Brussels, the concert had already ended five hours before.

On March 2 and 4 he gave concerts in Antwerp.

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Life of Franz Liszt - Wikipedia

After a last concert on March 13 in Brussels, Liszt returned to Paris. In comparison with his former plans, he arrived with a delay of two months. His plan of a voyage to St. Petersburg and Moscow was therefore cancelled. The success of Liszt's concerts in Belgium had been sensational. Concerning Liszt's financial result, a Brussels correspondent of the Revue et Gazette musicale estimated, Liszt had earned a sum of 15, - 20, Francs. However, it is uncertain how much of that money Liszt still owned. As soon as he had earned money, he had thrown it away in banquets for admirers and friends.

In a later letter to Marie d'Agoult, of June 19, , Liszt wrote, he had in Brussels still debts of Louis d'ors , i. Liszt's stay in Paris turned out to be his most successful season since his time as child prodigy. His rival Thalberg, who had had announced own concerts in Paris, had changed his plans. He travelled for concerts via Frankfurt-am-Main and Leipzig to Warsaw. Liszt gave concerts on March 27 and on April 13 and On March 27 he played his fantasy on "Robert le Diable" which was a huge success.

More important, taking Liszt's own perspective, was the concert on April It was a charity concert in favour of the Beethoven memorial in Bonn. It was followed by a recitation in honour of Beethoven. Liszt then played the new version of his transcription of the "Adelaide". As he wanted to proceed with the "Kreutzer-Sonata" op. He then played, together with Lambert Massard, the "Kreutzer-Sonata". At the program's end, the Pastoral-Symphony under the direction of Berlioz was performed.

On May 5 he left Paris, travelling via Boulogne to London. At moment he was convinced that he had at last gained the position in Paris he had wished to gain. In London, Liszt performed at several private soirees and at concerts of other artists.


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  • On May 17 he took part in a concert of Jules Benedict. At the end of a monstrous program, Liszt played together with Benedict a four handed version of Thalberg's Norma-Fantasie op. But after some weeks he had the impression, he could not earn much money with concerts. Because of a political crisis, it was in May to be feared that most of the leading persons of the society would leave for the countryside.

    Liszt announced for June 5 an own concert. The concert had to be cancelled because of an accident. Returning from Norwood to London in the night of May 31 to June 1, Liszt had been thrown from his carriage to the street and sprained his left hand. On June 5 he took part in a charity matinee in favour of Polish refugees.

    Using only his right hand, he played together with Jules Benedict a duo. On June 12 he gave an own concert, playing with much pain his Sonnambula-fantasy and some further pieces.

    Mes souvenirs de Mrs Marie d' Agoult et M Philippe Ballin

    On June 14 he played at a Philharmonic concert Hummel's Septet. While Liszt's reputation as virtuoso was steadily increasing, his financial result in London was very poor. In order to solve his financial problems, Liszt was reflecting an offer he had received from Hamburg. According to this, he should on July 7 take part in a concert of a North German music festival. Around July 10 he should give an own concert in Hamburg besides. Regarding this, he wrote in a letter to Marie d'Agoult of June 16,. At one of the following days, Liszt's financial situation was getting even worse.

    Liszt had entirely paid the money he had lent from Moscheles as well as from Beale.

    Franz Liszt

    Until the end of his stay in London, Liszt received several letters of Marie d'Agoult with objections against his new ideas. But his decision had already been made. He performed at the concert on July 7 and gave on July 9 an own concert. After his concert in Hamburg, Liszt received an invitation to Copenhagen. He played on July 15 at the Danish court and afterwards gave several concerts. During Liszt's stay in Copenhagen he negotiated with Marie d'Agoult, they would meet around August 4 at Nonnenwerth , a small island in the Rhine near Bonn. Marie d'Agoult arrived on August 4 on the island.

    In the following night also Liszt arrived. At Nonenwerth, they lived at a hotel which in former times had been a monastery. In June , still in London, Liszt had in letters to Marie d'Agoult painted their future in colours as attractive as he possibly could. It was his highest wish to live together with her in solitude. Depending on her choice, they would go to Venice , Florence , Albano , or whatever place she liked. Nothing more than only a couple of further days of courage was needed until they would arrive in a paradise of happiness.

