December 5, 2023 – Reading: The Piano King Franz Liszt

First of All

Chopin (Poland): 1810-1849
Liszt (Hungary): 1811-1886
Paganini (Niccolò Paganini): 1782-1840
Beethoven (Germany): 1770-1827
Schubert (Austria): 1797-1828
Czerny (Germany): 1791-1857 (a student of Beethoven, started teaching at the age of 15)
Tchaikovsky (Russia): 1840-1893 (heard Liszt perform in Weimar during Liszt's later years)
Bartók Béla (Hungary): 1881-1945 (composer, a great figure in 20th-century music, a leader in Hungarian modern music)
Prokofiev (Russia): 1891-1953
Wagner (Germany): 1813-1883 (after Liszt moved to Weimar, he firmly believed Wagner could handle orchestration well, a political refugee, eccentric character, also managed Liszt's youngest daughter - later became very wealthy)
Xian Xinghai (Macau): 1905-1945 (died in Moscow due to tuberculosis, an alumnus of the Paris Conservatory, known for the work "Yellow River Cantata")
Sébastien Érard (Germany): 1752-1831 (the father of the modern piano, founded Erard, a French piano and harp brand)
Henry Steinway (German-American): 1797-, established Steinway & Sons in Manhattan in 1853, later sold to the Columbia Broadcasting System after legal battles in 1972, subsequently underwent several mergers
Thalberg (Austria): 1812-1871 (pianist, composer, a competitor of Liszt in Paris around the age of 24)

About the Invention of Musical Instruments

Piano: 1709
Violin, Viola, Cello: Manufactured in Italy in the 16th century
Clarinet: Around 1690
French Horn: Early 19th century (the piston was invented in 1818, leading to the modern French horn)
Harp: 1810
Trombone: 1791 (since 1791, during the French Revolution, as part of a large brass ensemble)
Flute: Early 19th century
Trumpet and Cornet: Around 1835
Organ: Invented in ancient Greece in the 3rd century BCE (before the steam engine (improved in the mid-18th century), one person played while another pumped air)
Harpsichord: Around the 14th century (like Bach's)

