Franz Liszt’s concert in the church of Żagań at the wedding

Stanislaw Barszczak, A simple waltz or Franz Liszt’s compartment (part two)

III With Countess Marie d’Agoult (1833-1842)

Already as a mature composer, Liszt “rejected” his religious nature, and became interested in women – as a slender, tall and well-educated musician, with huge blue eyes, he was certainly attractive to the living-room ladies. Through the poet and playwright Alfred de Musset, he met George Sand and Marie d’Agoult – six years older than him, an intelligent and temperate Countess, who fell in love with him. They discussed matters of religion and art. Their love caused a scandal – one year passed before this union was consummated. At the end of April 1834 Liszt made the acquaintance of L’abbé de Lamennais. Under the influence of both, Liszt’s creative output exploded. In 1835 the countess left her husband and family to join Liszt in Geneva; Liszt’s daughter with the countess, Blandine, was born there on December 18. Liszt taught at the newly founded Geneva Conservatory, wrote a manual of piano technique 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, where their daughter, Cosima, was born in Como, with occasional visits to Paris. On May 9, 1839, Liszt’s 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. For the next eight years Liszt continued to tour Europe, spending holidays with the countess and their children on the island of Nonnenwerth on the Rhine in summers 1841 and 1843. In spring 1844 the couple finally separated. This was Liszt’s most brilliant period as a concert pianist. Honours were showered on him and he met with adulation wherever he went. Franz wrote his Three Concert Études between 1845 and 1849. Since he often appeared three or four times a week in concert, it could be safe to assume that he appeared in public well over a thousand times during this eight-year period. Moreover, his great fame as a pianist, which he would continue to enjoy long after he had officially retired from the concert stage, was based mainly on his accomplishments during this time. During his virtuoso heyday, Liszt was described by the writer Hans Christian Andersen as a “slim young man…[with] dark hair hung around his pale face”. He was seen as handsome by many, with the German poet Heinrich Heine writing concerning his showmanship during concerts: “How powerful, how shattering was his mere physical appearance”. In 1841, Franz Liszt was admitted to the Freemason’s lodge “Unity” “Zur Einigkeit”, in Frankfurt am Main. He was promoted to the second degree and elected master as member of the lodge “Zur Einigkeit”, in Berlin. From 1845 he was also honorary member of the lodge “Modestia cum Libertate” at Zurich and 1870 of the lodge in Pest (Budapest-Hungary). After 1842, “Lisztomania” – coined by 19th-century German poet and Liszt’s contemporary, Heinrich Heine – swept across Europe. The reception that Liszt enjoyed as a result can be described only as hysterical. Women fought over his silk handkerchiefs and velvet gloves, which they ripped to shreds as souvenirs. This atmosphere was fuelled in great part by 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. On 14 March 1842 Liszt received an honorary doctorate from the University of Königsberg – an honour unprecedented at the time, and an especially important one from the perspective of the German tradition. Liszt never used ‘Dr. Liszt’ or ‘Dr. Franz Liszt’ publicly. Ferdinand Hiller, a rival of Liszt at the time, was allegedly highly jealous at the decision made by the university. Adding to his reputation was the fact that Liszt gave away much of his proceeds to charity and humanitarian causes. In fact, Liszt had made so much money by his mid-forties that virtually all his performing fees after 1857 went to charity. 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 for three days during May 1842 and destroyed much of the city, he gave concerts in aid of the thousands of homeless there. Besides his musical works, Liszt wrote essays about many subjects. Most important for an understanding of his development is the article series “De la situation des artistes” (“On the situation of artists”) which was published in the Parisian Gazette musicale in 1835. In winter 1835–36, during Liszt’s stay in Geneva, about half a dozen further essays followed. Then during the Weimar years, Liszt wrote a series of essays about operas, leading from Glück to Wagner. Liszt also 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 essays, Liszt wrote a biography of his fellow composer Frédéric Chopin, Life of Chopin, as well as a book about the Romanis (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 determine which of Liszt’s literary works were actually works of his own. Until the end of his life, however, it was Liszt’s point of view that it was he who was responsible for the contents of those literary works.