    Apparently, he wanted to continue composing his masterworks. But, nothing of all this was realized. On August 4, shortly before he had arrived at Nonnenwerth, Liszt wrote in a letter to Count Alberti, he would for the whole time of his stay in the Rhineland keep bombarding the left bank and the right bank of the Rhine with concerts.

    As consequence, the time of Liszt's living together with Marie d'Agoult in solitude and happiness was very short. When Liszt had arrived at the island, he was ill. But after some days of recovery, on August 7, he made a first trip to Bonn. When Liszt returned from Bonn, he brought further friends. A couple of days later, the leader of the Beethoven committee, Breidenstein, together with some thirty additional persons came. For several hours Liszt played waltzes to them. Very soon, his promised solitude had turned into a permanent party. Since Liszt paid all bills, plenty of money was needed.

    His bombarding the Rhine banks with concerts had insofar become a necessity. Had Marie d'Agoult hoped, Liszt would continue composing his masterworks, he put the sketch from Fontainebleau aside. His "24 Grandes Etudes" were never completed. But the second volume "Italie" was left incomplete, and the third volume "Allemagne" was never composed. During his stay at Nonnenwerth, Liszt concentrated on composing novelties for his planned concerts in Berlin and St.

    He also composed male chorus pieces such as his "Rheinweinlied" after Herwegh and his "Das deutsche Vaterland" after Ernst Moritz Arndt. At Nonennwerth Liszt told Marie d'Agoult, he would for additional two years continue travelling for concerts. Regarding the stay on the island, Marie d'Agoult wrote another one of her autobiographic manuscripts.

    The title "Nonnenwerth, Suicide" was meant as the end of her dreaming of Liszt as composer of immortal masterworks. Altogether with this, it was now her own fate, to vanish to obscurity after her death. He had in May asked Marie d'Agoult to send the original song to London. Until June 1 he had received it. In a letter to Maurice Schlesinger of October 9, , written at Nonnenwerth, Liszt announced, he would after some days send the transcription to Paris.

    The title "The Monk" is identic with "Frater", a nickname given to Liszt by his mother. From his letters to his mother it is known that an ironical component was included. Liszt was a "Frater" of problematic character. Meyerbeer's "Monk" is in his monastery cell detesting his oath. In , Liszt gave up public performances on the piano and in the following year finally took up the invitation of Grand Duchess Maria Pavlovna of Russia to settle at Weimar , where he had been appointed Kapellmeister Extraordinaire in , remaining there until He also wrote articles championing Berlioz and Wagner , and 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 Among his compositions written during his time at Weimar are the two piano concertos, No. Much of Liszt's organ music also comes from this period, including the well-known Fantasy and Fugue on the chorale Ad nos, ad salutarem undam and Fantasy and Fugue on the Theme B-A-C-H the latter also arranged for solo piano. The Princess was an author, whose major work was published in 16 volumes, each containing over 1, pages.

    Her long-winded writing style had some effect on Liszt himself. His biography of Chopin and his chronology and analysis of Gypsy music were both written in the Princess's loquacious style Grove's Dictionary says that she undoubtedly collaborated with him on this and other works. Princess Carolyne lived with Liszt during his years in Weimar. In he published a revised version of his Douze Grandes Etudes, now titled Etudes d'Execution Transcendante , and the following year the Grandes Etudes de Paganini Grand etudes after Paganini , the most famous of which is La Campanella The Little Bell , a study in octaves, trills and leaps.

    The Princess wished to marry Liszt, but since she had been previously married and her husband was still alive, she had to convince the Roman Catholic authorities that her former marriage had been invalid. After huge efforts in a monstrous process she was successful until September It was then planned that the couple would get married on October 22, , Liszt's 50th birthday, in Rome.