Main

At the beginning of the 19th century, Napoleon was attacking neighboring countries adjacent to France. The anti-Napoleon forces had been rapidly gathering strength. In 1812, Napoleon invaded Moscow but suffered a disastrous defeat.
Liszt was born in Raiding, a place on the western border of Hungary. His father was a land steward, managing various affairs for the landlord. His father married at the age of 35; his wife was an orphan who had served as a maid, indicating their impoverished state. However, he dreamt of becoming a musician and played the piano extensively every night.
Liszt developed a fondness for the piano from an early age. His father supported his piano lessons, and he started at the age of 7. With exceptional talent, his father wrote to landowners seeking support, and at 9, Liszt had his debut performance in a nobleman's salon, achieving great success. At that time, he could already play difficult piano pieces at a normal pace. As a result, the landlord (the local duke) decided to sponsor his further education in Vienna. In 1822, the family moved to Vienna.
At that time, Napoleon's defeat at Waterloo was in 1815, and Beethoven's position in Vienna had already declined. This was related to the failure of the French Revolution. The variety of art shifted from singing for ideals to demanding musicians to provide joy and relaxation to escape political troubles. Beethoven was already in his later years, producing profound and serene works.
Liszt and his father considered Beethoven to be a deity.
Upon settling in Vienna, Liszt's first move was to visit Czerny, who was Beethoven's student. Despite Czerny's sternness, he firmly refused but gave Liszt a chance to play a short piece, then sight-read it, and subsequently began teaching him. Becoming a student of such a famous teacher was the first step to success.
Czerny was also a child prodigy, nearly able to memorize all of Beethoven's works. He was popular in high society during his youth. However, as he grew older, he no longer favored flashy performances. He disdained superficial forms and, like Beethoven, preferred rigor, was not adept at pleasing people, so he reduced social interactions, spending most of his time studying piano playing techniques and exploring teaching methods (740? Haha).
Czerny's evaluation of Liszt was that he lacked discipline, was too free, but this was also where his talent lay. Czerny made Liszt persevere in practicing various tedious techniques. Czerny was a true classical musician, while Franz's nature inclined towards fantasy, seeking freedom and avoiding constraints. Biographers generally believe that Franz's character traits, to some extent, were influenced by Gypsy music. In Hungarian villages, there were often wandering Gypsies, unrestrained in character, disregarding social norms, despite being impoverished, they were incredibly cheerful. Their musical and dance arts were similarly free-spirited and unrestrained, full of wonderful charm. These people left a deep impression on young Franz. Interestingly, all this aligns perfectly with the typical characteristics of 19th-century Romantic art - against rationality, pursuing emotional and intellectual liberation. While studying under Czerny, Franz learned exquisite skills, a rigorous scholarly attitude, and the nobility of classicism. At the same time, his yearning for a free and novel world never waned.
Liszt gradually understood the importance of diligence. Hence, in 1826 (at the age of 15), he dedicated his first mature piano work, "24 Grand Etudes," to Czerny. These were super-technical exercises!
With Czerny's recommendation, Liszt became a student of Salieri, the court music director in Vienna, who wielded great power in the court opera house but had retired by then, being 70 years old. His influence on Liszt mainly stemmed from Liszt seeing the rewards bestowed by royalty in the living room, igniting an endless desire in Liszt to stand on the grand stage of a concert hall.
Consequently, on December 1, 1822 (just a few months later), Liszt debuted at the Vienna Conservatory and spontaneously performed a Fantasy. This caused a sensation in Vienna. At that time, it was popular for the last piece to be an improvisation, and the theme came from small notes passed from the audience. Liszt was asked to merge the music of Beethoven and Rossini, and his performance was flawless.
Later, Liszt prepared for new concerts and invited Beethoven, but Beethoven did not accept, possibly because he was dissatisfied with Czerny's student. When Beethoven saw a lack of creativity in Czerny, he distanced himself. However, he did send his nephew for lessons; after all, Czerny was unique in etudes. Beethoven's social reputation was not good at that time because of his severe hearing impairment and strong pride, making him reluctant to interact with people or attend concerts since he was already unable to hear, and he was busy composing his Ninth Symphony, refusing all social activities. Mendelssohn interceded for Liszt, and after four months, Beethoven finally attended the concert, a great encouragement.
Subsequently, Czerny encouraged Liszt to study in Paris. However, in December 1823, the Paris Conservatory rejected his fervor because he was not French. It might seem absurd now, but in that era, French pride and respect for their own culture, coupled with the return of power to the nobility after the failed revolution, led to policy closure. They were unwilling to invest in educating a foreigner.
Sébastien Érard, a famous French piano maker, extended his help. Previously, the French had to go to Germany to buy pianos. His status was highly respected. He arranged accommodations and a brand-new piano for Liszt, and also found him a composition teacher - opera composer Paër. Though it's unclear what he taught Liszt, it sparked Liszt's interest in composition.
Érard's improvements to the piano were crucial for Liszt. Firstly, expanding the range of notes and significantly increasing the volume. Secondly, he invented a device allowing continuous playing without worrying about the hammers' response (this was a source of inspiration for Liszt's compositions like the Hungarian Rhapsodies, La Campanella, etc.), which enabled Liszt to innovate numerous piano techniques.
The premiere took place in Paris in 1824, and subsequent invitations poured in from major cities in France and England. However, Adam's wife never liked being in a foreign land, especially as she didn't speak French. She felt redundant in the father and son's careers and chose to return home, a parting that became a farewell (the mother never saw him again before the father's death).
On March 7, the debut took place in Paris, and in June, Liszt performed in London. These concerts clearly placed him as the centerpiece (at that time, there had never been a solo concert; multiple musicians usually performed together, and Liszt initiated solo performances). The event was titled "Master Liszt's Concert."
Life became difficult after gaining fame; he had to abide by contract requirements. People mainly attended his performances to witness the prodigy; many pianists were reluctant to comment as they felt Liszt was not yet mature. Despite commendable technique, they found his depth and handling lacking.
In October 1825, Liszt's only opera "Don Sanche" premiered in Paris and was a success, earning him the title "reborn Mozart." However, it must be admitted that at this time, Liszt was still in the stage of imitation and learning and had not found his musical expression.
Even with such a busy daily life, he frequently attended church masses. His father Adam was a devout Catholic, although he was unstable in character and had been dismissed. However, his inner faith never wavered.
In the 19th century, there was a tendency for religious revival, strengthening Catholicism, and people began to reminisce about past classics like Notre-Dame de Paris. This was a reaction against the rational and sober thoughts brought about by the Enlightenment movement of the 18th century (Protestantism). Romanticism slightly regressed, so the musicians of Liszt's era had characteristics that bore both the meaning of ancient classic works and the taste of Romanticism's new religious movement.
