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Franz Liszt (Hungarian: Liszt Ferenc; pronounced [ˈlɪst ˈfɛrɛnts]) (October 22, 1811 – July 31, 1886) was a Hungarian composer and virtuoso pianist[1] of the 19th century. He was a renowned performer throughout Europe, noted especially for his showmanship and great skill with the piano. To this day, he is considered by some to have been the greatest pianist in history.[2] As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind a huge oeuvre, including works from nearly all musical genres. Liszt may refer to: Franz Liszt, Hungarian pianist and composer Anna Liszt, his mother Adam Liszt, his father Cosima Wagner, his daughter, later the wife of Richard Wagner Category: ...
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Year 1886 (MDCCCLXXXVI) was a common year starting on Friday (link will display the full calendar) of the Gregorian calendar (or a common year starting on Wednesday of the 12-day slower Julian calendar). ...
A composer is a person who writes music. ...
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Biography
Origin Franz Liszt was born on October 22, 1811, in the village of Raiding (Hungarian: Doborján) in the Kingdom of Hungary, then part of the Habsburg Empire (and today also part of Austria), in the comitat Oedenburg (Hungarian: Sopron). In his Latin Catholic baptism record, his first name was registered as "Franciscus", but most of his closer friends called him "Franz", the Germanized version of "Franciscus".[3] He was called "François" in French, and "Ferenc", "Ferencz" or "Ferentz" in Hungarian; in his Hungarian passport of 1874 he was "Dr. Liszt Ferencz".[4] His parents were Adam and Maria Anna Liszt (née Laager, from Krems an der Donau).[5] is the 295th day of the year (296th in leap years) in the Gregorian calendar. ...
For the US Federal Agent designation, see Special agent. ...
Raiding (Hungarian: Doborján) is a small Austrian market town in the District of Oberpullendorf, Burgenland. ...
This article does not cite any references or sources. ...
Habsburg (sometimes spelled Hapsburg, but never so in official use) was one of the major ruling houses of Europe. ...
For the historical county in the Kingdom of Hungary named Sopron / Ödenburg, Sopron (county). ...
The Roman Catholic Church, most often spoken of simply as the Catholic Church, is the largest Christian church, with over one billion members. ...
Krems an der Donau is a city of 23,932 inhabitants in Austria, in the federal state of Lower Austria. ...
Liszt grew up in Raiding, a part of the Burgenland. The main language in that region was German, while only a small minority could speak and understand Hungarian. For official purposes Latin was used. Liszt's father Adam Liszt, during the first half of the 1790s, had had lessons in Hungarian for five years at the gymnasium of Pressburg (now Bratislava, capital of Slovakia), but he learnt nearly nothing of it and always had the worst grades. In Raiding it had only been since 1835 that children had lessons in Hungarian at school.[6] Liszt himself was fluent in German, French and Italian. He also had some knowledge of English, but his knowledge of Hungarian was very poor. In the early 1870s, when all people living in Hungary were forced to learn Hungarian, Liszt also tried to learn it, but after some lessons he gave up. Burgenland (Hungarian Várvidék, Årvidék or FelsÅ‘Å‘rvidék, Croatian Gradišće, Slovenian GradiÅ¡Äansko) is the easternmost and least populous state or Land of Austria. ...
, Nickname: Beauty on the Danube Country Slovakia Region Districts Rivers Elevation 134 m (440 ft) Coordinates , Highest point DevÃnska Kobyla - elevation 514 m (1,686 ft) Lowest point Danube River - elevation 126 m (413 ft) Area 367. ...
The issue of Liszt's nationality has triggered many interpretations.[7] The question is considered by some to be controversial to this day, since important sources are missing. According to the mainstream literature about Liszt, his great grandfather Sebastian List was a German who came to Hungary in the early 18th century. Since in Hungary the nationality of a child was inherited from the father's side, Liszt's grandfather Georg List and Liszt's father Adam List would have been Germans too. Adam List was in his youth registered as "Adamus Matthäus Liszt, natio et locus natalis Germanus",[8] i. e. "Adam Matthäus Liszt, of German nationality and origin". Liszt's mother Anna Maria Laager was of Austrian origin, which in those days was also regarded as German. Following this line, Franz Liszt himself would have been German, although born in Hungary. The writings also claim that his father, in his time as pupil at the gymnasium of Pressburg, had changed the name's orthography from "List" to "Liszt", to secure what seemed to him the correct (German) pronounciation of "list", avoiding the Hungarian pronounciation "lisht".[9] Since 1843, that version of the name was also taken by Liszt's grandfather Georg. De facto the name of Liszt's father was recorded in the gymnasium as "Liszt Ádám".
On the other hand, the theory of Sebastian List's German origin is an assumption without sufficient proof in sources. During the 1930s, Ernő Békefi searched in Hungarian archives for Sebastian List's birth certificate. Since he could not find it, he presumed that Sebastian List must in his youth have come to Hungary.[10] However, Sebastian List's birth certificate has not been found in German or Austrian archives either. Since during the 18th century many materials in Hungarian archives were destroyed by the Ottoman Turks, it can be imagined that this was the reason Békefi could not find Sebastian List's birth certificate—Sebastian List might therefore have been born in Hungary.
In the vast majority of Liszt literature he is regarded as either Hungarian or German. By many authors, among them Émile Haraszti and Béla Bartók, the character of Liszt's music was regarded as mainly French.[11] Liszt, since 1838 at least, claimed that he was Hungarian, and it was important for him. Liszt and his father Adam had both solely Hungarian passports for their entire life. Furthermore his children bore Hungarian citizenship as well. In a 1845 letter to Lammenais abbé Liszt wrote: "My children bear their fathers nationality. Whether they like it or not they are Hungarians". One also has to note that the name "Liszt" originates from the word of "flour" in Hungarian. Hence it can also be interpreted as the short form of "lisztes molnár" which means "miller".[12]
Early life Every attempt to describe Liszt's development during his childhood and early youth has met with the difficulties of terribly sparse information. Authors of a traditional line, such as Lina Ramann, Peter Raabe, and later Alan Walker, concentrated on the task to show that Liszt already as a boy had been an artist of highest genius, and especially as pianist was surpassing everything that might have existed in all parts of music history. But, taking this point of view, it cannot be understood for which reasons he would have needed further lessons. All contemporary virtuosos of even the highest caliber have had to take lessons from boyhood.
It had been Adam Liszt's own dream to become a musician. He played piano, violin, violoncello and guitar. During the winter of 1797-98, while studying philosophy at the University of Pressburg, he took lessons in instrumentation by Paul Wigler; unfortunately, due to poverty he had to give up his studies. Beginning January 1, 1798 he undertook a paid appointment in the services of Prince Nikolaus II Esterházy. During the years 1805-1808 he was working in Eisenstadt[13] where Prince Esterházy, usually living in Vienna, had a summer residence with an orchestra. The orchestra was until 1804 directed by Joseph Haydn, and afterwards until 1811 by Johann Nepomuk Hummel. On several occasions, Adam Liszt took part as second cellist. On September 13, 1807, the orchestra performed Beethoven's C major Mass under Beethoven's own direction.[14] Adam Liszt knew Haydn, Hummel and Beethoven personally. From his perspective, the Viennese classics had reached the highest level of music as art.[15] , Nickname: Beauty on the Danube Country Slovakia Region Districts Rivers Elevation 134 m (440 ft) Coordinates , Highest point DevÃnska Kobyla - elevation 514 m (1,686 ft) Lowest point Danube River - elevation 126 m (413 ft) Area 367. ...
