In 1848 he decided to make a career as a composer, and became musical director to the duke of Weimar. He remained at Weimar until 1859, and two years later went to Rome, where he became an abbé (1865). During the years between 1880 and 1885, in Rome, Weimar, and Budapest, he taught most of the famous pianists of the succeeding generation. In his compositions he favored program music over traditional musical forms.
Liszt originated the symphonic poem, and although he wrote symphonies, such as the Faust Symphony (1857), most of his orchestral pieces, including Les Préludes and Mazeppa (both 1854), are symphonic poems. In his Sonata in B Minor (1853) he developed the technique of transformation of themes, which completely altered the concept of sonata construction. This technique, together with his chromatic harmony, strongly influenced both Wagner and Richard Strauss.
For the piano Liszt composed prolifically in addition to transcribing many works of other composers. His most outstanding works for the piano include Années de pèlerinage (1855-83), Douze Études d'exécution transcendante (final version, 1852), Six Paganini Études (final version, 1851), concertos in E Flat (1855) and A (1848-61), and 20 Hungarian Rhapsodies (of which he published 19). Some of his most popular pieces, including Liebestraüme (c.1850), are characterized by lyrical, romantic sentiment; many of his later compositions are somber in tone, full of dissonance and unusual harmonic effects that foreshadow 20th-century music.
See his correspondence with Wagner, ed. by F. Hueffer (2 vol., rev. ed. 1969); his letters, ed. by La Mara (2 vol., 1968); biographies by S. Sitwell (rev. ed. 1966), E. Newman (1935, repr. 1970), D. Watson (1989), and A. Walker (2 vol., 1983-87); study by H. Searle (2d ed. 1966).
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. In his compositions he developed new methods, both imaginative and technical, which influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. These included his inventing the symphonic poem for orchestra, evolving the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony.
At age six, Franz began listening attentively to his father's piano playing as well as to show an interest in both sacred and gypsy music. Adam recognized his son's musical talent early. He began teaching Franz the piano at age seven and Franz began composing in an elementary manner when he was eight. He may have also first played in public at Baden at age eight; he definitely appeared in concerts at Sopron and Poszony in October and November 1820. After these concerts, a group of Hungarian magnates offered to finance Franz's musical education abroad.
In Vienna, Liszt received piano lessons from Carl Czerny, who in his own youth had been a student of Ludwig van Beethoven. He also received lessons in composition by Antonio Salieri, who was then music director of the Viennese court. His public debut in Vienna on December 1, 1822, at a concert at the "Landständischer Saal," was a great success. He was greeted in Austrian and Hungarian aristocratic circles and also met Beethoven and Franz Schubert. At a second concert on April 13, 1823, Beethoven was reputed to have kissed Liszt on the forehead. While Liszt himself told this story later in life, this incident may have occurred on a different occasion. Regardless, Liszt regarded it as a form of artistic christening. He was asked by the publisher Diabeli to contribute a variation on a waltz of the publisher's own invention—the same waltz to which Beethoven would write his noted set of 33 variations.
In spring 1823, when the one year's leave of absence came to an end, Adam Liszt asked Prince Esterházy in vain for two more 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. At end of May 1823, the family went to Vienna again.
The following year he fell in love with one of his pupils, Caroline de Saint-Cricq, the daughter of Charles X's minister of commerce. However, her father insisted that the affair be broken off. Liszt again fell ill (there was even an obituary notice of him printed in a Paris newspaper), and he underwent a long period of religious doubts and pessimism. He again stated a wish to join the Church but was dissuaded this time by his mother. He had many discussions with the Abbe de Lamennais, who acted as his spiritual father, and also with Chrétien Urhan, a German-born violinist who introduced him to the Saint-Simonists. Urhan also wrote music that was anti-classical and highly subjective, with titles such as Elle et moi, La Salvation angélique and Les Regrets, and may have whetted the young Liszt's taste for musical romanticism. Equally important for Liszt was Urhan's earnest championship of Schubert, which may have stimulated his own lifelong devotion to that composer's music.