    But after Liszt had arrived in Rome, on October 21, the Princess refused in the late evening to marry him. Much later, in a letter of May 30, , she wrote to Eduard Liszt that she had found Liszt to have been ungrateful. While she had spent her money and had lost nearly all of her former fortune, it had been several millions, he had had during all the time of the Weimar years love affairs with other women.

    Especially in September there had been an affaire with the singer Emilie Genast. For this reason she had decided that the planned wedding should be cancelled. The question whether the Princess was correct in her accusations against Liszt, remains open. Regarding Emilie Genast, in the second half of September she had for a time of about two weeks visited Liszt in Weimar, on his invitation.

    The virtuoso

    In the beginning of October she left, travelling to the Rhineland. Besides, he made a new version of his song "Nonnenwerth" as well as orchestrations of the songs "Die junge Nonne", "Gretchen am Spinnrade" and "Mignon" by Schubert. While they were now all dedicated to Emilie Genast, they had in Liszt's youth been strongly correlated with his affair with Marie d'Agoult.

    Reflecting this, Liszt also made a new version of his song "Es rauschen die Winde" with words "Dahin, dahin, sind die Tage der Liebe dahin! From those hints no certain conclusion can be drawn, but Liszt seems to have detected a kind of resemblance between Emilie Genast and the young Marie d'Agoult. However, nearly all of Liszt's letters to Emilie Genast, at least 98, have survived, but are still unpublished; so nothing more can be said. Might the suspicion of the Princess regarding Emilie Genast insofar have been true or false, it is sure that she was not altogether wrong.

    It is known from Liszt's correspondence with his mother that in the beginning of he was in Weimar living together with a Madame F In March , after Liszt had received a letter of the Princess in which she announced her arrival, Madame F In November she claimed, she had had an abortion, and disappeared. In or , Liszt's main mistress was in secret Agnes Street-Klindworth. Liszt visited her for a last time in autumn in Brussels. It is suspected that the father of some of her children was Liszt.

    The s were a period of severe catastrophes of Liszt's private life. After he had on December 13, , already lost his son Daniel, on September 11, , also his daughter Blandine died. In letters to friends Liszt afterwards announced, he would retreat to a solitary living. A more precise impression of his ideas can be gained by looking at his works.

    It was Liszt's conclusion that his sexual life had been the cause of his bad luck. He considered a living of continence and resignation as the only appropriate choice for him. There is little doubt that he was insofar following Princess Wittgenstein's advice. It was her opinion that sexuality was the worst of all evils in the world. Liszt also searched for an adequate environment. He found it at the monastery Madonna del Rosario , just outside Rome, where on June 20, , he took up quarters in a small, Spartan apartment. He had on June 23, , already joined a Franciscan order.

    On April 25, , 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, 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, he had wanted to preserve a rest of his freedom.

    By chance, there was a worldly counterpoint to Liszt's becoming ecclesiastic. In the second half of his two "Episoden aus Lenaus Faust" appeared. The first piece, the "1st Mephisto-Waltz", musically paints a vulgar scene in a village inn. Was this coincidence merely an accident , the transcriptions of the pieces "Confutatis maledictis" and "Lacrymosa" of Mozart's Requiem, which Liszt made on January 21, , were in a better sense characteristic for him. As child prodigy he had been compared and equalled with the child Mozart. For many of his piano works Liszt also took sacral subjects.

    The two pieces "Illustrations de l'Africaine" on melodies by Meyerbeer are at least in parts of a sacral style. The same goes for the transcription of a scene of Verdi's opera "Don Carlos". But, besides, Liszt still composed works on worldly subjects. Examples of this kind are the concert etudes "Waldesrauschen" and "Gnomenreigen" as well as the fantasy on Mosonyi's opera "Szep Ilonka" and the transcription of the final scene "Liebestod" of Wagner's opera "Tristan und Isolde".

    At some occasions, Liszt took part in Rome's musical life. On March 26, , at a concert at the Palazzo Altieri , he directed a program of sacral music. Bach , Beethoven, Jornelli, Mendelssohn and Palestrina were performed. There were several further occasions of similar kind, but in comparison with the duration of Liszt's stay in Rome, they were exceptions. Liszt returned to Weimar in He began a series of piano master classes there, which he would teach a few months every year. From he also taught for several months every year at the Hungarian Music Academy at Budapest.