The House of Esterházy was a noble family in the Kingdom of Hungary since the Middle Ages. ...
Eisenstadt (Hungarian Kismarton, Croatian Željezno) is a city in Austria, the state capital of Burgenland. ...
Haydn redirects here. ...
Johann Nepomuk Hummel Johann Nepomuk Hummel or Jan Nepomuk Hummel (14 November 1778 – 17 October 1837) was a composer and virtuoso pianist of Austrian origin who was born in Pressburg (present-day Bratislava, Slovakia). ...
Ludwig van Beethoven Ludwig van Beethoven (baptized December 17, 1770 – March 26, 1827) was a German composer of Classical music, the predominant musical figure in the transitional period between the Classical and Romantic eras. ...
Liszt himself, as a mature artist, frequently said that the most important musical impressions of his childhood had been the playing of Gypsy artists. However, the repertoire he had to study as a boy at the piano had been different. According to Adam Liszt's letter to Prince Esterházy of April 13, 1820, he had bought 1,100 "Bogen", i.e. 8,800 pages, of music of the best masters. During the previous 22 months, his son already had worked through the complete works of Bach, Mozart, Beethoven, Clementi, Hummel, Cramer, and further composers besides.[16] Since the boy had for several times been ill, it is doubtful that he actually had played all of those works, but he had started in summer 1818 at age of nearly 7. His progress was of an extraordinary kind. In October 1820, at the old casino of Ödenburg, he took part in a concert of the violinist (alleged) Baron von Praun, himself child prodigy. At the second part of the concert, Liszt played a concerto in E flat major by Ferdinand Ries with much success and an improvisation of his own.[17] “Bach†redirects here. ...
Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart (January 27, 1756 – December 5, 1791) was one of the most significant and influential of all composers of Western classical music. ...
Muzio Clementi (January 24, 1752 – March 10, 1832) was a classical composer, and acknowledged as the first to write specifically for the piano. ...
Johann Baptist Cramer (February 24, 1771, Mannheim - April 16, 1858, London), was an English musician of German extraction. ...
Sopron (pronounced shop-ron), historically also known by the German name Ödenburg, is the name of a town in Hungary. ...
Ferdinand Ries (1784–1838) was a Bonn-born pupil of Beethoven who published a collection of reminiscences of his teacher. ...
In November 1820 Adam Liszt took an even better chance to present his son's playing to the public. In Pressburg, the Diet met for the first time after a break of 13 years. On November 26, at Count Michael Esterházy's palace in Pressburg, Liszt gave a concert in front of an audience of aristocrats and members of the society. A group of magnates secured for a duration of six years to pay an annual sum of 600 Gulden (Viennese Currency), so that Liszt could study abroad. Look up diet in Wiktionary, the free dictionary. ...
Adam Liszt had already petitioned Prince Esterházy on August 4, 1819 in favor of his son's education. In that petition he had estimated annual expenses of 1,300-1,500 Gulden. He did not expect the Prince would pay that sum, but he had asked for a position in Vienna. He himself could earn money, and his son could take lessons from a prominent master.[18] The petition was supported by Hofrat Johann von Szentgály, an official in charge. But with no vacant positions in Vienna, the petition was refused by the Prince.[19] In comparison with the 1,300-1,500 Gulden of annual expenses, the 600 Gulden offered by the group of magnates in November 1820 was by far insufficient. Nothing happened for the following one and a half years.[20] On March 6, 1822, Adam Liszt asked in a new petition for a year's leave of absence. After the Prince had agreed, Adam Liszt sold everything he owned in Raiding.[21] On May 8, 1822, the Liszt family went to Vienna. For other uses, see Vienna (disambiguation). ...
Raiding may refer to: The present participle of the verb raid, a word which itself has several meanings The small market town of Raiding in Austria This is a disambiguation page: a list of articles associated with the same title. ...
For other uses, see Vienna (disambiguation). ...
In Vienna, Liszt received piano lessons from Carl Czerny, who in his own youth had been Beethoven's student. Czerny, according to his "Lebenserinnerungen" (Memoires), had had the impression that the boy's talents were very strong. But the boy had no knowledge of proper fingerings and his playing style was very chaotic.[22] Further information can be taken from sources which were authorized by Liszt himself.[23] According to this, Czerny, at first attempt, had let the boy play some of Clementi's easier sonatas. The boy played them without effort, but he could not understand that he had to work on details of the execution and expression. Also, master and pupil had different opinions regarding the fingerings. In order to escape the hated lessons, some would argue that Franz wrote unnecessarily complex fingerings into his scores.[citation needed] He afterwards went to his father, claiming those fingerings were Czerny's. It had "become obvious" that Czerny had no knowledge of piano playing. After Adam Liszt had talked with Czerny and - as to be presumed - also with his son, the lessons were continued. Carl Czerny, lithograph by Joseph Kriehuber, 1833 Carl Czerny (sometimes Karl; February 21, 1791 – July 15, 1857) was an Austrian pianist, composer and teacher. ...
Clementi can refer to: Muzio Clementi, a composer Clementi, a neighbourhood of Singapore This is a disambiguation page — a navigational aid which lists other pages that might otherwise share the same title. ...
Very soon Liszt was heard in private circles. His public debut in Vienna was on December 1, 1822, at a concert at the "Landständischer Saal". Liszt played Hummel's concerto in A minor as well as an improvisation on an air from Rossini's opera "Zelmira" and the "Allegretto" of Beethoven's 7th Symphony. On April 13, 1823, he gave a famous concert at the "Kleiner Redoutensaal". This time, he played Hummel's concerto in B minor, variations by Moscheles and an own improvisation. According to the legend, he impressed Beethoven, although deaf, to such an extent that he congratulated Liszt on the stage, kissing him on the forehead and giving him enthusiastic praise. However, the unparalleled event left no traces in contemporary reviews of the concert.[24] According to Schilling's account, authorized by Liszt, during the concert the boy had had the impression, Beethoven was looking from a distance at him, but without saying a single word or even kissing him[25]- but Beethoven's conversation books show that Beethoven did not attend the concert. Johann Nepomuk Hummel Johann Nepomuk Hummel or Jan Nepomuk Hummel (14 November 1778 – 17 October 1837) was a composer and virtuoso pianist of Austrian origin who was born in Pressburg (present-day Bratislava, Slovakia). ...
Gioacchino Antonio Rossini (February 29, 1792 — November 13, 1868) was an Italian musical composer who wrote more than 30 operas as well as sacred music and chamber music. ...
Ignaz Moscheles, from a portrait by his son Felix. ...
“Beethoven†redirects here. ...