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 was sometimes mocked in the press for facial expression and gestures at the piano. The spouses about that and their family spoke during on the island of Nonnenwerth on the Rhine in summers 1841. Countess Marie d’Agoult: Don’t worry, we will always be together.
Franz Liszt: That’s what Caroline de Saint- Cricq said… In spring 1844 the couple finally separated. There were the extravagant liberties Liszt could take with the text of a score at this time. Berlioz tells us how Liszt would add cadenzas, tremolos and trills when playing the first movement of Beethoven’s Moonlight Sonata, and created a dramatic scene by changing the tempo between Largo and Presto. 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, and promised to follow both the letter and the spirit of a score from then on. His performance commenced with Handel’s Fugue in E minor for exemple, which was played by Liszt with an avoidance of everything approaching to meretricious ornament, and indeed scarcely any additions, except a multitude of ingeniously contrived and appropriate harmonies, casting a glow of colour over the beauties of the composition, and infusing into it a spirit which from no other hand it ever before received. During his years as a travelling virtuoso, Liszt performed an enormous amount of music throughout Europe, but his core repertoire always centered around his own compositions, paraphrases and transcriptions. Of Liszt’s German concerts between 1840 and 1845, the five most frequently played pieces were the Grand galop chromatique, Schubert’s Erlkönig (in Liszt’s transcription), Réminiscences de Don Juan, Réminiscences de Robert le Diable, and Réminiscences de Lucia di Lammermoor. Among the works by other composers were Weber’s Invitation to the Dance, Chopin mazurkas, études by composers like Ignaz Moscheles, Chopin and Ferdinand Hiller, but also major works by Beethoven, Schumann, Weber and Hummel, and from time to time even selections from Bach, Handel and Scarlatti. Most of the concerts at this time were shared with other artists, and as a result Liszt also often accompanied singers, participated in chamber music, or performed works with an orchestra in addition to his own solo part. Frequently played works include Weber’s Konzertstück, Beethoven’s Emperor Concerto and Choral Fantasy, and Liszt’s reworking of the Hexameron for piano and orchestra. His chamber music repertoire included Johann Nepomuk Hummel’s Septet, Beethoven’s Archduke Trio and Kreutzer Sonata, and a large selection of songs by composers like Gioacchino Rossini, Gaetano Donizetti, Beethoven and especially Franz Schubert. At some concerts, Liszt could not find musicians to share the program with, and consequently was among the first to give solo piano recitals in the modern sense of the word. The term was coined by the publisher Frederick Beale, who suggested it for Liszt’s concert at the Hanover Square Rooms in London on June 9, 1840, even though Liszt had given concerts all by himself already by March 1839. Liszt’s piano works are usually divided into two categories. On the one hand, there are “original works”, and on the other hand “transcriptions”, “paraphrases” or “fantasies” on works by other composers. He preferred to play either on a Bösendorfer or C. Bechstein piano, since they were the only instruments capable of withstanding his tremendously powerful playing. In the mid-19th century, orchestral performances were much less common than they are today, and were not available at all outside major cities, so Liszt’s transcriptions played a major role in popularising a wide array of music such as the symphonies of Beethoven. Liszt wrote his two largest organ works between 1850 and 1855 while he was living in Weimar, a city with a long tradition of organ music, most notably that of J.S. Bach. 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. Liszt, in some of his works, supported the relatively new idea of programme music – that is, music intended to evoke extra-musical ideas such as a depiction of a landscape, a poem, a particular character or personage. By contrast, absolute music stands for itself and is intended to be appreciated without any particular reference to the outside world.