In 1827, with a series of travels and performances, Adam became overwhelmed and fell ill. He passed away before reaching the age of 50, leaving Liszt, at 16, without support.
Consequently, he began rejecting many performances and decided to focus on teaching, similar to Czerny, who started teaching at 15. Given his fame, many high society individuals sought him for piano lessons, significantly increasing his income. Even though he hoped for a simpler life, the rewards offered by most parents were substantial, so he didn't mind whether the students were talented or not, haha.
He also brought his mother over. She learned some French and became less resistant to Paris.
At 16, Liszt fell in love with a high-born girl whose mother initially indulged their relationship. However, the mother soon passed away, and the girl was taken away by her father, a prominent merchant under Charles X, who naturally disapproved of her association with Liszt, who hailed from a humble background. Despite the French Revolution, the class system hadn't been entirely severed like the king's head. No matter how high the artists rose, they were merely entertainers for the upper class, never able to surpass the class divide. When Franz truly understood this, he was deeply saddened. He declared his readiness to dedicate himself to religion, becoming a clergyman, as he only found peace when celebrating mass (although we all know such an ascetic life wouldn't suit him).
Meeting Lamartine was a significant event in Franz's life. This poet, 21 years his senior, gained fame in 1820 with "Meditations." Liszt admired these poems that broke various rules that had dried up 18th-century poetry. Lamartine initially pursued a military career but disappointed, later engaging in diplomacy. While Lamartine greatly inspired Liszt, he eventually became pessimistic and disappointed, whereas Liszt remained optimistic, idealistic, and steadfast in faith. This showed that Franz wasn't easily swayed by his surroundings or by others; perhaps because he was a pure musician.
After reading many books, Liszt's heartache finally ceased. He avidly read, attended gatherings, and engaged intensely in political and philosophical discussions. His knowledge structure began to enrich, albeit still chaotic, but he realized clearly that as a musician, having a high cultural background was crucial for significant development in his later creative career (the importance of cultural refinement!).
In July 1830, the July Revolution erupted in Paris when Liszt was 19. King Charles X issued orders to dissolve the parliament, strip commercial voting rights, and restrict freedom of publication. Subsequently, demonstrations occurred. Workers shouted down with the Bourbon monarchy, and the people stormed the palace, but the king escaped to England. Louis-Philippe emerged as the new ruler. Both Liszt and the common people took to the streets, pursuing the so-called freedom.
In 1830, Liszt met Berlioz, his lifelong friend, a student at the Paris Conservatory skilled in composition but not in performance. Berlioz brought many ideas to Liszt. Liszt defended his excessively fantastical compositions, which the public disliked.
In 1831, the Italian Paganini made his first appearance in Paris, and the groundwork had been laid. It caused a sensation as he played tricks on a four-stringed instrument. The next year, Liszt released the "Grand Fantasia on the Piano," one of his favorite works, extremely technical. Later in 1838, he included it in Paganini's grand studies.
Liszt began adapting orchestral music into the piano, successfully, receiving high praise from Schumann.
At concerts, Liszt cleverly arranged two grand pianos, alternating between them to showcase his abilities comprehensively. Many newspapers vividly depicted scenes where his followers displayed near-hysterical madness during concerts. Quite something for someone in their early twenties!
Around 1830, Chopin emerged. Unlike Liszt's fervor, Chopin excelled in expressing naive and pure melodies in simple tunes. He was beautiful and technically skilled. The difference between Chopin and Liszt was that Liszt preferred forceful keyboard strikes while Chopin elegantly displayed tenderness and poetry. These two often took turns playing at Paris's most famous salons, silently appreciated by the aristocratic women. Among them was Countess Marie d'Agoult, who admired Liszt considerably. They almost fell in love, but d'Agoult already had three children (despite being only 28), yet her life was somewhat boring.
Of course, Liszt was surrounded by many women, including a writer, and more were attracted to his fame. Liszt deliberately kept his distance from d'Agoult until 1834 when her daughter passed away. Consequently, she decided to leave her emotionally absent husband and live with Liszt, astonishing the people of Paris as they headed to Switzerland.
In the summer of 1834, reminiscing about the Lyon workers' movement four years earlier, Liszt wrote "Lyon" and paired it with the workers' slogan at the time: "Better to die in battle than to live in labor" (almost entirely in octaves, shouted loudly).
While living with women in Geneva, he worked as a teacher at the University of Geneva, taking many courses himself.
In 1835, Liszt and d'Agoult's first daughter was born, bringing them much joy. However, news of a potential rival, Austrian Thalberg (refer to "Other" item 7), made Liszt anxious. He decided to return to Paris's stage. By the end of 1836, he was back in Paris, feeling the familiar sensations, especially with his mother being there.
After a highly successful performance, the people of Paris overlooked his elopement. Liszt studied Thalberg's compositions and started attacking his music in newspapers. In March 1837, Thalberg held a concert at the Italian Opera in Paris, which Liszt attended. The reviews remained the same—hollow and tasteless despite remarkable skills. Just a week later, Liszt held an overwhelmingly powerful concert in the same hall. Later, both of them organized separate events. Finally, a Duchess invited all the Parisian musicians she could gather and had six pianists write a variation on the same theme, the march from "The Huguenots." Liszt's performance was incredibly thrilling. He imitated the characteristics of the first five performers to such an extent that it was impossible to tell them apart, ending with a magnificent conclusion. Naturally, Liszt won. Thalberg held a few more concerts in Paris and then seldom returned.
Back in Geneva, he advised his wife on how to gain applause, but she felt somewhat repulsed, believing Liszt should devote himself more to composing than to sensational effects.
The beautiful landscapes of Switzerland and familial happiness fostered better creativity. Of course, he also adapted many works. Adapting was a learning process for him, providing an understanding of orchestras and writing large-scale compositions, laying a solid foundation for his later ventures into orchestral music.
Liszt's etudes went through some modifications; there were actually only 12 pieces in total. They were based on the 12 pieces he wrote while studying with Czerny. Modifications were made in the 1830s and 1850s, transitioning from untitled pure technical etudes to incorporating literary elements and then simplifying the technical aspects. This demonstrates the evolution of Liszt's creative thinking.
While reading Dante's poems, Liszt also wrote many sonnet-like things and composed some pieces. They weren't for showmanship, akin to later works like "Dreams of Love" and "Consolation."