Since July 1822, Liszt also received lessons in composition by Antonio Salieri. According to Salieri's letter to Prince Esterházy of August 25, 1822, he had until then introduced his pupil to some elements of music theory. Earnest lessons in composition should follow later.[26] Since from the side of his admirers the child prodigy was very soon praised as a new Mozart or Beethoven, Salieri had chosen not an easy task.[27] Antonio Salieri Antonio Salieri (August 18, 1750 – May 7, 1825), was an Italian composer and conductor. ...
In spring 1823, when the one year's leave of absence came to an end, Adam Liszt asked Prince Esterházy in vain for additional two years. Adam Liszt therefore took his leave of the Prince's services. At the end of April 1823, the family for the last time returned to Hungary. Liszt gave concerts in Pest on May 1 and May 24. He also took part on May 10 and 17 in concerts at the "Königliches Städtisches Theater" and on May 19 in a "vergnügliche Abendunterhaltung" (an "entertaining musical evening"). At the event of May 19, Liszt played an arrangement of the Rákóczi march as well as from a printed edition of Hungarian dances some pieces by Csermák, Lavotta and Bihari.[28] At end of May 1823, the family went to Vienna again. Look up Pest in Wiktionary, the free dictionary Pest may refer to: A pest, an animal (usually an insect), or sometimes a plant (weed) with characteristics that are injurious or harmful to humans. ...
János Bihari (1764-1824/1827?) was an influential Hungarian Roma (Gypsy) violinist. ...
For other uses, see Vienna (disambiguation). ...
The child prodigy On September 20, 1823, the Liszt family left Vienna for Paris. To support himself and his parents, Liszt gave concerts in Munich, Augsburg, Stuttgart and Strasbourg. In Miesich he was regarded as an equal to the child Mozart.[29] On December 11, 1823, the family arrived in Paris. The next day, Adam Liszt together with his son went to the Conservatoire, hoping the child prodigy would be accepted as a student. But Cherubini, the director, told them that according to a new rule only the French were allowed to take part in piano class. Consequentially, Liszt's only piano teacher, who had very despotic manners, was now- his father. Adam Liszt had his son practise scales and etudes (that is, studies) with a metronome[30] and also play a number of fugues by J. S. Bach every day, transposing them into different keys.[31] For other uses, see Vienna (disambiguation). ...
This article is about the capital of France. ...
For other uses, see Munich (disambiguation). ...
For other meanings for Augsburg: See Augsburg (disambiguation) , Augsburg is a city in south-central Germany. ...
For other uses, see Stuttgart (disambiguation). ...
For other uses, see Strasburg. ...
Maria Luigi Carlo Zenobio Salvatore Cherubini (September 14, 1760 – March 15, 1842) was an Italian composer. ...
For other people named Bach and other meanings of the word, see Bach (disambiguation). ...
Liszt learned French quickly and it became his main language. He made the acquaintance of the piano manufacturer Sébastien Érard, pioneer of the "double-escapement" system of piano mechanics.[32] After Liszt had played in private circles and given concerts on March 7 and April 12, 1824, at the "Theâtre Italiènne", he had become a most famous and popular artist. He was well known in Paris as "petit Liszt" ("little Liszt"). In 1824, 1825 and 1827, together with his father, he visited England, where he was known as "Master Liszt". He earned large sums of money with concerts: his father invested a sum of 60,000 Francs[33] in bonds of his former employer Prince Esterházy. The money was kept until 1866, when Liszt's mother died. She had until then received the interests.[34] Sébastien Érard (born Sébastien Erhard, 5 April 1752 - 5th August 1831) was a French instrument maker of German origin who specialised in the production of pianos and harps, developing the capacities of both instruments and pioneering the modern piano. ...
The House of Esterházy (- German, in Hungarian: Eszterházy, in Slovak: Esterházi) was a noble family in the Kingdom of Hungary since the Middle Ages, which was among the great territorial magnates of the Kingdom of Hungary, during the time it was part of the Austrian Habsburg Empire. ...
Since 1824, Liszt studied composition with Anton Reicha and Ferdinando Paer. From Adam Liszt's letters it is known that his son had composed several concertos, sonatas, works of chamber music, and much more. While nearly all of those works are lost, some piano works of 1824 were published. They were Variations on an original theme (op.1), Variations on a theme by Rossini (op.2), an Impromptu on melodies by Rossini and Spontini (op.3), and two Allegri di Bravura (op.4). Gioachino Rossini. ...
Gaspare Spontini (14 November 1774 – 24 January 1851) was an Italian opera composer and conductor. ...
Liszt's published works were written in the common style of the contemporary brilliant Viennese school. He had taken works of his former master Czerny as a model, which Liszt's later virtuoso rivals Sigismond Thalberg and Theodor Döhler would also emulate. The success of Liszt's published works was very poor. Czerny wrote to Adam Liszt on September 5, 1825, that he had sympathetically looked at Franz's works. If Franz, after some time, had gained better knowledge of the requirements of musical setting and was successful in putting better order to his future works, he then would have earned the honour that his works might be presented to the public. Adam Liszt had done well not to publish all of Franz's works.[35] A much more cruel opinion is known from a letter by Alois Schmitt to Ferdinand Hiller dated March 22, 1829, in which Schmitt wrote that with publication of his Allegri di Barvura Liszt "had shown that he had no talent for composition at all".[36] Sigismond Thalberg Sigismond Thalberg[1] (Pâquis near Geneva, Switzerland, January 8, 1812 – Posillipo near Naples, Italy, April 27, 1871) was a composer and one of the most prominent virtuoso pianists of the 19th century. ...
Ferdinand Hiller (October 24, 1811 - May 12, 1885), was a German composer of the romantic era. ...
In spring 1824, with Paer's help, Liszt started composing an opera Don Sanche, ou Le château de l'amour ("Don Sanche, or The Castle of Love"). Under direction of Rodolphe Kreutzer, with Adolphe Nourrit as Don Sanche, the opera premiered on October 17, 1825 at the Académie Royale de Musique, but without success. Liszt afterwards felt drawn in a different direction. He started disliking music and spent much time with religious ideas. However, he was forced by his father to continue giving concerts.[37] In 1826 in Marseille he started composing original etudes. They were projected as 48 pieces, but only 12 pieces were realized, and published as his Opus 6. Rodolphe Kreutzer (November 16, 1766 - January 6, 1831) was a French violinist, teacher, composer and conductor. ...
Adolphe Nourrit Adolphe Nourrit (born March 3, 1802 at Montpellier, France; died March 7, 1839 at Naples, Italy) was a tenor. ...
Théâtre de lAcadémie Royale de Musique, Paris, circa 1865 Théâtre de lAcadémie Royale de Musique (was also known as the Théâtre Impérial de l´Opéra, Le Rue Peletier, or simply, Le Peletier, but more familiarly as the Paris Opéra) was...
City flag Coat of arms Motto: By her great deeds, the city of Massilia shines The Old Port of Marseille Location Time Zone CET (GMT +1) Coordinates Administration Country Region Provence-Alpes-Côte dAzur Department Bouches-du-Rhône (13) Subdivisions 16 arrondissements (in 8 secteurs) Intercommunality Urban...