During this period Liszt read widely to overcome his lack of a general education, and he soon came into contact with many of the leading authors and artists of his day, including Victor Hugo, Lamartine and Heine. He composed practically nothing in these years. Nevertheless, the July Revolution of 1830 inspired him to sketch a Revolutionary Symphony based on the events of the "three glorious days," and he took a greater interest in events surrounding him. He met Hector Berlioz on December 4, 1830, the day before the premiere of the Symphonie fantastique. Berlioz's music made a strong impression on Liszt, especially later when he was writing for orchestra. He also inherited from Berlioz the diabolic quality of many of his works.
After attending an April 20, 1832 charity concert, for the victims of a Parisian cholera epidemic, by Niccolò Paganini, Liszt became determined to become as great a virtuoso on the piano as Paganini was on the violin. Nor was Liszt alone in developing his technique. Paris in the 1830s had become the nexus for pianistic activities, with dozens of steel-fingered pianists dedicated to perfection at the keyboard. Some, such as Sigismond Thalberg and Alexander Dreyschook, focused on specific aspects of technique. While it was called the "flying trapeze" school of piano playing, this generation also solved some of the most intractable problems of piano technique, raising the general level of performance to previously unimagined heights. Liszt's strength and ability to stand out in this company was in mastering all the aspects of piano technique cultivated singly and assiduously by his rivals.
In 1833 he made transcriptions of several works by Berlioz, including the Symphonie fantastique—his chief motive in doing so, especially with the Symphonie, was to help the poverty-stricken Berlioz, whose symphony remained unknown and unpublished. He bore the expense of publishing the transcription himself and played it many times to help popularize the original score. He was also forming a friendship with the third composer who would influence him, Frederic Chopin; under his influence Liszt's poetic and romantic side began to develop.
In 1835 the countess left her husband and family to join Liszt in Geneva; their daughter Blandine was born there on December 18. Liszt taught at the newly-founded Geneva Conservatory, wrote a manual of piano technique (later lost) and contributed essays for the Paris Revue et gazette musicale. In these essays, he argued for the raising of the artist from the status of a servant to a respected member of the community.
For the next four years Liszt and the countess lived together, mainly in Switzerland and Italy with occasional visits to Paris. During one of these visits in the winter of 1936-7, Liszt participated in a Berlioz concert, gave chamber music concerts and, on March 31, played at Princess Belgiojoso's home in a celebrated pianistic duel with Thalberg. Thalberg's reputation was beginning to eclipse Liszt's, but Liszt matched him handily in playing. Critic Jules Janin wrote a detailed description of the duel, commenting,
Never was Liszt more controlled, more thoughtful, more energetic, more passionate; never has Thalberg played with greater verve and tenderness. Each of them prudently stayed within his harmonic domain, but each used every one of his resources. It was an admirable joust. The most profound silence fell over that noble arena. And finally Liszt and Thalberg were both proclaimed victors by this glittering and intelligent assembly. It is clear that such a contest could only take place in the presence of such an Areopagus. Thus two victors and no vanquished; it is fitting to say with the poet ET AD HUC SUB JUDICE LIS EST.
When the princess herself was asked to summarize the event, she gave the diplomatic aphorism, "Thalberg is the first pianist in the world—Liszt is the only one."
Liszt also composed the Album d'un voyager; these were lyrical evocations of Swiss scenes which he later reworked for his first book of Années de Pèlerinage. He wrote the second book of Années in 1837 while in Italy with the countess; he also composed the first version of the Paganini Studies and the 12 grandes etudes, a greatly revised and expanded and revised version of the Etude in douze exercises. On Christmas day their second daughter, Cosima, was born at Bellagio, on Lake Como. In 1838 Liszt gave concerts in Vienna and various Italian cities. he also began what would become a long series of Schubert transcriptions as well as the initial version of the Totentanz.