In 1838, the Danube River flooded, destroying Pest (Budapest = Buda + Pest, see "Other" item 11). He remembered his father's words from childhood and decided to help raise funds for his homeland, resolving to "travel to every corner of Hungary." This mindset was not understood by his wife, a French aristocrat who couldn't comprehend Hungary's situation. She desired more of Liszt's companionship, but Liszt decided to return home.
Initially planning to hold one or two concerts in Austria to fundraise, they ended up hosting more than ten, garnering a considerable sum of money. However, his wife was extremely unhappy. She found it difficult to handle the situation where her husband was excelling in his career while she was dealing with child-rearing, so she wrote a letter expressing her inability to continue, compelling Liszt to return. Thus, the plans to go to Hungary were abandoned.
Schumann assessed Liszt's extraordinary skill at the time, stating that globally, Liszt was the only one capable of playing in that way.
In 1839, their third child with Marie was born. At this time, Marie once again began to lead the life of raising children and became increasingly irritable.
It had been ten years since Beethoven's passing, yet Bonn hadn't raised enough money to erect a statue. Therefore, Liszt decided to go to Vienna and hold six concerts to donate to the Beethoven Memorial Committee, resulting in a huge success (though, I think there might have been some personal gain involved).
Since he was already in Vienna, he decided to go home and, in Hungary, received an incredibly warm reception and respect. He also wanted to establish his own music academy, sparking a sense of national pride throughout Hungary. Liszt believed the various Hungarian folk songs and Gypsy music he had heard in his childhood were fascinating. Hence, he decided to create new music specific to Hungary. This led to the commencement of "21 Hungarian Themes and Rhapsodies" written between frequent performances (a total of 8 years: 1840-1847). However, he remained dissatisfied and started publishing the "19 Hungarian Rhapsodies" in the 1850s (some were adaptations of the 21 pieces). Both the emotional depth and technical skills improved significantly compared to his earlier works.
The foundation of Hungarian dances lies in the "Czardas" form of Hungarian dance. For instance, the second piece is the most typical. The first part uses the slow "lassu," which is heavy, tragic, and rhythmically free, akin to chanting. The second part, "friss," is a joyful dance, with a gorgeous melody and rhythm, escalating the music continuously. There were breakthroughs in technique, making this piece sound like a Gypsy folk band, with instruments such as the cimbalom, violin, and tambourine creating an extremely rich musical texture.
The 15th piece is the Rakoczi March, originating from folk songs popular since the 17th century. Liszt initially composed this piece due to being asked to improvise based on it during a concert, resulting in numerous alterations. However, it inevitably feels somewhat contrived, tumultuous on the emotional level without any substantial improvement, a bit commonplace.
Although Liszt utilized melodies sung by Gypsies and structural dance characteristics in the "Hungarian Rhapsodies," in reality, he only completed an initial attempt to transplant folk music onto the piano. He was far from reflecting the true and profound essence of the nation as his compatriot Bartok did—there was a considerable distance. Nearly a hundred years later, Bartok, known as a "new nationalist composer" and "ethnomusicologist of music," seriously studied Liszt's music. He critically pointed out that Liszt, in his "Rhapsodies" or other works written based on Hungarian folk songs, failed to truly grasp the essence of Hungarian folk music. The reason behind this was Liszt's confusion of tunes popular among city-dwelling Gypsies as genuine folk tunes. In reality, genuine folk music was hidden among the peasants, vastly different from what the Gypsies sang. Nevertheless, Bartok's evaluation of Liszt remained highly positive. His criticism primarily focused on how Liszt's adapted works nearly had no opportunity to showcase their deepest characteristics, as these works primarily needed to be liked by the audience—attributed to "performer's vanity."
From a musical standpoint, Liszt and Chopin cannot be truly classified as "nationalist composers." However, they introduced Eastern European folk music and music from daily life that Western European professional musicians were unfamiliar with through their compositions. For the musical democratization that emerged in the latter half of the 19th century, they were undoubtedly important pioneers. It can be said that the sacred position of German and Austrian music was beginning to be challenged through their efforts.
Liszt conveyed his enormous achievements in Hungary through various letters to Marie. However, Marie perceived this with increased sadness. Love reached its end, and she returned to Paris with their three children in 1844, officially separating, eventually publishing a novel in 1847, narrating Liszt's dual personality in her perspective.
Starting from 1845, Liszt began composing religious music, and this continued until his death. Unfortunately, Liszt's religious music reform couldn't be realized. The clergy was reluctant to adopt new compositions, refusing to incorporate fresh sounds into their customary ceremonies. Consequently, Liszt's smaller religious works had very few performance opportunities, while large-scale oratorios, suitable for theatrical settings, were frequently performed.
In 1842, Liszt performed at the State Opera House in St. Petersburg, with the audience including the Tsar and Tsarina. The performance was highly successful, securing a place for him in Russia.
Returning to Hungary in 1846, despite overwhelming applause, he still felt out of place. This was because he needed translation for every Hungarian phrase into French, and he didn't feel a sense of belonging anywhere, including France or Germany. When performing in Bonn, he was even asked why he wasn't playing German compositions.
In 1847, Liszt visited Russia for the third time, performing all the way to Kiev in a charity concert. One person, a Duchess named Caroline, paid a thousand rubles to attend, a hundred times the price of a regular seat. She wasn't conventionally beautiful and was physically frail, yet Liszt sensed an irresistible power in her—her unwavering gaze and confident speech set her apart from the beautiful admirers usually around him. At 28, a descendant of Polish nobility, she inherited thirty thousand serfs (though she was relatively kind, and they liked her) and vast estates from her parents but lacked emotional connection with her husband. Liszt, realizing Caroline's immense impact on him, decided to end his career as a performer, ceasing his travels—a more daring venture than any romantic escapade before. In 1847, Liszt held a farewell concert and vanished from the bustling world. To some extent, this could be understood; after wandering for so long, Liszt had grown weary and disillusioned. Despite the constant pull of performance contracts, he longed for warmth and a home, which Caroline, among few others, seemed to offer—an interest in Liszt's inner being and career, unlike those seeking thrills through physical means.
They chose Weimar, Germany (near Leipzig), as their home, primarily because they both admired the city, and Liszt had a court position there. As early as 1842, he had signed a contract with the queen to work there for three months annually as the court's music director, essentially conducting. However, when he began working there, he encountered strong xenophobia. The Italian operas he wished to perform were disregarded, and the court musician, Sherard, obstructed him. Liszt, disinterested in courting favor or meddling in court affairs, felt alienated.