In summer 1827, Liszt fell ill.[38] Adam Liszt went with his son to Boulogne-sur-Mer, a spa town on the English Channel. While Liszt himself was recovering, his father fell ill with typhus. On August 28, 1827, Adam Liszt died. Liszt composed a short funeral march which might have been meant with double meaning.[citation needed] Altogether with his father, the concertizing child prodigy had died. Adam Liszt was buried in Boulogne. Liszt never visited his father's grave. Boulogne-sur-Mer is a city and commune in northern France, in the Pas-de-Calais département of which it is a sous-préfecture. ...
In later years, Liszt himself always took a skeptical point of view regarding his career as child prodigy. While he had earned much money and gained a prominent name, his general education had had no chance of development.[39] Since the early 1830s, he started reading huge amounts of books. When he died in 1886, he left behind many thousands of books. Regarding his former oeuvre as child prodigy, he wrote to Lina Ramann in March 1880 that nothing had become of it because there was nothing to it. For young as well as for old composers it was always the best when the manuscripts were lost, he felt.[40]
Adolescence in Paris
Artistic development After his father's death Liszt returned to Paris. For the next five years he was to live with his mother in a small apartment, the address of which was Rue Montholon No.7. In 1831 they moved to Rue de Provence No.61. At the end of 1833 Liszt rented his own apartment which he called "Ratzenloch".[41] To earn money, Liszt gave lessons in piano playing and composition. He took an appointment at a private school for young ladies at Rue de Clichy No.43, run by one Madame Alix, as well as giving private lessons. On October 23, 1828, the Corsair erroneously reported that Liszt had died. But a correction appeared in the same paper three days later: a note from Madame Alix said that he actually lived, had not ceased teaching at her school, and was in good health.[42]
At occasions, Liszt performed at private soirées, typically organized by Rossini, who would invite other artists as well. At the designated time, they all entered their host's building, taking a back entrance. In the salon, they silently assembled around the piano. They would perform their pieces in turn. After the host had politely thanked them, they would leave. Rossini would receive the money the next day to distribute among the artists.[43] Gioacchino Antonio Rossini (February 29, 1792 — November 13, 1868) was an Italian musical composer who wrote more than 30 operas as well as sacred music and chamber music. ...
Liszt also took part in concerts of other artists. For December 25, 1828, he announced a concert of his own. In the first part he wanted to play Beethoven's concerto in E flat major and an improvisation. In the second part he wanted to play variations by Czerny on a melody from Bellini's opera "Il pirata" and take part in a duo with violin by Mayseder. But the concert had to be cancelled since Liszt had fallen ill with the measles. On March 22, 1829, at the Salons Pape, he took part in an arrangement for twelve hands of Mozart's overture "Die Zauberflöte". On April 7, 1829, at the Salons Dietz, he for the first time played the first version of his fantasy on a Tyrolian melody from Auber's opera "La fiancée".[44] Also during winter 1829-30, Liszt gave several concerts. On April 29, 1830, he took part in a soirée of Charles Schunke.[45] Carl Czerny (sometimes Karl; February 21, 1791 – July 15, 1857) was an Austrian pianist, composer and teacher. ...
Bellini can mean: A family of Italian painters, the most famous of which is Giovanni Bellini (c. ...
Daniel François Esprit Auber (January 29, 1782 - May 13, 1871), French composer, the son of a Paris print-seller, was born in Caen in Normandy. ...
In July 1830, a revolution swept through Paris. King Charles X had attempted to overturn the constitutional monarchy and re-establish the absolute monarchy. Students and workers of Paris erupted in revolt. Liszt, whose apartment was near to the main centers of fighting, composed a "Revolution Symphony". However, it turned out that the revolutionists had exchanged Satan with the Devil. The new King Louis-Philipe very soon let social laws become even worse than the previous ones. It might have been for this reason Liszt let the "Revolution Symphony" lie without orchestrating it.[46] Much later, the first movement was taken as origin of the Symphonic Poem "Heroide funèbre". The July Days took place between July 4 and 7 July in 1917 in Russia when sailors and industrial workers of Petrograd rioted against the Russian Provisional Government. ...
Charles X, King of France and of Navarre (October 9, 1757 - November 6, 1836) was born at the Palace of Versailles. ...
Louis-Philippe I, King of the French (October 6, 1773 – August 26, 1850) was King of the French from 1830 to 1848 in what was known as the July Monarchy. ...
Due to the revolutionary development, a general crisis of Parisian cultural life occurred. On of August 26, 1830, a petition to the French Minister of Interior was formulated demanding a new organization of musical life and - among other persons - signed by Liszt.[47] It was still difficult to give concerts, since leading parts of the society had left Paris in protest against the new regime. On December 5, 1830 Liszt attended a concert at which the Symphonie fantastique by Berlioz premiered with great success.[48] At the end of December 1830 or at the beginning of January 1831, Liszt left Paris, travelling to Geneva. The voyage led to severe problems in his private life.[49] For those reasons there was a gap of nearly two years in Liszt's concert activities. Not earlier than on January 28, 1832, he followed an invitation to a charity concert in Rouen.[50] On April 2, 1832 he performed at a concert in Paris again. Portrait of Berlioz by Signol, 1832 Louis Hector Berlioz (December 11, 1803 – March 8, 1869) was a French Romantic composer best known for the Symphonie Fantastique, first performed in 1830, and for his Requiem of 1837, with its tremendous resources that include four antiphonal brass choirs. ...
For other uses, see Geneva (disambiguation). ...
, Rouen (pronounced in French) is the historical capital city of Normandy, in northwestern France on the River Seine, and currently the capital of the Haute-Normandie (Upper Normandy) région. ...
During winter 1831-32, Liszt made the acquaintance of Felix Mendelssohn Bartholdy and Fréderic Chopin. Both of them arrived in Paris with a suitcase full of masterworks. In comparison with this, Liszt - neglecting his works as child prodigy - had not much more to offer than an oeuvre of a single piece, his Bride-fantasy. Their impression of Liszt is known from their letters. Chopin, in a letter to Titus Woyciechowski of December 12, 1831, wrote that "all Parisian pianists, including Liszt, were zeros in comparison with Kalkbrenner".[51] Mendelssohn, in a letter to his sister Fanny of December 28, 1831, wrote, Liszt was the most dilletantic of all dilletantes. He played everything from memory, but with wrong basses, i.e. with wrong harmonies.[52] Image File history File linksMetadata Size of this preview: 483 × 599 pixelsFull resolution (800 × 992 pixel, file size: 206 KB, MIME type: image/jpeg) La bildo estas kopiita de wikipedia:de. ...
Image File history File linksMetadata Size of this preview: 483 × 599 pixelsFull resolution (800 × 992 pixel, file size: 206 KB, MIME type: image/jpeg) La bildo estas kopiita de wikipedia:de. ...
Achille Jacques-Jean-Marie Devéria (February 6, 1800 – December 23, 1857) was a French painter and lithographer. ...
Felix Mendelssohn wrote his first symphony at the young age of fifteen. ...
The only known photograph of Frédéric Chopin, believed to have been taken by Louis-Auguste Bisson in 1849. ...