On May 9, 1839 Liszt and the countess's only son, Daniel, was born, but that autumn relations between them became strained. Liszt heard that plans for a Beethoven monument in Bonn were in danger of collapse for lack of funds and pledged his support. Doing so meant returning to the life of a touring virtuoso. The countess returned to Paris with the children while Liszt gave six concerts in Vienna then toured Hungary.
After 1842 "Lisztomania" swept across Europe. The reception Liszt enjoyed as a result can only be described as hysterical. Women fought over his silk handkerchiefs and velvet gloves, which they ripped to shreads as souvenirs. More soberly-minded musicians such as Schumann, Chopin and Mendelsssohn were appalled by these displays of hero worship, eventually despising Liszt because of them. The emotionally charged atmosphere of his recitals made them seem more like séances than serious musical events. Helping fuel this atmosphere was the artist's mesmeric personality and stage presence. Many witnesses later testified that Liszt's playing raised the mood of audiences to a level of mystical ecstasy.
Adding to his reputation was the fact that Liszt gave away much of his proceeds to charity and humanitarian causes. While his work for the Beethoven monument and the Hungarian National School of Music are well known, he also gave generously to the building fund of Cologne Cathedral, the establishment of a Gymnasium at Dortmund and the construction of the Leopold Church in Pest. There were also private donations to hospitals, schools and charitable organizations such as the Leipzig Musicians Pension Fund. When he found out about the Great Fire of Hamburg, which raged three weeks during May 1842 and immolated much of the city, he gave concerts in aid of the thousands of homeless there.
In February 1847, Liszt played in Kiev. There he met the Princess Carolyne zu Sayn-Wittgenstein, who would dominate most of the rest of his life. She persuaded him to concentrate on composition, which meant giving up his career as a traveling virtuoso. After a tour of the Balkans, Turkey and Russia that summer, Liszt gave his final concert for pay at Elisavetgrad in September. He spent the winter with the princess at her estate in Worononce. By retiring from concertizing at age 35, while still at the height of his powers, Liszt succeeded in keeping the legend of his playing untarnished.
The following year, Liszt took up a long-standing invitation of Grand Duchess Maria Pavlovna of Russia to settle at Weimar, where he had been appointed Kapellmeister Extraordinaire in 1842, remaining there until 1861. During this period he acted as conductor at court concerts and on special occasions at the theatre. He gave lessons to a number of pianists, including the great virtuoso Hans von Bülow, who married Liszt's daughter Cosima in 1857 (before she was married to Wagner). He also wrote articles championing Berlioz and Wagner. Finally, Liszt had ample time to compose and during the next 12 years revised or produced those orchestral and choral pieces upon which his reputation as a composer mainly rests. His efforts on behalf of Wagner, who was then an exile in Switzerland, culminated in the first performance of Lohengrin in 1850.
Princess Carolyne lived with Liszt during his years in Weimar. She eventually wished to marry Liszt, but since she had been previously married and her husband, Russian military officer Prince Nikolaus zu Sayn-Wittgenstein-Ludwigsburg (1812-1864), was still alive, she had to convince the Roman Catholic authorities that her marriage to him had been invalid. After huge efforts and a monstrously intricate process, she was temporarily successful (September 1860). It was planned that the couple would marry in Rome, on October 22, 1861, Liszt's 50th birthday. Liszt having arrived in Rome on October 21, 1861, the Princess nevertheless declined, by the late evening, to marry him. It appears that both her husband and the Czar of Russia had managed to quash permission for the marriage at the Vatican. The Russian government also impounded her several estates in the Polish Ukraine, which made her later marriage to anybody unfeasible.