Liszt's current life was completely different. Freed from the piano, he found a new kind of liberation in his spirit. In one of his writings, he had an epiphany: "Perhaps I was under the spell of some mysterious force that bound me tightly to the piano." After all, he was a genius. Redirecting his path towards ascending in art, he gradually realized the limitations of the piano. Often, to achieve better expressiveness, orchestral accompaniment was necessary. Why mimic it on the piano? At this time, Wagner became one of his staunch supporters.
Wagner himself had been a political refugee. In 1848-1849, various uprisings occurred across Europe, including the Sicilian uprising, the French February Revolution, the German March Revolution, and conflicts in Poland, Hungary, and Romania. Wagner participated in Dresden's armed uprising, but the Prussian army, favored by the king, quelled it. He was then listed for arrest, escaping alone to Weimar. Liszt, appreciative of talent, planned and helped Wagner flee to Switzerland, a safe haven. Liszt faced challenges staging Wagner's work, particularly "Lohengrin," in Weimar in 1850 due to political issues. When "Lohengrin" premiered at the Weimar court theater, it was successful, yet most viewers, accustomed to traditional operas, felt perplexed. Previously, singers were highlighted by the orchestra, but now they interwove with the ensemble, making opera listening more demanding, though emotionally stirring. Over time, the term "progressive" originally used pejoratively to describe Liszt, gradually shifted to a term of praise.
Liszt's association with Wagner also made his situation in Weimar increasingly difficult.
Between 1848 and 1850, Liszt's creativity flourished, mainly due to the immense potential provided by orchestras. He created five highly valuable symphonic poems.
In 1849, he composed the symphonic poem "The Funeral of a Hero," inspired by the Hungarian people (and others) resisting the rule of the Habsburg dynasty (near Zurich, Switzerland). At the time, some poets ridiculed Liszt, claiming that conflicts were ongoing there while Liszt indulged in so-called artistry. Whether Liszt was truly patriotic remains uncertain, but at least superficially, he appeared highly patriotic (despite not speaking Hungarian, haha).
This monumental work couldn't be staged because how could a court musician perform a piece sympathetic to revolution and against rulers? Consequently, it wasn't performed until 1857.
During that era, musicians often published their opinions on certain music or composers in newspapers. Liszt's pursuit of new music was frequently criticized. Brahms was dubbed "a man looking towards past times," cultivating his flowers in the realm of classical music while Liszt and Berlioz were engrossed in program music, portraying romantic passion.
In 1850, Liszt was deeply saddened by Chopin's passing. He wrote eight articles passionately praising Chopin under different titles: "The Overall Nature of Chopin's Compositions," "Polonaises," "Mazurkas," "Chopin's Outstanding Technique," "Chopin's Personality," "Chopin's Youth," "The Lerias," and "The Last Few Years, The Last Few Days." It's said Liszt engaged in inappropriate behavior with a woman at Chopin's residence, infuriating Chopin, leading to the end of their friendship. Liszt deeply desired forgiveness for his indiscretion, but their friendship never recovered, even after Chopin's passing. Liszt penned this passionate book to alleviate his guilt and regret.
Following Liszt's engagement with orchestras in Weimar, his piano compositions displayed a noticeable depth. His wife also lent some assistance, unlike Marie; Caroline always offered valuable suggestions.
1. "Dance of Death": Inspired by a church mural titled "The Triumph of Death," Liszt, despite employing the theme of "death," showcased almost no sadness or fear of the mysterious world. It seemed as though he jubilantly sang praises to the Grim Reaper. He joyously played with the melody of the "Dies Irae," embellishing it with various emotions and colors. He composed a total of thirty-two variations, all lively and compelling.
2. "Dreams of Love" - “Liebesträume”: This is actually the third piece in the set of six "Consolations." Its melody is captivating.
In 1853, Liszt took a trip to Switzerland to visit Wagner.
However, within just two to three years from that time, Caroline began to struggle. She hadn't received approval for the divorce agreement she sent home to Russia (which entitled her legitimate husband to claim a substantial portion of her wealth).
Between 1854 and 1856, Liszt composed several new types of symphonies, which were understandably challenging for people to accept at the time. By then, Liszt was no longer the showy performer toying with sounds as he had been before.
Around 1857, Liszt faced several setbacks:
1. Caroline lost her royal status in Russia, her assets were confiscated, and her reputation was tarnished.
2. Liszt faced increasing opposition in court, especially due to his relationship with Wagner and his admiration for Wagner's music. His new compositions even faced disruptions from the Weimar townsfolk during concerts.
3. The influential Duchess who supported Liszt grew older and lost some of her former influence.
When promoting "Ideals" and the "Faust Symphony," even those who had previously supported him, including Brahms (who wasn't that supportive to begin with), Joachim, and Schleinitz, gradually turned against him. Looking back at historical documents, it's evident that during that time, both opposing camps in music composition struggled. Liszt faced ostracism, Wagner's operas met constant obstacles, and Brahms was seen as an isolated island in a tidal wave—the "progressive" movement! It's hard to determine who was most appreciated and successful during that period. The 19th-century musical aesthetics dispute, to a certain extent, became a chaotic battle, leaving both sides wounded. Only genuine artistry persevered through the struggle.
In 1858, Liszt completed the symphonic poem "Hamlet."
In mid-December 1858, while conducting a friend's opera, Liszt unexpectedly faced much opposition from the people of Weimar (possibly bribed), collectively causing disruptions and boos. At this point, Liszt decisively decided to leave Weimar, but where could he go?
In Hungary, he also found no place to stay because his friends told him he deeply offended his compatriots. Liszt continuously praised Gypsy music, even stating, "Hungarian music does not belong to the Hungarian nation, but to the Gypsies," which led to much abuse. In hindsight, Liszt's conclusion was indeed too biased and oversimplified; he presented a surge of enthusiasm as a research result, but others grabbed onto this in serious academic debates. Liszt was by no means an ethnomusicologist like his compatriot Bartok. He was merely an impulsive, romantic musician, an artist with a poet's character.
In 1860, Liszt continued creating religious works at an astonishing rate, despite the oppressive circumstances.
In 1860, Caroline received good news as she finally obtained the Pope's approval for marriage. At this time, Liszt just made a will, stating that all his works and his will to live should be attributed to Caroline. He also mentioned how Wagner would inevitably lead the way in the future and how his two daughters would share the inheritance. When all hope seemed lost, Caroline's successful marriage application gave him the will to live again. He turned 50 that year, and it had been 13 years with Caroline.
Weimar became very quiet in 1860, and discussions about new music ceased, all because of Liszt's resignation. The court knew very well that with Liszt's departure, "Weimar, the European musical center," would truly lose everything. But there was no way; Liszt's heart was utterly broken. Before leaving, there was new creation; he was always interested in new themes, selecting two interesting scenes from Lenau's poem, creating two orchestral pieces titled "Night Ride" and "Dance in the Village Inn." These two pieces were independent, often played separately, with the second being the most loved, also known as the "First Mephisto Waltz" (or commonly translated as "Devil's Waltz" because Mephisto is the devil in Goethe's drama "Faust").