Friedrich Kalkbrenner Friedrich Wilhelm Kalkbrenner (7 November 1784–10 June 1849) was a German pianist and composer. ...
Fanny Mendelssohn Fanny Hensel, 1842, by Moritz Daniel Oppenheim Fanny Cäcilie Mendelssohn (November 14, 1805 – May 14, 1847), later Fanny Hensel, was a German pianist and composer, and was the sister of Felix Mendelssohn; they were both the grandchildren of the distinguished Jewish philosopher, Moses Mendelssohn. ...
Important influence on Liszt also came from the sect of the religiously-oriented Père Enfantin fraction of the Saint-Simonists. As part of their ideology, contemporary forms of marriage were regarded as prison for women and in this sense as kind of crime.[53] In the beginning of January 1832 they distributed a flyer according to which all artists should take part in the new religion. They should make better music than Beethoven and Rossini.[54] On January 11, 1832, Liszt - himself follower of the Père Enfantin[55] - told his student Valerie Boissier and her mother Auguste that he would cease giving lessons to concentrate all of his forces on his development as artist.[56] Barthélemy Prosper Enfantin (February 8, 1796 - 1864), French social reformer, one of the founders of Saint-Simonism, was born at Paris. ...
Saint-Simonianism was a French socialist movement of the first half of the 19th century. ...
Gioacchino Antonio Rossini (February 29, 1792 — November 13, 1868) was an Italian musical composer who wrote more than 30 operas as well as sacred music and chamber music. ...
In spite of his announcement, Liszt continued giving lessons. After at end of March 1832 Valerie Boissier had returned to Geneva, Liszt received from her mother an invitation for a vacation. Although Liszt had very much liked to follow the invitation and made preparations to go together with Alexandre Dumas to Geneva[57], there were reasons of his private life because of which he actually could not dare to go to that very place.[58] He kept staying in Paris where he took part in lectures, given by François-Joseph Fétis, on future possibilities of music. Much later, in a letter of September 17, 1859, Liszt wrote to Fétis, the theory of "Omnitonie" and "Omnirythmik", he had learnt at those lectures, had had an obvious influence on the direction he had taken as composer.[59] For other uses, see Geneva (disambiguation). ...
Alexandre Dumas redirects here. ...
François-Joseph Fétis François-Joseph Fétis (March 25, 1784 — March 26, 1871), Belgian musicologist, composer, critic and teacher. ...
On April 20, 1832, Liszt attended a charity concert, for the victims of a Parisian cholera epidemic, by Niccolò Paganini.[60] Liszt became determined to become as great a virtuoso on the piano as Paganini was on the violin.[61] According to a letter to Pierre Wolff of May 2, 1832[62], he had for a whole fortnight practised, four to five hours a day, thirds, sixths, octaves, tremolos, repetitions of notes, cadenzas, etc. However, when the letter was delivered, Liszt's practising that much had already ended. According to a second part, written on May 8, he had left Paris, following an invitation by one family Reiset for a vacation in Ecoutebœuf, a small place near Rouen.[63] Niccolò (or Nicolò) Paganini (October 27, 1782 – May 27, 1840) was an Italian violinist, violist, guitarist, and composer. ...
, Rouen (pronounced in French) is the historical capital city of Normandy, in northwestern France on the River Seine, and currently the capital of the Haute-Normandie (Upper Normandy) région. ...
In Ecoutebœuf, Liszt started composing his "Grande Fantaisie de Bravoure sur La Clochette de Paganini" ("Grand Bravura Fantasy on Paganini's La Campanella") on a melody from the rondo finale of Paganini's second violin concerto. The early version of the Clochette-fantasy was not yet completed because Liszt fell ill in Ecoutebœuf.[64] When on November 5, 1834, at a concert of Berlioz, he for the first time played the fantasy, it was a complete fiasco and taken as new proof that Liszt had no talent for composition at all.[65] A shorter piece using the same melody as well as a melody from the finale of Paganini's first concerto was included in the 1838-39 "Etudes d'exécution transcendante d'après Paganini" ("Studies of Transcendental Execution after Paganini").
Since 1833, Liszt's relation with Marie d'Agoult was developing. In addition to this, at end of April 1834 he made the acquaintance of Felicité de Lamennais. Under the influence of both, Liszt's creative output exploded. Until May 1835 he had composed at least half a dozen works for piano and orchestra, a duo-sonata for piano and violin on a Mazurka by Chopin, a duo for two pianos on two of Mendelssohn's "Lieder ohne Worte" and much more. All this found a very abrupt end, after Liszt on June 1, 1835, had left Paris, travelling to Basel. Most of the works he had composed during summer 1832 - May 1835 were neither published nor performed. In a "Baccalaureus-letter" to George Sand, published in the Revue et Gazette musicale of February 12, 1837, Liszt wrote, he would throw them to the fire. Marie Catherine Sophie de Flavigny, Vicomtesse de Flavigny (December 31, 1805 - March 5, 1876), known also by her married name and title, Marie, Comtesse dAgoult, and by her pen name, Daniel Stern; an author and a paramour of Franz Liszt. ...
Hughes Felicité Robert de Lamennais Hughes Felicité Robert de Lamennais (June 19, 1782 - February 27, 1854), was a French priest, and philosophical and political writer. ...
For other uses, see Basel (disambiguation). ...
Private life
Caroline de Saint-Cricq As an integral part of the usual Liszt biography, a love affair with his pupil Caroline de Saint-Cricq must be mentioned, although the source situation is not only poor but desperate. Following a traditional line, Caroline must be described as to have been nothing less than a holy angel living on earth[66], without worldly desires of whatsoever kind. Besides, she was very beautiful and very rich. Liszt, who had not the least interest in those qualities, became her piano teacher in spring 1828 when he was 16 and she was 17. While exclusively talking about holy things, they very soon fell in love. Supported by Caroline’s mother, they wanted to marry. Shortly afterwards, on June 30 or July 1, 1828[67], the mother died. Caroline's father, French Minister of Commerce in the government of King Charles X, then acted as antagonist, showing Liszt the door. Caroline fell ill, and Liszt suffered a nervous breakdown. At age of 19, i.e. in 1830, Caroline married one Bertrand d'Artigaux. Together with her husband, she moved to Pau in southern France. Charles X, King of France and of Navarre (October 9, 1757 - November 6, 1836) was born at the Palace of Versailles. ...
Aquitaine Region flag Coat of arms The location of Pau is shown on this map of the historical and cultural area of Gascony. ...
Unfortunately, no matter how touching the story is, until this day not a single author has given contemporary sources supporting it.[68] Liszt's own comment in one of his early letters to Marie d'Agoult was: "I've been nothing else but a child, nearly a fool, for Caroline".[69] The comment suits the story told by Schilling, authorized by Liszt. According to this, Liszt had left the girl without aggressions of any kind from the father's side. He had only presumed, Caroline's father would not like him as son-in-law.[70] Concerning Liszt's nervous breakdown and his imagined absence from Parisian concert life for two years since winter 1828-29, it was already shown that it is not true. Until end of April 1830 he regularly took part in concerts. During the second half of 1829 he was not sitting opposite his mother as silent as a statue, staring at the table[71], but each day from 8:30 in the morning till 10:00 at night running around for the purpose of giving lessons.[72]
A letter by Caroline to Liszt of July 1853 indeed gives an impression of a very religiously exalted character.