The 1860s were a period of severe catastrophes of Liszt's private life. After he had on December 13, 1859, already lost his son Daniel, on September 11, 1862, also his daughter Blandine died. In letters to friends Liszt afterwards announced, he would retreat to a solitary living. He found it at the monastery Madonna del Rosario, just outside Rome, where on June 20, 1863, he took up quarters in a small, Spartan apartment. He had on June 23, 1857, already joined a Franciscan order. On April 25, 1865, he received from Gustav Hohenlohe the tonsure and a first one of the minor orders of the Catholic Church. Three further minor orders followed on July 30, 1865. Until then, Liszt was Porter, Lector, Exorcist, and Acolyte. While Princess Wittgenstein tried to persuade him to proceed in order to become priest, he did not follow her. In his later years he explained, he had wanted to preserve a rest of his freedom.
At some occasions, Liszt took part in Rome's musical life. On March 26, 1863, at a concert at the Palazzo Altieri, he directed a program of sacral music. The "Seligkeiten" of his "Christus-Oratorio" and his "Cantico del Sol di Francesco d'Assisi", as well as Haydn's "Die Schöpfung" and works by J. S. Bach, Beethoven, Jornelli, Mendelssohn and Palestrina were performed. On January 4, 1866, Liszt directed the "Stabat mater" of his "Christus-Oratorio", and on February 26, 1866, his "Dante-Symphony". There were several further occasions of similar kind, but in comparison with the duration of Liszt's stay in Rome, they were exceptions. Bódog Pichler, who visited Liszt in 1864 and asked him for his future plans, had the impression that Rome's musical life was not satisfying for Liszt.
On July 2, 1881, Liszt fell down the stairs of the Hofgärtnerei in Weimar. Though friends and colleagues had noted swelling in Liszt's feet and legs when he had arrived in Weimar the previous month, Liszt had up to this point been in reasonably good health, and his body retained the slimness and suppleness of earlier years. The accident, which immobilized him for eight weeks, changed this. A number of ailments manifested—dropsy, asthma, insomnia, a cataract of the left eye and chronic heart disease. The last mentioned would eventually contribute to Liszt's death. He would become increasingly plagued with feelings of desolation, despair and death—feelings he would continue to express nakedly in his works from this period. As he told Lina Ramann, "I carry a deep sadness of the heart which must now and then break out in sound.
He died in Bayreuth on July 31, 1886, officially as a result of pneumonia which he may have contracted during the Bayreuth Festival hosted by his daughter Cosima. Questions have been posed as to whether medical malpractice played a direct part in Liszt's demise.
During the following years of his tours, Liszt gave concerts of different types. He gave solo concerts as well as concerts at which other artists joined him. In parts of his tours he was accompanied by the singer Rubini, later by the singer Ciabatta, with whom he shared the stage. At occasions, also other singers or instrumentalists took part in Liszt's concerts. For the case that an orchestra was available, Liszt had made accompanied versions of some of his pieces, among them the "Hexameron". Most frequently he also played Weber's "Konzertstück" F Minor as well as Beethoven's concerto E-Flat Major ("Emperor") and the Fantasy for piano, chorus and orchestra op.80. Besides, he played some pieces of chamber music, among them Hummel's Septet as well as Beethoven's "Kreutzer-Sonata" op.47, the Quintet in E-flat op.16 and the "Archduke-Trio" op.97.
Liszt's legendary reputation as "transcendental virtuoso" was based primarily on repeated performances of fewer than two dozen compositions written or arranged by himself or by Beethoven, Chopin, Hummel, Rossini, Schubert, or Weber. Among the most frequently played pieces of this primary repertoire were the Grand Galop chromatique, the Hexameron, the arrangement of the Overture "Guillaume Tell", the Andante final de Lucia di Lammermoor, and the Sonnambula-fantasy. In many of Liszt's programs also the "Réminiscences des Puritains" can be found. In this case it is uncertain whether he actually played the entire fantasy or only a part of it. The last part was in 1841 separately published as "Introduction et Polonaise". When playing this, Liszt used to take a Mazurka by Chopin or his transcription of the Tarantelle from Rossini's "Soirées musicales", in some cases both, as introduction.