    He continued to live part of each year in Rome, as well. Liszt continued this threefold existence, as he is said to have called it, for the rest of his life. From until his death he also taught for several months every year at the Hungarian Conservatoire at Budapest. 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, his body retained the slimness and suppleness of earlier years.

    The accident, which immobilized him eight weeks, changed all this. A number of ailments manifested— dropsy , asthma , insomnia , a cataract of the left eye and chronic heart disease. The last mentioned would eventually contribute to Liszt's death. Seven weeks after the fall, on August 24, , Liszt wrote the piano work Nuages Gris. With its dark tone, its compositional austerity and an ending which drifts away into nothingness, the piece could be taken as a soundscape of desolation: Liszt had expected to make a quick recovery, but his condition was now compounded by dropsy, failing eyesight and other difficulties.

    Liszt would become increasingly plagued with feelings of desolation, despair and death—feelings he would continue to express nakedly 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. He died in Bayreuth on July 31, , officially as a result of pneumonia which he may have contracted during the Bayreuth Festival hosted by his daughter Cosima. At first, he was surrounded by some of his more adoring pupils, including Arthur Friedheim , Siloti and Bernhard Stavenhagen , but they were denied access to his room by Cosima shortly before his death at He is buried in the Bayreuth cemetery.

    Questions have been posed as to whether medical malpractice played a direct part in Liszt's demise. Some sources have claimed these were injections of morphine. Others have claimed the injections were of camphor , shallow injections of which, followed by massage, would warm the body. An accidental injection of camphor into the heart itself would result in a swift infarction and death.

    This series of events is exactly what Lina Schmalhaussen describes in the eyewitness account in her private diary, the most detailed source regarding Liszt's final illness. Liszt has most frequently been credited to have been the first pianist who gave concerts with programs consisting only of solo pieces. An example is a concert he gave on March 9, , at the Palazzo Poli in Rome. Since Liszt could not find singers who - following the usual habit of the time - should have completed the program, he played four numbers all alone.

    Also famous is a concert on June 9, , in London. For this occasion, the publisher Frederic Beale suggested the term "recital" which is still in use until today. Some remarks are needed for the purpose of avoiding misunderstandings. The term "recital", as suggested by Beale, was not meant as connotation of a solo concert. It can also be found in announcements of the concerts given by the troop of Lavenu in in Great Britain, in which Liszt took part. The announcements show that "recital" was meant in a sense that Liszt "recited" his pieces instead of just "playing" them.

    The programs included further pieces besides, which were played or sung by other artists, sharing the stage with Liszt. But it is true, that on June 9, , in London, Liszt played his program all alone. Searching for earlier examples, there is a concert which Liszt gave on May 18, , at the Salons Erard in Paris. He had in the beginning of May given concerts in Lyon , and then travelled to Paris where he arrived on May On the following days he met some of his friends, among them Meyerbeer.

    He invited them to the Salons Erard, for the purpose of playing some of his new compositions to them. Might this be regarded as early example for a solo concert, it was an exception of the rarest kind. He also played a significant role in the popularisation of wide range of music. Classic Music Collection constitutes an extensive library of the most well-known and universally-enjoyed works of classical music ever composed, reproduced from authoritative editions for the enjoyment of musicians and music students the world over.

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    Lehrbuch des deutschen Strafrechts I find him to be simple, good, above all charming, not at all arrogant and hardly shy, with the hearty laugh of a child and a soothing voice, extremely polished with men, flattering and practically respectful with Monsieur Ingres, delicately attentive with me, jesting with Balzac…. I really considered that my younger days were past me. I thought above all that I was beyond this idolatry of intelligence.

    And which would have seemed in another epoch like the sappiest of… missing from the original text …. Just one of these two sentiments would be enough to completely fill or rattle an entire life. You are commenting using your WordPress. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email.