- Let me for ever and ever regard you as the only guiding star of my life and send my daily prayer for you towards Heaven: Reward him, my God, oh reward him superabundantly for his steadfast submission under your will.[73]
Taking this as hint, there might be an explanation for Liszt's decision in his early youth. In 1829, at the height of the Saint-Cricq affaire, he had received his confirmation.[74] As preparation, he had had to visit his church St. Vincent de Paul in order to take instructions. Following strictest Catholic rules, his confessional would have told him that he was not allowed to marry Caroline without her father's consent.[75] Even wishing it would have been an evil sin. Liszt therefore might have believed, he had to steadfastly submit under God's will by leaving Caroline.
Adèle de Laprunarède A further love affair, as reported by Liszt's biographers, sounds even more adventurous. Following Alan Walker, after the revolution of 1830 a total change of Liszt's personality must have occurred. His nervous breakdown was forgotten, all holy ideas besides, and he was now hungry for whatever experiences life proffered.[76] Together with Adèle de Laprunarède[77], very beautiful and very rich, although married, he enjoyed his first long love affair. Surrounded by snow and ice, with mountain roads impassable, they were marooned in the Castle Marlioz in the Savoy for the whole winter of 1832-33.[78] However, also in this case the impression, taken from Liszt's own comment in one of his early letters to Marie d'Agoult, is different: "I've been nothing else but a cowardly and miserable poltroon for Adèle."[79] In addition to this, there was still another lady, also very beautiful, together with whom Liszt went to the Savoy. Her name was "Mlle de Barré".[80] Besides, Walker mentions ladies "Madame D..." and "Charlotte Laborie", who both wanted to get Liszt married.[81] Flag of Savoy This article is about the historical region of Savoy. ...
Better sources indicate that "Madame D..." was Madame Didier, a very close friend of Liszt's mother. She also lived at Rue Montholon No.7 and wanted to marry her daughter Euphémie to Liszt.[82] "Mlle de Barré" and "Charlotte Laborie" were identical.[83] Madame Laborie wanted to get her daughter Charlotte married with Liszt. At end of 1830 or in the beginning of 1831, Liszt together with Charlotte went to Geneva.[84] At a hotel in Geneva they met Adèle de Laprunarède.[85] All three of them travelled to Adèle's Castle Marlioz in the Savoy, arriving on January 9, 1831.[86] During the following three weeks, Liszt wrote several letters to his mother which were delivered in Paris.[87] It shows that the mountain roads were not impassable, and Liszt was neither marooned in snow and ice. For other uses, see Geneva (disambiguation). ...
During Liszt's stay in Marlioz, Adèle successfully tried to seduce him.[88] However, the happy part of his affair with her was very short. On February 12, 1831, Liszt wrote in a letter to Euphémie Didier, he had already several days earlier arrived in Geneva. In two days he would leave for Paris and then be entirely hers.[89] Still in Marlioz, Charlotte had in a letter informed her parents that she wished to return. Her father, leaving Paris on February 10, went to Switzerland in order to take his daughter together with Liszt back to Paris.[90] Three days later he must have arrived in Geneva[91] where he found his daughter together with Liszt. In the beginning of May 1831, Liszt for a further time returned to Geneva, putting a final end to his affaire with Adèle.[92]
After Liszt's last return from Geneva, he had a time of struggle, of anguish, and of solitary torments. In order to forcefully destroy Adèle's love, he had affairs with other women, such as his student Hortense and one Madame Goussard. His mother, who found him behaving foolishly and wanted to soothe his excited nerves, suggested a marriage with Euphémie Didier. In August or in the beginning of September 1831 they became engaged, but six weeks later, in October, the engagement was cancelled from Liszt's side. Due to the breach of promise there were strong complaints, even threatening, from Euphémie's family.[93] In March 1832, Liszt met Charlotte again and started together with her a new love affair.[94] But he had to vow solemn oaths, never to return to Geneva.[95]
In spring 1832, Liszt not only received an invitation by Valerie Boissier's mother, but also Adèle contacted him.[96] While he had liked to follow the invitation, travelling to Geneva, he actually had to keep staying in Paris because of his new relation with Charlotte. He was suspected that he wanted to meet Adèle again. In the second part of his letter to Pierre Wolff of May 2/8, 1832, Liszt therefore wrote, he was mercilessly forbidden to go to Geneva. Liszt also wrote, he would demand a testimony from Wolff. It was meant in a sense, Wolff as witness should prove that Liszt's affaire with Adèle had already ended.[97]
Reaching far into the year 1834, Liszt was showered with further invitations by Madame Boissier.[98] But he could never follow them since he was not allowed to go to Geneva. In summer 1835, after a voyage together with Marie d'Agoult through parts of Switzerland, he actually went to that place. At this occasion he met Adèle again.[99] In summer 1839, Liszt met Adèle in Italy.[100]
Marie d'Agoult In summer 1832, when Liszt started composing his Clochette-fantasy, he also made plans for further works. But he found no time for achieving them. At end of August 1832 he went to Bourges where his former student Rose Petit became married. On October 6 he returned to Paris.[101] During the whole winter of 1832-33, i.e. until end of April 1833, he was involved in a plenty of social events, often returning at home in the early morning.[102] For this reason only a single new work, a free transcription of Schubert's song "Die Rose", was published.[103] On December 9, 1832, Liszt attended a concert at which Berlioz' Symphonie fantastique and - with brilliant success - for the first time the sequel "Lélio ou le Retour à la Vie" ("Lélio, or Returning to Life") were performed. The concert was also attended by Marie d'Agoult.[104] Bourges is a town and commune in central France that is located on the Yèvre river. ...
Marie Catherine Sophie de Flavigny, Vicomtesse de Flavigny (December 31, 1805 - March 5, 1876), known also by her married name and title, Marie, Comtesse dAgoult, and by her pen name, Daniel Stern; an author and a paramour of Franz Liszt. ...
While Liszt, during his social activities, had emotions of an increasing aversion[105], Marie d'Agoult's situation was in this sense identical. She had in winter 1831-32, together with her husband Charles and their daughters Claire and Louise, travelled to Geneva where a crisis of the married couple occurred. In addition to this, one of Marie d'Agoult's girl cousins had in January 1832 committed suicide.[106] While Marie d'Agoult herself had ideas of suicide and was attended at the sanatorium of one Dr. Coindet in Geneva, her husband together with the daughters returned to Paris. In April 1832, Marie d'Agoult's half-sister Auguste Ehrmann committed suicide.[107] After Marie d'Agoult's own return to Paris, she started in December 1832 taking part in social life again, but found usual habits stupid and annoying. She planned to buy an estate with a Castle at Croissy, a small place near Paris.[108] The contract of sale was concluded on April 18, 1833.[109] Marie d'Agoult had to pay a sum of more than 300,000 Francs. She could afford it since her mother, whose first husband had been the banker Moritz Bethmann in Frankfurt am Main, was very rich. For other uses, see Geneva (disambiguation). ...
