The Comtesse Caroline de Saint-Cricq in old age, ca 1870. (The Comtesse de Saint-Cricq was one of the three most influencial women in Liszt's life, the other two being the Comtesse Marie D'Agoult and Princess Carolyne von Sayn-Wittgenstein. The last named met Caroline de Saint-Cricq in Paris in around 1860 and thereafter corresponded with her until her death, holding the view that Caroline de Saint-Cricq would have been the only suitable wife for Liszt.
The Comtesse Marie D'Agoult;
Liszt's children (Daniel, Cosima and Blandine) his mother and the children's governess;
Princess Carolyne von Sayn-Wittgenstein.
Music
Beethoven, Bach, Mozart, Chopin, Berlioz, Wagner Paganini, Puccini, Gluck, Rossini, Dvorak, Debussy, Bruckner, Mahler, Grieg, Smetana, Saint-Saëns et c., et c., et c.,.....
Movies
Television
"Music embodies feeling without forcing it to contend and combine with thought, as it is forced in most arts and especially in the art of words. If music has one advantage over the other media through which a person can represent the impressions of the soul, it owes this to its supreme capacity to make each inner impulse audible without the assistance of reason... Music presents at once the intensity and the expression of feeling. It is the embodied and intelligible essence of feeling, capable of being apprehended by our senses. It permeates them like a dart, like a ray, like a mist, like a spirit, and fills our soul." Franz Liszt
Books
Anything one could get ones hands on! Byron, Goethe, Dante, Shakespeare, Victor Hugo, George Sand, etc., etc., etc.,
"Since I have never felt the blissful, freshly instructive effect of this love more clearly than in my love for Liszt, I should like to call upon those who mistrust him: place your trust in him, for you will be amazed what you achieve through that trust. If you hesitate because you fear betrayal, examine him more closely and see who it is that you are to trust. Do you know a musician who is more musical than Liszt? who holds within his breast the powers of music in richer, deeper store than he? who has felt more sensitively and more tenderly, who knows more and who can do more, who is more gifted by Nature and who, by educating himself, has developed his potential more forcefully than he? - If you cannot name a second one like him, oh, you may confidently trust in this unique individual, a man who, moreover, is far too noble a human being ever to think of deceiving you. And you may be sure that you will be most enriched by this trust precisely where you most fear in your mistrust, to be harmed by him!" - Richard Wagner
Liszt was the son of a steward in the service of the Esterházy family, patrons of Haydn. He was born in 1811 at Raiding in Hungary and moved as a child to Vienna, where he took piano lessons from Czerny and composition lessons from Salieri. Two years later, in 1823, he moved with his family to Paris, from where he toured widely as a pianist. Influenced by the phenomenal violinist Paganini, he turned his attention to the development of a similar technique as a pianist and in 1835 left Paris with his mistress, the Comtesse d'Agoult, with whom he travelled widely during the following years, as his reputation as a pianist of astonishing powers grew. In 1844 he separated from his mistress, the mother of his three children, and in 1848 settled in Weimar as Director of Music Extraordinary, accompanied by Princess Sayn-Wittgenstein and turning his attention now to composition and in particular to the creation of a new form, the symphonic poem. In 1861 Liszt moved to Rome, where he found expression for his long-held religious leanings. From 1869 he returned regularly to Weimar, where he had many pupils, and later he accepted similar obligations in Budapest, where he was regarded as a national hero. He died in Bayreuth in 1886, four years after the death of his son-in-law Wagner. As a pianist, he had no equal, and as a composer he suggested to a younger generation of musicians the new course that music was to take.
Orchestral Music:
Liszt's symphonic poems met strong criticism from champions of pure music, who took exception to his attempts to translate into musical terms the greatest works of literature. The best known of the symphonic poems are Ce qu'on entend sur la montagne, based on Victor Hugo, Les préludes, based on Lamartine, works based on Byron's Tasso and Mazeppa, and Prometheus, with the so-called Faust Symphony in Three Character-Sketches after Goethe and the Symphony on Dante's Divina commedia. Other orchestral works include two episodes from Lenau's Faust, the second the First Mephisto Waltz, to which a second was added twenty years later, in 1881. Liszt wrote two piano concertos, and, among other works for piano and orchestra, a Totentanz or Dance of Death and a Fantasy on Hungarian Folk-Melodies. Liszt's Hungarian Rhapsodies, written for piano, have been effectively arranged for orchestra.
Piano Music:
Liszt wrote a great deal of music for the piano, some of which was later revised, and consequently exists in a number of versions. In addition to original piano music, he also made many transcriptions of the work of other composers and wrote works based on national themes. The violinist Paganini was the immediate inspiration for the Etudes d'exécution transcendante d'après Paganini, dedicated to Clara Schumann, wife of the composer Robert Schumann, and based on five of the 24 Caprices for solo violin by Paganini and on the latter's La campanella. The Transcendental Studies, revised in 1851, Etudes d'exécution transcendante, form a set of twelve pieces, including Wilde Jagd (a Wild Hunt), Harmonies du soir (Evening Harmony), and Chasse-Neige. The three collections, later given the title Années de pèlerinage (Years of Pilgrimage), wander from Switzerland, in the first book, to Italy in the second two, a series of evocative poetic pictures, inspired by landscape, poems and works of art. The earlier volumes stem from the years of wandering with Marie d'Agoult, and the last from the final period of Liszt's life, based in Rome. The Harmonies poétiques et religieuses, written between 1845 and 1852, represent, in the ten pieces included, something of the composer's lasting religious feelings, evident also in the Légendes of 1863, the first of the two representing St. Francis of Assisi preaching to the birds and the second St. Francis de Paul walking on the water. The remarkable Weinen, Klagen, Sorgen, Zagen, based on a theme from a Bach cantata, mourns the death of his elder daughter Blandine. His Fantasia and Fugue on the letters of the name of Bach - B flat - A - C & H(which is B natural in English notation) - was originally written for organ. Liszt wrote one sonata, novel in its form.
The Hungarian Rhapsodies, eventually appearing as a set of nineteen pieces, are based on a form of art music familiar in Hungary and fostered by gypsy musicians, although these works are not, as Liszt thought, a re-creation of true Hungarian folk- music. The Rhapsodie espagnole makes use of the well known La folia theme, used by Corelli and many other Baroque composers, and the jota aragonesa. Transcriptions of his own orchestral and choral compositions include a version of the second of his three Mephisto Waltzes, works that supported legends that had once dogged Paganini of diabolical assistance in performance. Of the many other transcriptions for piano those of the Beethoven Symphonies are among the most remarkable. There are a number of operatic transcriptions and fantasies, including Reminiscences de Don Juan, based on Mozart's Don Giovanni, one of a number of bravura piano works using themes from opera, that include a dozen or so based on the work of his friend and son-in-law Wagner.
Liszt died in Bayreuth on July 31, 1886 as a result of pneumonia which he 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 11:30pm. He is buried in the Bayreuth Friedhof.
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