Liszt's most frequently played solo pieces by Beethoven were the Sonatas op.27,2 ("Moonlight") and op.26, of which he usually only played the first movement "Andante con variazione". His repertoire of Baroque music was very small. Of Scarlatti, for example, he played for all of his life just a single piece, the "Katzenfuge". His Handel repertoire was restricted to two, and his Bach repertoire to a handful of pieces. The piano works of Haydn and Mozart did not exist in his concerts. While in letters to Schumann Liszt assured, Schumann's and Chopin's piano works were the only ones of interest for him, for all of his life he actually played not more than a single piano work by Schumann in public, and this only at a single event. It was on March 30, 1840, in Leipzig, when he played a selection of 10 pieces of the Carnaval.
During the early 1830s, some of Liszt's contemporaries called him a charlatan performer, a poor actor from the provinces who wanted to achieve an effect at any cost. He would contort his face pretending to feel emotions; looking to heaven, he tried to act as if seeking inspiration from above. When playing the first movement of Beethoven's Sonata op.27,2 ("Moonlight"), he added cadenzas, tremolos and trills. By changing the tempo between Largo and Presto, he turned Beethoven's Adagio into a dramatic scene. In his Baccalaureus letter to George Sand from the beginning of 1837, Liszt admitted that he had done so for the purpose of gaining applause. He promised he would from now on follow both the letter and the spirit of a score. However, as soon as he had left Paris, it turned out that not much had changed. Especially in Vienna he was praised for the "creativity" with which he "interpreted" the music he played, finding effects of which the composer himself had had no idea.
During the tours of the 1840s, Liszt's heyday as a performer, his technical skills were never in dispute. But he was merely considered a fashionable virtuoso entertainer lacking inspiration. While Thalberg's fame as a composer was very strong and even Theodor Döhler was quite well recognized, nothing of this kind can be said of Liszt. An example is a review in London's Musical world of Liszt's Fantasy on "Robert le Diable": "We can conceive no other utility in the publication of this piece, than as a diagram in black and white of M. Liszt's extraordinary digital dexterity. The Leipziger Allgemeine musikalische Zeitung, in a review of the Sonnambula-fantasy, opined that it was at least not to be feared that any other artist would follow Liszt on his adventurous path.
Consequently, Liszt's interpretive approach became more severe. He still played virtuoso works and smaller character pieces with a great deal of freedom. However, he now played major masterworks, particularly those of Beethoven and Chopin, with a sincere fidelity in sharp contrast with his previous approach. Moreover, he insisted upon this fidelity in his masterclasses, as well.
Liszt claimed to have spent ten or twelve hours each day practicing scales, arpeggios, trills and repeated notes to improve his technique and endurance. All of these piano techniques were frequently applied in his compositions, often resulting in music of extreme technical difficulty (his Transcendental Etude No.5 "Feux follets" is an example). He would challenge himself and his immaculate fingering by presenting random problems to his playing.
Perhaps a large contributing factor to Liszt's affinity for extreme technical difficulty was the structure of his own hands. An original 19th century plaster cast of Liszt's right hand has been reproduced, and is now held in the Liszt House at Marienstrasse 17 (also known as the Liszt Museum). The plaster cast reveals that while Liszt's fingers were undoubtedly slender, they were of no exceptionally abnormal length. However, the small "webbing" connectors found between the fingers of any normal hand were practically nonexistent for Liszt. This allowed the composer to cover a much wider span of notes than the average pianist, perhaps even up to 12 whole steps.
During the 1830s and 1840s — the years of Liszt's "transcendental execution" — he revolutionised piano technique in almost every sector. Figures like Anton Rubinstein, Paderewski and Rachmaninoff turned to Liszt's music to discover the laws which govern the keyboard.