Croissy-sur-Seine is a small suburban town on the western outskirts of Paris. ...
For other uses, see Frankfurt (disambiguation). ...
According to Marie d'Agoult's Memoirs, written from a distance of more than 30 years[110], she had made Liszt's acquaintance at end of 1833 at a soiree at one Marquise le Vayer's home.[111] But the Marquise already died on February 1, 1833[112], and Marie d'Agoult's correspondence with Liszt includes letters from spring 1833. The question of the precise beginning of their acquaintance is therefore open. Liszt performed at soirees of the same social circles which were frequented by Marie d'Agoult. An example is Count Rudolph Apponyi, Austrian ambassador in Paris, who on every Sunday arranged a private concert at his home. His wife was a close friend of Marie d'Agoult[113], who on December 23, 1832, visited the Apponyis.[114] One week later, on December 30, Liszt performed at the same place.[115] Liszt and Marie d'Agoult therefore might have met already at earlier occasions. However, Liszt himself, in a letter of July 17, 1834, gave a hint pointing for 18 months back to the past.[116] In this sense, January 1833 might be regarded as their starting point.
Might it have been on a suggestion by the Marquise le Vayer[117] or due to an advice by Countess Apponyi[118], in the beginning of 1833 Marie d'Agoult wrote a letter to Liszt for inviting him. He followed this and further invitations. Very soon he had in full details told the true story of his life.[119] Marie d'Agoult had a very high standing musical education. She was herself a brilliant amateur pianist and had composed several pieces of music, among them a song after Heine's poem "Die Loreley".[120] Liszt's early letters mention four handed piano works by Schubert which she will have played together with him. Besides, Marie d'Agoult sang songs by Beethoven, Schubert and Berlioz. One of her favourite songs was Schubert's "Erlkönig" which - sung by her - Liszt found impressing to the highest degree.[121] Regarding the applause which Liszt used to gain as pianist, she was absolutely cold. While this part of him was nothing of her interest, she was convinced that he was an artist of genius who could compose immortal masterworks. In May 1833, Liszt composed for her a "petite harmonie lamartinienne sans ton ni mesure" (a "little Lamartinian harmony without key and mesure"), i.e. the piece "Harmonies poétiques et religieuses". Christian Johann Heinrich Heine (December 13, 1797 – February 17, 1856) was a journalist, an essayist, and one of the most significant German romantic poets. ...
Schubert redirects here. ...
Due to a scandal adventure in August 1833 in the cathedral Notre Dame, there were rumours which found way even to Geneva.[122] In order to listen to Liszt's playing the organ, Marie d'Agoult had asked Théophile de Ferrière[123] to negotiate that Liszt together with some male companions was allowed to enter the cathedral in the evening. The male companions were Marie d'Agoult herself and the Marquise Catherine de Gabriac, both disguised as men.[124] However, as opposite to the rumours, nothing dangerous had happened until then. In autumn 1833 there was a break of two months with absolute silence on Marie d'Agoult's side.[125] On November 24, 1833, she attended a concert of Berlioz at which Liszt played Weber's "Konzertstück".[126] From then on a new phase of their relation commenced. For other uses, see Notre Dame. ...
Carl Maria von Weber Carl Maria Friedrich Ernst, Freiherr von Weber (November 18, 1786 in Eutin, Holstein – June 5, 1826 in London, England) was a German composer, conductor, pianist and critic, one of the first significant composers of the Romantic school. ...
In winter 1833-34 Liszt rented the "Ratzenloch". For several times Marie d'Agoult visited him, taking a disguise as "Comte de la B...".[127] Also, Liszt visited her at Croissy. He made friends with her daughters who gave him the nickname "Bon Vieux" ("Good Old").[128] Since April 28, 1834, Liszt was in Paris alone again, while Marie d'Agoult had retired to Croissy.[129] In May 1834, he had a dispute with Madame Laborie. She presumed, he was still in love with Adèle de Laprunarède, and tried to force him to give Adèles letters to her.[130] On May 16 Liszt left Paris, following an invitation by one Madame Haineville to Castle Carentonne near Bernay in the Normandy. While he was in Carentonne, Marie d'Agoult found some of his old letters to Euphémie Didier, suspecting they were written to Adèle and Liszt had become engaged with her.[131] Bernay is a commune of the Eure département, in France. ...
For other uses, see Normandy (disambiguation). ...
Returning from Carentonne, Liszt arrived on June 22, 1834, in Paris.[132] A couple of days later Marie d'Agoult left, travelling to Mortier[133], an estate of her mother, where she kept staying for two months. As present state of summer 1834 it was clear that Liszt and Marie d'Agoult were a couple of lovers. But their affaire had a colour of a very particular kind. Liszt's letters of spring and summer 1834 are full of complaints about his illness and depressiveness. Still in letters of July 1834 he described Marie d'Agoult as a woman whom he desired, for whom he always had to run, but without ever getting her.[134]
Marie d'Agoult's stay in Mortier had already been planned in spring 1834. She had invited Liszt to join her in Mortier, but he had refused it.[135]In April 1834 he had made the acquaintance of the Abbé de Lamennais. Liszt planned, together with Charles Saint-Beuve and Joseph d'Ortigue, in July 1834 to visit La Chênaie ("The Oak-forest"), a colony of the Abbé near Dinant in the Bretagne.[136] However, a large delay occurred. According to Liszt's letter to Marie d'Agoult of August 28, 1834, he had received a letter of the Abbé according to which he was awaited around September 3 or 7. Liszt asked her for a week's stay in Croissy.[137] Since September 3 till September 9 he spent a week in Croissy. After his return to Paris a further delay occurred, since he had to visit a dentist. On September 13 he left Paris for La Chênaie[138], arriving on September 16.[139] Hughes Felicité Robert de Lamennais Hughes Felicité Robert de Lamennais (June 19, 1782 - February 27, 1854), was a French priest, and philosophical and political writer. ...
Charles Augustin Sainte-Beuve. ...
The tower of Notre-Dame, seen from the citadel Dinant is a municipality located on the River Meuse in the Belgian province of Namur, Belgium. ...
(Région flag) (Region logo) Location Administration Capital Rennes Regional President Jean-Yves Le Drian (PS) (since 2004) Departments Côtes-dArmor Ille-et-Vilaine Morbihan Finistère Arrondissements 15 Cantons 201 Communes 1,268 Statistics Land area1 27,208 km² Population (Ranked 7th) - January 1, 2006 est. ...
On September 15, in Alençon near Rennes, in the first part of a letter to Marie d'Agoult, Liszt took German language as their "secret language" of love. In most passionate style, surpassing everything he had written in earlier letters to her, he wrote: "O, wie heiss, wie glühend ist noch dein letzter Kuss auf meinen Lippen! Wie himmlisch, wie göttlich dein Seufzer in meinem Busen... Ja, dir, Herzliebste, für dich alles!"[140] The change of style indicates that shortly before an important event, the beginning of their sexual life, had occurred. After a stay of three weeks in La Chênaie Liszt returned to Paris. Passing Alençon again on October 11, he wrote a new letter to Marie d'Agoult. For this time he quoted from an old announcement of the magistrate of Croissy. It was concerning a married couple, being honoured with unanimous applause for giving not souls but corps to the Republic.[141] Had Liszt insofar expected he would continue living with Marie d'Agoult as he had left her, he very soon learnt that he was totally wrong. Alençon is a town in Normandy, France, préfecture (capital) of the Orne département. ...