IV Liszt in Weimar (1842-1861)

This is a song without end, Woronince, Ukraine (Feb 1847- Jan 1848). In February 1847, Liszt played in Kiev. There he met the Polish Princess Carolyne zu Sayn-Wittgenstein, who was to become one of the most significant people in the rest of his life. Carolyne zu Sayn-Wittgenstein has been in a relationship with Franz Liszt (Feb1847-Oct 1861). Carolyne zu Sayn-Wittgenstein and Franz Liszt have been engaged for 1 year. They started dating in Feb 1847 and after 13 years were engaged in Sep 1860.
Princess Carolyne zu Sayn-Wittgenstein (February 8, 1819 – March 9, 1887) was a Polish noblewoman who pursued a forty-year liaison/relationship with Franz Liszt. She was also an amateur journalist and essayist and it is conjectured that she did much of the actual writing of several of Liszt’s publications, especially his Life of Chopin. She pursued an enormous correspondence with Liszt and many others which is of vital historical interest. She admired and encouraged Hector Berlioz, as is clear from their extensive correspondence. Berlioz dedicated Les Troyens to Princess Carolyne. In February 1847, Liszt played in Kiev. There he met the Princess Carolyne zu Sayn-Wittgenstein, who was to become one of the most significant people in the rest of his life. She persuaded him to concentrate on composition, which meant giving up his career as a travelling 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 Woronince. 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 Tsar 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. Subsequently, her relationship to Liszt became one of platonic companionship, especially after he had received minor orders in the Catholic Church and become an abbé. She was devastated by Liszt’s death and survived him only a very few months. She died in Rome on March 9, 1887. Franz Liszt turns into a composer’s bar, where you see one of the pianos from his apartment, I’m outta here, he said. Then in his apartment Liszt at night was still working on the suite of Podolia, Glanes de Woronince (Gleanings from Woronińce, or Harvest at Woronińce). This is a suite of three piano pieces by Franz Liszt, written in 1847 at Voronovycia, the Ukrainian estate of Princess Carolyne zu Sayn-Wittgenstein in Ukrainian Podolia. Liszt had first met the Princess when he played in Kiev on 14 February of that year (Valentine’s Day). She was recently separated from her husband, and she invited Liszt to spend some time on her estate in Podolia. In Woronince he stayed for 10 days, then left for a concert tour, promising to return in the autumn. He came back around 18 September, and stayed till early January 1848. It was during these three months that Liszt’s and Sayn-Wittgenstein’s relationship developed to the stage that she planned to petition the Tsar for divorce, and marry Liszt. During this time, Liszt also completed much of his Harmonies poétiques et religieuses. The three pieces of Gleanings from Woronince are: Ballade d’Ukraine, a dumka, Mélodies polonaises, two Polish folk songs, the second of which was previously used by Frédéric Chopin in his song The Maiden’s Wish, and Complainte, another dumka. They were dedicated to Princess Carolyne’s daughter, Princess Marie von Sayn-Wittgenstein. Liszt also wrote a transcription for piano solo of Chopin’s The Maiden’s Wish in his Six Chants polonais, but in conception it is quite a different piece from its appearance in Glanes de Woronince. So, during this September meeting Princess Carolyne zu Sayn-Wittgenstein persuaded him to concentrate on composition, which meant giving up his career as a travelling virtuoso. After a tour of the Balkans, Turkey and Russia that summer, Liszt gave his final concert for pay at Yelisavetgrad in September. He spent the winter with the princess at her estate in Woronince. By retiring from the concert platform at 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 (years later, she would marry Richard 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 rested. So, during those twelve years, he also helped raise the profile of the exiled Wagner by conducting the overtures of his operas in concert, Liszt and Wagner would have a profound friendship that lasted until Wagner’s death in Venice in 1883. Wagner held strong value towards Liszt and his musicality, once rhetorically stating “Do you know a musician who is more musical than Liszt?”, and in 1856 stating “I feel thoroughly contemptible as a musician, whereas you, as I have now convinced myself, are the greatest musician of all times.” 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. Although Liszt arrived in Rome on October 21, the Princess declined to marry him that evening. It appears that both her husband and the Tsar 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. In July 1854 Liszt stated in his essay about Berlioz and Harold in Italy that not all music was programme 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 programme music aside. But it would be possible to take means like harmony, modulation, rhythm, instrumentation and others to let a musical motif endure a fate. In any case, a programme should be added to a piece of music only if it was necessarily needed for an adequate understanding of that piece.
In a letter to Marie d’Agoult of November 15, 1864, Liszt wrote: “Without any reserve I completely subscribe to the rule of which you so kindly want to remind me, that those musical works which are in a general sense following a programme must take effect on imagination and emotion, independent of any programme. In other words: All beautiful music must be first rate and always satisfy the absolute rules of music which are not to be violated or prescribed.” Die Hunnenschlacht, as painted by Wilhelm von Kaulbach, which in turn inspired one of Liszt’s symphonic poems. A symphonic poem or tone poem is a piece of orchestral music in one movement in which some extramusical program provides a narrative or illustrative element. This program may come from a poem, a story or novel, a painting, or another source. The term was first applied by Liszt to his 13 one-movement orchestral works in this vein. They were not pure symphonic movements in the classical sense because they dealt with descriptive subjects taken from mythology, Romantic literature, recent history or imaginative fantasy. In other words, these works were programmatic rather than abstract. The form was a direct product of Romanticism which encouraged literary, pictorial and dramatic associations in music. It developed into an important form of programme music in the second half of the 19th century…Still other women showed up in Liszt’s mature life. Marie Dolores, Eliza Rosanna Gilbert, Countess of Landsfeld (17 February 1821- 17 January 1861), better known by the stage name Lola Montez, was an Irish dancer and actress who became famous as a “Spanish dancer”, courtesan, and mistress of King Ludwig I of Bavaria, who made her Countess of Landsfeld. She used her influence to institute liberal reforms. At the start of the Revolutions of 1848 in the German states, she was forced to flee. She proceeded to the United States via Switzerland, France and London, returning to her work as an entertainer and lecturer. Lola Montez and Franz Liszt have been dating since 1844. In 1844, Lola made an unsuccessful Parisian stage debut as a dancer in Fromental Halévy’s opera, Le lazzarone. She met and had an affair with Franz Liszt, who introduced her to the circle of George Sand. From 1869 to 1871, the great and renowned composer Franz Liszt had a pupil called Olga Janina. She studied under him for almost three years and was one of his best pupils. Liszt held her in very high regard, and often complimented her piano skills. However, Olga was a bit weird for her time. Most notably, she was often seen with weird and then unknown substances, as well as babbling about “atheism” and “women’s rights”. What’s more, she was quickly revealed to be deeply depressed and suicidal, as well as having a very unsettling personal obsession with Liszt. There was correspondence between Liszt and his pupils Olga Janina. to be continued

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