While revolutionary and famously spectacular, Liszt's playing was far from mere flash and acrobatics. He also was reported to have played with a depth and nobility of feeling that would move sturdy men to tears. It seems that this quality to his playing may have continued to develop during his life, overtaking the youthful fire and bravura. Indeed, reports of his playing in old age include observations that it was surprisingly and distinctly subtle and poetic, with great purity of tone and effortlessness of execution; in contrast to the more tumultuous so-called "Liszt school" of playing, which by then had already started to become traditional in Europe. Examination of the late piano works seems to back up this expressive requirement, where the composer deliberately rejects the showiness of his earlier works.
Liszt was also a brilliant sight reader and stunned Edvard Grieg in the 1870s by playing his Piano Concerto perfectly by sight. The year before, Liszt played Grieg's violin sonata from sight. Decades earlier Liszt had played Chopin's studies at sight, prompting Chopin to write that he was consumed by envy, and wished to steal from Liszt his manner of playing his own pieces. This is all the more remarkable when one remembers that Liszt was playing at sight from a hand-written manuscript.
Liszt was a prolific composer. Most of his music is for the piano and much of it requires formidable technique. His thoroughly revised masterwork, Années de Pèlerinage ("Years of Pilgrimage") includes arguably his most provocative and stirring pieces. This set of three suites ranges from the pure virtuosity of the Suisse Orage (Storm) to the subtle and imaginative visualizations of artworks by Michaelangelo and Raphael in the second set. Années contains some pieces which are loose transcriptions of Liszt's own earlier compositions; the first "year" recreates his early pieces of Album d'un voyageur, while the second book includes a resetting of his own song transcriptions once separately published as Tre sonetti di Petrarca ("Three sonnets of Petrarch"). The relative obscurity of the vast majority of his works may be explained by the immense number of pieces he composed.
In his most famous and virtuosic works, he is the archetypal Romantic composer. Liszt pioneered the technique of thematic transformation, a method of development which was related to both the existing variation technique and to the new use of the Leitmotif by Richard Wagner.
Liszt's piano works are usually divided into two classes. On the one hand, there are "original works", and on the other hand "transcriptions", "paraphrases" or "fantasies" on works by other composers. Examples for the first class are works such as the piece Harmonies poétiques et religieuses of May 1833 and the Klaviersonate in h-Moll ("Piano Sonata B Minor"). Liszt's transcriptions of Schubert songs, his fantasies on operatic melodies, and his piano arrangements of symphonies by Berlioz and Beethoven are examples for the second class. As special case, Liszt also made piano arrangements of own instrumental and vocal works. Examples of this kind are the arrangement of the second movement "Gretchen" of his Faust Symphony and the first "Mephisto Waltz" as well as the "Liebesträume" and the two volumes of his "Buch der Lieder".
Liszt's composing music on music, being taken as such, was nothing new. Nevertheless, Liszt invested a particular kind of creativity. Instead of just overtaking original melodies and harmonies, he ameliorated them. In case of his fantasies and transcriptions in Italian style, there was a problem which was by Wagner addressed as "Klappern im Geschirr der Perioden". Composers such as Bellini and Donizetti knew that certain forms, usually periods of eight measures, were to be filled with music. Occasionally, while the first half of a period was composed with inspiration, the second half was added with mechanical routine. Liszt corrected this by modifying the melody, the bass and - in cases - the harmonies.
Many of Liszt's results were remarkable. The Sonnambula-fantasy for example, a concert piece full of charming melodies, could certainly not have been composed neither by Bellini nor by Liszt alone. Outstanding examples are also the Rigoletto-Paraphrase and the Faust-Walzer. The most delicate harmonies in parts of those pieces were not invented by Verdi and Gounod, but by Liszt. Hans von Bülow admitted, that Liszt's transcription of his Dante Sonett "Tanto gentile" was much more refined than the original he himself had composed.