For other uses, see Rennes (disambiguation). ...
In the letter from Alençon of October 11, Liszt announced that two days later he would arrive at the "Ratzenloch" in Paris. After he had arrived in the early morning of October 13, he hoped to find a message of Marie d'Agoult, but there was nothing.[142] He wrote himself a letter to her, assuring his love and begging, she might remain being his.[143] But his next letter, of October 16, is of a different, very polite and formal style, without indicating own emotions of any kind. Marie d'Agoult was now addressed as "Madame". Following her orders, Liszt had several hours after his arrival in Paris visited Nourrit, who unfortunately could not take part in a private concert at Croissy, planned by Marie d'Agoult for one of the following Sundays. Besides, already for a very long time Nourrit had ceased singing for money at concerts. Liszt himself might be allowed to ask Marie d'Agoult for reminding Monsieur d'Agoult of him and to hope, she would indicate her next return to Paris.[144] While it is not clear whether the arrival in Paris, as mentioned by Liszt, was meant as his returning from La Chênaie or from a visit at Croissy, the letter shows that regarding his relation with Marie d'Agoult there was a severe break.
In October 1834 still another catastrophe occurred. Marie d'Agoult's daughter Louise fell ill. She was by her mother transported to Paris where a doctor diagnosed an inflammation of the brain.[145] During the night of December 10 to 11, or on December 11, Louise died.[146] She was buried on December 12.[147]
George Sand In autumn and winter 1834-35, Liszt made the acquaintace of George Sand. He had in the Revue des Deux Mondes of May 15, 1834, read her first Lettre d’un voyageur on her impressions of Italy, which he found magnificent.[148] In a letter to Marie d'Agoult of August 25, 1834, he wrote, he had two days earlier met Alfred de Musset. Musset had told him much about George Sand. Liszt had asked Musset to introduce him to her when Musset for the next time met George Sand.[149] George Sand sewing, portrait by Eugène Delacroix (1838). ...
Tomb of Alfred de Musset in Le Père Lachaise cemetery. ...
George Sand had during winter and spring 1833-34 togther with Musset travelled in Italy. In February 1834, in Venice, she had started a love affair with the doctor Roberto Pagello. At end of March 1834, Musset had left Italy, returning to Paris on April 10. On August 14, George Sand and Pagello had arrived in Paris. George Sand had met Musset on August 17. On August 24, Goerge Sand left for her estate at Nohant and Musset for Baden-Baden, while Pagello kept staying in Paris. From October 6 or 7 until December 5, 1834, and afterwards from January 2 to March 6, 1835, George Sand was staying in Paris. On October 13, George Sand met Musset again, and on October 23 or 25, Pagello left for Venice. George Sand and Musset started a new phase of their love affair, but new storms occurred. Around November 10, George Sand had a further break with Musset, who did not respond to her letters.[150] For other uses, see Venice (disambiguation). ...
Nohant-Vic is a village in the Indre département of central France. ...
, Baden-Baden is a town in Baden-Württemberg, Germany. ...
Liszt and George Sand met at end of October or in the beginning of November 1834. Like Liszt himself, she was fond of Saint-Simonian ideology.[151] She also took interest in the Abbé de Lamennais, whom she had wanted to visit at La Chênaie.[152] Due to the crisis in her love affaire with Musset, the voyage was cancelled. In letters of November 20 and 21, she also cancelled portrait sittings with Delacroix.[153] In a letter to Musset she threatened, she would commit suicide, cut her hair and enter a monastery.[154] Saint-Simonianism was a French socialist movement of the first half of the 19th century. ...
Hughes Felicité Robert de Lamennais Hughes Felicité Robert de Lamennais (June 19, 1782 - February 27, 1854), was a French priest, and philosophical and political writer. ...
Ferdinand Victor Eugène Delacroix (April 26, 1798 – August 13, 1863) was one of the most important of the French Romantic painters. ...
In a letter to Liszt of November 22, 1834, George Sand wrote, attending the concert of Berlioz on the following day at which Liszt would perform, was absolutely impossible for her. She would therefore give back tickets for the concert. After some days of retreating she would return.[155] Liszt, in his answer, wrote:
- I might be permitted to hope that after your return you will please count myself among the five or six persons who very voluntarily will receive you in the days of tears.[156]
On November 28, George Sand met Heine. Afterwards, in the late evening until the early morning, she had a long conversation with Liszt.[157] On December 5, she left Paris for Nohant, arriving on December 7. It is unknown whether until then a further contact with Liszt had occurred. Christian Johann Heinrich Heine (December 13, 1797 – February 17, 1856) was a journalist, an essayist, and one of the most significant German romantic poets. ...
Liszt had been announced for a concert on November 22 at the church St. Vincent de Paul. Together with Chrétien Urhan he would play Beethoven's "Kreutzer-Sonata". But the audience waited in vain for him. While according to an official excuse he had been involved in repetitions for the concert of Berlioz on November 23, he neither performed at that concert.[158] His behaviour can be understood, when looking at the present state of his relation with Marie d'Agoult.
Following a traditional line of Liszt biographic, it is to be presumed that until March 1835 there was a break of six months, during which Liszt and Marie d'Agoult did not meet at all.[159] However, a letter by Liszt, of November 29, 1834, shows that it is not true.
- Until 2 o'clock in the morning I had a meeting tête à tête with Mme Sand; she is suffering horribly. We will be talking about it tomorrow. I was wearing your cravat, which seemed to me as not beeing too elegant for "Thoughtful".
- Here are the letters of Urhan; your commission concerning Erard will be done in the evening. I'll spend the evening at Rue de Mail.
- Adieu. "God bless you."
- Morgen halb 1 Uhr.[160]
The "letters of Urhan" were pieces „A elle, quatre lettres pour le piano“ ("To her, four letters for piano") by Chrétien Urhan, being announced in Le Pianiste of November 20, 1834. A motto by Lamartine was: "Peut-être dans la foule, une âme que j’ignore aurait compris mon âme et m’aurait compris."[161] Liszt had met Urhan on November 24. In order to make good his not talking part on November 22 at the church St. Vincent de Paul, he had together with Urhan played the "Kreutzer-Sonata". The letter to Marie d'Agoult shows that Liszt had visited her and told her of the pieces by Urhan. On November 30, they met for a further time.
In his answer to George Sand's letter of November 22, Liszt wrote, he would very voluntarily receive her in the days of tears. While this was primarily meant as allusion to George Sand's problems regarding her affair with Musset, Liszt could as well have thought of his own situation. There is a further letter of him to Marie d'Agoult which must have been written in the second half of November 1834. At the letter's beginning Liszt wrote, since the beginning of winter
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