"Dance in the Village Inn" depicts a wild scene. Lenau describes a scene in the poem: a wedding feast is happening in a small inn. A village musician plays the violin while villagers joyfully dance. The devil Mephisto, accompanied by Faust, enters the scene. Faust is captivated by a dark-eyed girl. Mephisto, disguised as a huntsman, snatches the violin from the village musician, playing a mocking tune. Faust takes the girl's hand, leaving the noisy party, entering the forest. Nightingales sing nearby, but with ominous undertones.

Imagine the recording of this piece; it's like dancing! The beginning is eerie, and it intertwines joy and foreboding in the middle.
In 1861, when Caroline was joyfully preparing for her marriage to Liszt, she noticed that Liszt wasn't as happy. Nonetheless, the wedding proceeded. However, a minute before the ceremony, the secretary of a cardinal in red entered, stating the wedding couldn't proceed as the ecclesiastical court had to reconsider the matter due to some new discoveries. Liszt likely felt "saved." Caroline swore never to consider marriage again, even if the religious court finally approved their union because she decided to dedicate her life to religion. If religion hindered this, it meant that God didn't approve of her and Liszt's union (of course, who knows what the real situation was…).

Later, Caroline locked herself in a room and began writing a huge work: "The Inner Reasons for the Weaknesses of the Roman Catholic Church." It was an attack on Vatican Church authorities, comprising 24 volumes, each more than a thousand pages long. She wrote for over twenty years until her death. Liszt didn't leave Rome. He often visited the lonely Caroline (her daughter was already married), discussing matters of faith with her. Their relationship underwent a complete transformation: from lovers to old friends.
At this time, Liszt's eldest daughter passed away at the age of 26 due to childbirth. The deaths of Liszt's son and another daughter struck him again. Consequently, Liszt moved to a monastery in Monte Mario (near Rome), reading numerous religious books preserved there and writing "Christ" and "The Legend of St. Elizabeth."
On April 25, 1865, at a grand yet simple ceremony at the St. Peter's Monastery in Rome, Liszt officially became a fourth-class monk in the Catholic Church. After Liszt joined the church, he gained a nickname: "Mephisto in Priest's Clothing." People began discussing his past, including his illegitimate children. One significant reason for this was that Liszt's known works were mostly glamorous piano compositions, passionate and somewhat exaggerated symphonic works, while his profound introspective religious music was rarely heard. These religious compositions were vastly different from Liszt's public image at concerts; their world was deep and distant.
In August 1865, Liszt returned to Hungary, wearing his monk's robes, receiving much appreciation. He performed the oratorio "The Legend of St. Elizabeth," causing a sensation. Encouraged by the public, he returned to the stage for piano concerts for the first time since 1848 (except for a few for the royalty), donating all proceeds. People also arranged his favorite Gypsy music evening, seemingly forgetting his previous comments.
In 1867, upon returning to Rome, he began writing the "Hungarian Coronation Mass": After a prolonged period of unrest, the Hungarian government sought peace through a union. Despite strong nationalist sentiments among the people, the government extended an olive branch to the Austrian rulers, wishing to restore the economy and mend ties. This mass was intended for the formal coronation ceremony of Emperor Franz Joseph I in Hungary (1867). Unlike Liszt's compositions during his time in Weimar and his earlier works as a virtuoso pianist, this Mass was emotionally simple and restrained in expression, reflecting Liszt's stylistic transformation in music.
At this time, "Liszt's second daughter fell in love with Wagner." This was quite explosive; Cosima was so loyal and deeply admired by Liszt. He recalled many times hearing people cursing Wagner behind his back, calling him a selfish and arrogant person, accusing him of not repaying debts and seducing married women. At that time, Liszt shrugged these off and didn't pay attention—compared to Wagner's dazzling genius, these petty matters were inconsequential (even Liszt himself wasn't very cautious regarding women). However, this time, he couldn't remain indifferent; he abruptly terminated his friendship with Wagner. Personally, it's unclear whether it was due to Wagner receiving great favor from the King of Bavaria in 1864, gaining significant wealth, a villa, ownership of the Munich Opera House, and all its members, resulting in his daughter falling for wealth. Compared to the simple life Liszt led, Cosima was captivated by wealth. Despite Liszt's hatred for Wagner's character, he still greatly appreciated his music, evident in his numerous adaptations of Wagner's operas.
Despite Liszt's past unpleasantness with Weimar, he agreed to reside and teach there for three months every year from 1869 onwards. Russian and German students flooded in, and Tchaikovsky even praised Liszt, likening him to Jesus because he never criticized his students, mostly encouraged them, regardless of their skill level, being overly kind and generous. However, this generosity brought him trouble; for instance, some female students intentionally got too close and then publicized themselves. When Liszt didn't want to engage, they threatened with knives and eventually published books, and so on.
Until his later years, he practically shuttled between Weimar, Rome, and Budapest annually, with almost equal distances, each requiring a 60-hour drive.
The break in Liszt's friendship with Wagner made him quite unhappy for several years. However, he wasn't willing to extend an olive branch—very unlike his usual approach. It appears that he was genuinely hurt. During the "Franco-Prussian War" (1870-1871, France vs. Prussia, leading to territorial losses and a 5-billion-franc indemnity), Wagner's actions further angered Liszt: his work "The Conquest of the Emperor" glorified a king who ordered attacks against the French during the war, while a crude poem "To the German Armies Outside Paris" blatantly called for sacrifices against France, shamelessly advocating for plundering. Liszt had deep affection for France, the land he loved the most after Hungary.
Ultimately, it was Wagner who extended the olive branch, inviting Liszt to a foundation ceremony, but it was too late for the invitation to be received. So, the Wagners visited him in Weimar, ending the five-year estrangement.
Liszt became extremely lonely, seeing his children and their families happy while he felt like an outsider.
In the 1870s, Liszt's creative output notably decreased, but it became more profound. Compared to before, the sensory romanticism of "beauty" diminished, replaced by solemn, dim, and melancholic expressions. For instance, "Hungarian Historical Portraits" (1870-1885, comprising seven piano pieces, each representing a figure from 19th-century Hungarian history) were for mourning and commemoration, reflecting the "disastrous historical period of 19th-century Hungary" and Liszt's concern and worry for his homeland's fate.
In 1875, Liszt assisted the Hungarian government in establishing the Music Academy of Hungary, where he served as the director. Initially dissatisfied with the modest location chosen for the institution, it was situated near one of his residences.
Around 1877, Liszt began studying Russian music, drawn to its abundant folk songs. He believed that German and French music had stagnated for a long time and saw Russian music as a fresh infusion. Contrary to Tchaikovsky's description of Liszt's interest in Russian new music as stemming from "old Jesus-like tolerance" or excessive generosity, it wasn't an intentional means of demeaning the music around him. Liszt, with his keen perception, recognized Russian music in the latter half of the 19th century as a force in the history of music development, a judgment validated by history.
The constant loss of close friends prompted Liszt to reconsider death. He engaged in extensive studies and contemplation about Jesus.
His final symphonic poem, "From the Cradle to the Grave" (completed in 1882), offers a vivid portrayal of the elderly Liszt's inner world. The composition comprises three distinct sections: Cradle—Life—Grave.
1. The piece begins with the gentle, dreamy sounds of string instruments, evoking thoughts of a mother's warm embrace, the innocent and clear eyes of a baby, and a world that seemed lovely through his eyes. The swaying rhythm instills a sense of security. Gradually, other instruments join in, singing a poignant song for new life.
2. The middle section abruptly introduces a strong, tumultuous rhythm and orchestral sounds, disrupting the tranquility and plunging the listener into a terrifying whirlpool—representative of life.
3. The tone shifts drastically again in the third segment. The clamor vanishes suddenly, leaving only the clarinet and bassoon singing in the lower register. It's an eerie silence; there are no echoes— the grave isn't frightening, and death doesn't invoke despair. It's simply life transitioning onto another path, a natural progression. When Liszt once again makes the sounds clear and gentle, one suddenly realizes: this grave was once a cradle, where new life gestates in this darkness until it ascends again, entering a new cycle.
In his later years, he ventured into new musical territories, perhaps stemming from his understanding of death. However, these compositions were not widely accepted, likely because people did not comprehend death as much. He made numerous breakthroughs, exploring dissonant chords, augmented fifths, similar to the misunderstandings people had about Beethoven's late works, assuming Liszt and Beethoven's late compositions were due to hearing impairment, which I believe was not the case.
Between 1883 and 1886, increasingly lonely, Liszt composed pieces such as "At Wagner's Grave," "Requiem," "Funeral March," and "Hungarian Rhapsody" among others.
In 1886, at the age of 75, he was celebrated on his birthday. Young pianists performed his past virtuosic compositions, and he had to attend celebrations in various countries. The final stop was planned by Liszt himself in Bayreuth because Cosima, Wagner's remarkable widow, was organizing the Bayreuth Music Festival in July. After attending several concerts, Liszt experienced difficulty breathing and was found to have stopped breathing on July 31, 1886.