Franz Liszt composed about six dozen original songs with piano accompaniment. In most cases the lyrics were in German or French, but there are also some songs in Italian and Hungarian and one song in English. Lizst began with the song "Angiolin dal biondo crin" in 1839, and by 1844 had composed about two dozen songs. Some of them had been published as single pieces. In addition, there was a 1843-1844 series "Buch der Lieder" which had been projected for three volumes, consisting of six songs each.
Although Liszt's early songs are seldom sung, they show him in much better light than works such as the paraphrase "Gaudeamus igitur" and the Galop after Bulhakow, both composed in 1843. The transcriptions of the two volumes of the "Buch der Lieder" can be counted among Liszt's finest piano works. However, the contemporaries had much to criticize with regard of the style of the songs. Further critical remarks can be found in Peter Raabe's Liszts Schaffen.
Today, Liszt's songs are nearly entirely forgotten. As an exception, most frequently the song "Ich möchte hingehen" is being cited. It is because of a single bar, most resembling the opening motif of Wagner's "Tristan und Isolde". While it is commonly claimed that Liszt wrote that motif ten years before Wagner started work on his masterpiece, it has turned out that this is not true: the original version of "Ich möchte hingehn" was composed in 1844 or 1845. There are four manuscripts, and only a single one, a copy by August Conradi, contains the said bar with the Tristan motif. It is on a paste-over in Liszt's hand. Since Liszt was in the second half of 1858 preparing his songs for publication, and he just at that time received the first act of Wagner's Tristan, it is most likely that the version on the paste-over was a quotation from Wagner.. This is not to say, the motif was originally invented by Wagner. An earlier example can be found in bar 100 of Liszt's Ballade No.2 in B Minor for piano, composed 1853.
Liszt's own point of view regarding program music can for the time of his youth been taken from the preface of the Album d'un voyageur (1837). According to this, a landscape could evoke a certain kind of mood when being looked at. Since a piece of music could also evoke a mood, a mysterious resemblance with the landscape could be imagined. In this sense the music would not paint the landscape, but it would match the landscape in a third category, the mood.
In July 1854 Liszt wrote his essay about Berlioz and the Harold-Symphony that stated that not all music was program music. If, in the heat of a debate, a person would go so far as to claim the contrary, it would be better to put all ideas of program music aside. But it would be possible to take means like harmonization, modulation, rhythm, instrumentation and others in order to let a musical motif endure a fate. In any case, a program should only be added to a piece of music if it was necessarily needed for an adequate understanding of that piece.
Still later, in a letter to Marie d'Agoult of November 15, 1864, Liszt wrote:
With some works from the end of the Weimar years Liszt drifted more and more away from the musical taste of his time. An early example is the melodrama "Der traurige Mönch" ("The sad monk") after a poem by Nikolaus Lenau, composed in the beginning of October 1860. While in the 19th century harmonies were usually considered as major or minor triads to which dissonances could be added, Liszt took the augmented triad as central chord.
More examples can be found in the third volume of Liszt's Années de Pèlerinage. "Les Jeux d'Eaux à la Villa d'Este" ("The Fountains of the Villa d'Este"), composed in September 1877, foreshadows the impressionism of pieces on similar subjects by Debussy and Ravel. However, other pieces such as the "Marche funèbre, En mémoire de Maximilian I, Empereur du Mexique" ("Funeral march, In memory of Maximilian I, Emperor of Mexico") composed in 1867 are without stylistic parallel in the 19th and 20th centuries.
At a later stage Liszt experimented with "forbidden" things such as parallel 5ths in the "Csardas marcabre and atonality in the Bagatelle sans tonalité ("Bagatelle without Tonality"). In the last part of his "2de Valse oubliée" ("2nd Forgotten waltz") Liszt composed that he could not find a lyrical melody. Pieces like the "2d Mephisto-Waltz" are shocking with nearly endless repetitions of short motives. Also characteristic are the "Via crucis" of 1878 as well as pieces such as the two Lugubrious Gondolas, Unstern! and Nuages Gris of the 1880s.