Others

In the 19th century, it was common for nobility to sponsor capable musicians for further education.
Around 1820, Beethoven's music became less conventional, delving deeper and opening the doors to Romanticism. He surged far ahead of his contemporaries. Schubert during the same period also did, but unfortunately, he wasn't recognized by the upper class and could only perform in streets and alleys.
Liszt was refused entry to the Paris Conservatory in 1795, located near Philharmonie in the 19th arrondissement. Notable alumni include Debussy and Xian Xinghai.
Liszt excelled in improvisation and sight-reading from a young age. He was particularly skilled in unrestrained, imaginative playing and disliked confinement, emphasizing change.
The Italian Opera House in Paris is the Palais Garnier! It's the one opposite the Opera!
Mephisto is the name of the demon in Faust. Liszt's Mephisto Waltz represents evil, magic, temptation, and human desires (hence, at the beginning, Lang Lang mentioned playing it somewhat terrifyingly, then transitioning to a softer touch during the legato passages).
Talberg: At around 10 years old, he moved with his mother to Vienna. In 1826, he had his first public performance and swiftly gained fame. He composed numerous works for his own performances, mainly fantasies based on various opera themes. He also met Chopin, Schumann, and Felix Mendelssohn among others. In 1835, Talberg moved to Paris, where he achieved great success and competed with Liszt for recognition, a rivalry that lasted until 1843. Feeling defeated, Talberg embarked on performances in America. In his later years, he settled in Italy and ceased composing.
Rubinstein once said at the peak of his career: "Compared to Liszt, all pianists are like children."
The essence of Liszt's performance lay in clarity and granularity, which undoubtedly required exceptional technique.
In his early years, Liszt highly valued sensational effects, neglecting composition.
Budapest is actually a merger of two cities situated in the central part of Europe, composed of Buda and Pest. In 1873, Buda and Pest, along with other areas of the Austro-Hungarian Empire, merged, forming the modern Budapest. The Danube River divides these two cities, with Buda on the west bank and Pest on the east.
Liszt couldn't understand Hungarian; in fact, he didn't have a true mother tongue. He could speak French and German.
To truly appreciate Liszt's performance, one had to witness his gestures and movements. He absolutely couldn't perform hidden backstage; otherwise, a significant portion of the poeticism would be lost (which led to him being criticized as a superficial performer).
Liszt was a master of performance art. At his peak, he could hold numerous concerts, each lasting two to three hours, with different repertoires in each session. Sometimes, even if today's concert featured certain pieces, tomorrow's concert might showcase less known works by Liszt. When preparing to perform three pieces again, Liszt typically improvised for the first two, at least studying them superficially, while encountering Mendelssohn's piece for the first time just a few days before the concert. Considering the tight schedule and social commitments... it's unimaginable.
Liszt's most brilliant period as a performer spanned from 1840 to 1848.
Chopin's introverted and self-centered nature contrasted sharply with Liszt's extroverted personality, seeking universal acclaim.
Previous pianists faced away from the audience, but Liszt opted for a side view, allowing people to appreciate his handsome facial features and elegant playing movements while listening to the music. Moreover, he ingeniously arranged two pianos on stage, alternating between them during performances. Initially, he arranged for another musician, like a violinist or singer, to perform with him, but later, he solely played—pioneering solo concerts!
Grieg's assessment: Liszt's rendition of classical music lacked the noble elegance. His touch always seemed a bit "percussive." He primarily manipulated the piano from the standpoint of focusing on the external details and couldn't be considered rigorous. This brings to mind a modern pianist, Horowitz: undoubtedly the closest master of performance akin to Liszt. His strength earned him the title "The Titan," and his fingers remained incredibly nimble and astonishingly fast until his death at 85. Both Liszt and Horowitz shared a penchant for adapting classical works, resulting in numerous adaptations!
A description by Joseph Joachim, Franz Liszt's close friend and one of the greatest violinists of the 19th century:

"The first time playing sonatas and chamber music with Liszt was such a wonderful experience! However, during the second or third performance, Liszt couldn't restrain himself from adding octave or third embellishments to relatively simple phrases, or transforming regular vibrato into sixths. Even for works like Beethoven's 'Kreutzer Sonata,' he couldn't resist indulging in such foolishness."

Of course, this approach, where he didn't want to be confined by the original score, would always be criticized by traditionalists. Liszt held great respect for Bach, Beethoven, and others, but the problem was that these foundational pieces 'couldn't create stage effects.' Just like today, people demand grandeur, they want excitement. When they come to the concert hall, they hope to witness a 'miracle.' Chopin's beautiful music was highly appreciated in salons but often didn't produce great effects on large stages: it was too delicate, too gentle, easily overpowered by the noise around!"

This is why, before Chopin's death in 1849, his comment about Liszt was that he was a great pianist but a poor composer; he excelled at adapting existing classical pieces but couldn't create his own melodies (even his symphonic poems weren't entirely his melodies). However, he did put effort into composition in his later years.

One of the best examples of his effort is the A Major Piano Concerto. The initial draft dates back to 1839, and it wasn't published until 1863, eventually labeled as his Second Piano Concerto. It doesn't follow the traditional three-movement structure but comprises a single movement with seven different tempos. The transitions are extremely smooth, ranging from pastoral meditation to heroic valor, superbly conveying themes of love and salvation.

This piece (and many later orchestral works) is primarily built on 2-3 main thematic motifs. The seemingly fresh material that appears later in the piece is developed from these 'seeds,' making the overall structure tight and cohesive. We don't know how much Liszt progressed through countless revisions, but this method of starting from a few 'seeds,' constantly transforming and giving birth to new ideas, is the most crucial aspect of Liszt's compositional technique. At the same time, his 'single-movement' structure, 'he was bold, abandoning classical forms from the outset when composing concertos, discarding symphonic norms'—the strength of his innovative thinking is admirable. He didn't allow any constraints to appear in his works, even if established patterns had once been so perfect.
Liszt's innovations left many traditionalists and stubborn adherents bewildered and garnered a lot of criticism. A typical example is Beethoven, who was also criticized for his peculiar music during his lifetime but didn't affect the status of Beethoven's music after 1850.
Liszt was not a pessimist. Despite the difficulties and hardships encountered during almost all his compositions and music, he always aimed for sublimation and triumph in the end. Liszt believed that music is emotion itself. He disliked narrating stories through music; he just wanted to express his emotions: his inner reflections on characters and historical stories. Therefore, a single movement played organically was sufficient. A wise approach of his was incorporating an underlying 'chain' in rich-content, lengthy works. This 'chain' could maintain the unity of the work amidst extensive developments, and it was the 'leading motive.' I wonder if the K2 counts as one.
The style of Liszt's music, particularly the temperament in his orchestral works, is inseparable from his heroism and idealistic spirit. The characters he chose to portray were mostly heroes who had undergone immense suffering, possessing deep inner turmoil. He didn't focus on intricate plots but on delineating their inner worlds. He believed that the purpose of composition should not be to depict heroic achievements but to showcase the passions that dominate the hero's soul. "What the hero thinks is more important than what the hero does."