During the Weimar years, Liszt wrote a series of essays about operas, leading from Gluck to Wagner. Besides, Liszt wrote essays about Berlioz and the symphony "Harold in Italy", Robert and Clara Schumann, John Field's nocturnes, songs of Robert Franz, a planned Goethe foundation at Weimar, and other subjects. In addition to these essays, Liszt wrote a book about Chopin as well as a book about the Gypsies and their music in Hungary.
While all of those literary works were published under Liszt's name, it is not quite clear which parts of them he had written himself. It is known from his letters that during the time of his youth there had been collaboration with Marie d'Agoult. During the Weimar years it was the Princess Wittgenstein who helped him. In most cases the manuscripts have disappeared so that it is difficult to decide which of Liszt's literary works actually were works of his own. However, until the end of his life it was Liszt's point of view that it was he who was responsible for the contents of those literary works.
In his later years Liszt wrote voluminous "Technische Studien" ("technical exercises") which are now in three volumes available at Editio musica, Budapest. Taking them as music, they are disappointing because Liszt gave nothing more than a collection of technical exercises. Lots of exercises of similar kind by composers such as Herz, Bertini and MacDowell existed besides. Carl Tausig's "Tägliche Studien" are, without doubt, of better use than Liszt's.
Liszt also worked until at least 1885 on a treatise for modern harmony. Pianist Arthur Friedheim, who also served as Liszt's personal secretary, remembered seeing it among Liszt's papers at Weimar. Liszt told Friedheim that the time was not yet ripe to publish the manuscript, titled Sketches for a Harmony of the Future. Unfortunately, this treatise has been lost.
Liszt invented the masterclass, a concept which now dominates instrumental teaching. Liszt believed that young masters would stimulate one another and achieve even higher standards of perfection than they would achieve individually. One student would play with Liszt and the other students listening; then Liszt would make come comments about the performance and sometimes play portions of the work himself. His first generation of great students, whom he taught during the 1850s, included Carl Tausig, Hans von Bulow, Karl Klindworth and Hans von Bronsart; it was arguably the finest group to pass through Liszt's hands. However, the later generation also included impressive talent. Among those students were Eugen d'Albert, Walter Bache, Arthur Friedheim, Sophie Menter, Moriz Rosenthal, Emil von Sauer, and Alexander Siloti.
Liszt offered his students little technical advice, expecting them to "wash their dirty linen at home," as he phrased it. Instead, he focused on musical interpretation with a combination of anecdote, metaphor and wit. He advised one student tapping out the opening chords of Beethoven's Waldstein Sonata, "Do not chop beefsteak for us." To another who blurred the rhythm in Liszt's Gnomenreigen (usually done by playing the piece too fast in the composer's presence): "There you go, mixing salad again." Liszt also wanted to avoid creating carbon copies of himself; rather, he believed in preserving artistic individuality. This attitude contrasted sharply with many of Liszt's teaching contemporaries.
Also unlike his contemporaries, Liszt did not charge for lessons, believing in the motto, "Génie oblige!" He was troubled when German newspapers published details of pedagogue Theodor Kullak's will, revealing that Kullak had generated more than one million marks from teaching. "As an artist, you do not rake in a million marks without performing some sacrifice on the altar of Art," Liszt told his biographer Lina Ramann. He also wrote the Allgemeine musikalische Zeitung, urging Kullak's sons to create an endowment for needy musicians—a suggestion that may have lost its potential for presumptuousness by Liszt's personal example.
Liszt insisted that all composition students study piano and all piano students study composition. Admission standards were high. Each candidate was obliged to exhibit skills in improvisation, sight-reading from full score and transposition. This policy paid rich rewards. By the end of the century three of the country's most prominent musicians—Béla Bartók, Zoltan Kodály and Ernst von Dohnányi—had already graduated from the Academy.