"Mazeppa" is another symphonic poem glorifying a hero, full of fighting spirit. In 1854, Liszt reworked the orchestration. Its original form was a purely musical piano piece written in 1826, one of the études in a set of piano exercises. In 1837, after revising this set of études, he titled it "Twenty-four Grand Etudes" when published in Berlin. In 1851, it was revised again, and a subtitle was added. The fourth piece in this series was "Mazeppa" (but initially, this name probably wasn't meant to glorify the hero; it was due to the piano piece's characteristics of struggle and galloping). However, this piano piece was also published separately in 1840 under this name, dedicated to Liszt's good friend, the French poet Hugo (the two friends published a long poem called "Mazeppa" in 1828).

Regarding the name "Mazeppa": Mazeppa was a 17th-century leader of the Ukrainian Cossacks, whose life was full of legendary tales. When young, Mazeppa served as a guard in the Polish royal court. Due to an affair with a noblewoman, he was discovered and tortured, almost facing death. Later, Mazeppa was rescued by nomadic Cossack tribes and joined them. Because of his bravery in battles, he was elected as the tribe's leader and later granted the title of Ukrainian prince by Peter the Great. Afterward, Mazeppa's ambitions grew, and he attempted subversive activities in league with the Swedish alliance. Eventually, under Peter the Great's military expedition, Mazeppa fled into the wilderness and committed suicide by poison—his character had contradictory traits, which is why many literary and musical works choose him as their subject.
Liszt's writing style was as florid as his compositions.
Chopin mostly composed piano pieces throughout his life and hardly touched piano concertos, except for his First Concerto, which gained some popularity.
Liszt could change the atmosphere of a concert instantly. He could genuinely and simply perform Bach in one moment, while in the next piece, he could play playfully, showcasing his technical prowess or even indulge in some tricks, leaving the audience stunned.
In Liszt's time, the hierarchical system referred to the 'Third Estate,' indicating a French pre-revolutionary tax-paying class opposite to the first (clergy) and second (nobility) estates, which enjoyed feudal privileges. Representatives from the Third Estate participated in the feudal hierarchy meetings; the attending representatives were mostly wealthy individuals, representing the future bourgeoisie.
Faust is one of the most influential and enduring figures in Western folklore and literature. He sells his soul to the devil in exchange for knowledge and power.
Liszt had great admiration for Dante's "Divine Comedy": In Dante's imagination, the world is divided into three parts: Hell, Purgatory, and Paradise. Hell torments the deeply sinful, Purgatory is for those with lighter sins and hope of redemption, while Paradise houses the virtuous, where there's only light and love. "Liszt's idea of 'saving the world' resonated deeply with Dante"; he belonged to the kind of artist who believed his duty was to alert people through his art, inspiring them to fight for truth. He aimed to teach people about goodness, beauty, and the meaning of life through his music. This sense of purpose lent his music, especially his orchestral works, a sublime quality and an uplifting force. Dante's "Divine Comedy" was the most suitable subject matter for Liszt.
"Norma's Reminiscences" and "The Reminiscences of Don Juan" were both composed in 1841, during a phase when he was playing around with sound in a somewhat superficial manner.
Liszt's musical style during his time in Weimar was vividly colorful; after 1860, his music became more introspective, mainly due to his increasing proximity to religion. "The Legend of Saint Elizabeth" was his first significant work developed on the theme of church modes.
Liszt's later works were profound and exceptional, yet unfortunately, at this time, people distanced themselves from him, leading him to loneliness. The tragedy of Liszt's life was that "his deep compositions failed to generate the expected response from the audience and the press; instead, his adaptations and flashy piano pieces were better known."
Wagner always admired Liszt as a person, but he didn't truly appreciate Liszt's music. He always believed that he had provided Liszt with countless inspirations and motivations, while he himself hadn't gained anything new from Liszt.
Bavaria is a state in Germany that encompasses a considerable area, including Nuremberg and Munich.
Liszt lived to the age of 75, longer than most musicians.
In 1863, Liszt composed the piano piece "Spanish Rhapsody" (Rhapsodie-espagnole), just before the death of her eldest daughter, "Blandine."

Random:

Page 283 of the book contains his chronology.
Page 298 lists nearly all of his works.
Liszt's works comprise approximately 800 pieces or sets, including one opera, 65 religious works, 28 secular choral pieces, 25 orchestral works, 7 piano and orchestra works, 9 chamber music works, 119 piano solo pieces, 3 pieces for piano four hands, 2 works for two pianos, 11 organ works, 82 songs (groups), and about 351 adaptations. Additionally, there are over 20 essays.

Creation Dates of Some Pieces:

Mazeppa: 1840
Hungarian Historical Portraits: 1870
Funeral March: 1885
Spanish Theme and Variations: Smugglers: 1836 (aged 25!)
First Piano Concerto, undergone several revisions; initial composition in 1849, quite matured, in the process of innovation
Dance of Death: 1849
Reminiscences: Adapted from Meyerbeer's opera "Robert le diable," the hellish waltz: 1841
Reminiscences: Reminiscences of Don Juan: 1841
Grand Fantasia on the Bells: 1831 (aged 20!)

Summary

This book isn't very biased; it extensively covers Liszt's life story. It provides detailed insights into many of his works, mentions various letters and reviews from that time, and delves into the background context. For example, it covers all the well-known pieces such as rhapsodies, symphonic poems, and waltzes, and also extensively touches on the significant influence of Dante and Faust's poetry on Liszt.